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As 2024 Art Basel announcements slowing start to arrive, Factory Town has revealed their massive opening and closing parties.
Mayan Warrior will kick things off Thursday, December 5th in the venue's Infinity Room. This year, the brand is back and stronger than ever after debuting its brand-new, rebuilt art car, Galaxyer. Mayan Warrior's beloved original art car was a longtime staple of Burning Man before catching fire and tragically burning beyond repair in April 2023.
The revamped Galaxyer stage hosted DJ sets from Carl Cox, Adan Ten, RÜFÜS DU SOL and more at this year's gathering in Black Rock City. The lineup for the Factory Town Art Basel date has not yet been announced at the time of this writing.
Alongside Mayan Warrior's appearance at Factory Town are scheduled events featuring GOLFOS and Eastenderz. GOLFOS, the duo of PAWSA and Dennis Cruz, are slated for a special, extended set at the Park Stage for their highly anticipated Factory Town debut.
The venue is known for concluding their multi-day events in spectacular fashion, with stacked lineups taking place on Sunday night into Monday morning. 2024 is no different, with Elrow wrapping up Art Basel weekend at Factory Town's Park stage. The famed Spanish party brand will flesh out their latest theme, "Hallucinarium," which presents art by the iconic psychedelic artist, Alex Gray. Elrow's lineup will be announced in the weeks ahead.
As if that wasn't enough to keep Miami ravers grooving all night long, Sunday will also include a spellbinding "Adriatique X" performance in the Infinity Room.
Tickets for Factory Basel 2024 events are available here.
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Spiritual Driveby is searing techno that asks big questions, not with words, but with hyperkinetic rhythms that jolt us into dancing and connecting in ways words fail to capture. Landry says the album was inspired by the idea that our bonds derive from somatic happenstances that we can't quite perceive, but should embrace.
"This sonic offering was motivated and inspired by the notion that none of us are alone because we are all energetically linked," she explains. "Everything we do is interwoven and collaborative, whether we realize it or not. Every musical experience we’ve ever had, every show we’ve been to, every euphoric moment that echoes across time has been a collaborative experience and a stacking of energies."
The release is a big moment for the self-anointed "High Priestess of Hard Techno," effectively crystallizing one of the most explosive electronic music breakouts in recent memory. Landry has built a large and devoted following, fearlessly pushing the tempo to the bleeding edge on the stages of the world's biggest festivals.
Landry channels that energy through Spiritual Driveby, which doesn't just push the envelope—it feeds it through a paper shredder and snorts the remains. Just like her unbridled DJ sets, she drags us into a vortex of brutal euphoria with her uncompromising approach to techno production.
Sara Landry performing at Tomorrowland in Belgium, where she became the first hard techno artist to perform on the iconic festival's main stage.Tomorrowland
The EDM.com Class of 2024 superstar says she toiled through a 15-month period of writer's block while recording the album. Once she found her groove, however, Landry "took the sound design to the place [she] really always wanted it to be," she gushed.
Out now on Landry's own HEKATE label, Spiritual Driveby kicks off by virtue of a prelude featuring a haunting soliloquy from her personal hypnotist. "Nothing can take this moment from us," he says. "So let this music move through you freely. Let it change you."
From there, Landry plunges her fans into a wormhole of vocal-driven techno designed for reckless abandon. Awash in distortion you can feel in your bones, "Because They Want Our Seat" is a surefire highlight, a masterclass in tension and release produced alongside French techno breakout Nico Moreno.
Another standout is the hedonistic "Play With Me," a collaboration with Shlømo that captures the electric thrill of a night that never ends. Here, Landry's vocals slice through ruthless four-on-the-floor beats and transport us to a dark warehouse where pleasure and danger dance in perfect, reckless harmony: "I'm the one, I know you see / Life is short, do what you please."
Listen to Spiritual Driveby below and find the new album on streaming platforms here.
Follow Sara Landry:
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Spotify: spoti.fi/3RKgqwu
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We’ve teamed up with the legends at Velocity Press to bring you something special. Over the next four weeks, we’ll be presenting exclusive extracts from books that dive into this historic connection between bass music and Black culture.
Kicking things off, this week we’re exploring Join The Future: Bleep Techno and the Birth of British Bass Music by Matt Anniss. Why this book? Because it sets the scene perfectly. Anniss argues that Bleep Techno, born in 1990, was the first distinctly British form of electronic dance music—and it was powered by bass that drew directly from Black sound system culture. Ready to explore the origins of UK bass? Let’s dive in!
An Extract From Join The Future: Bleep Techno and the Birth of British Bass Music by Matt Anniss.
Chapter Three
Riddim Is Full Of Culture
Soundsystems, battles and the “blues”
“The fruits of those [interlocking social] networks are evident amongst a whole generation of young black and white people who have grown up alongside one another and shared the same streets, classrooms and youth clubs. They are visible everywhere in cross-cultural affiliations and shared leisure spaces, on the streets, around the games machine at the local chip shop, in the playgrounds and parks, through to the mixed rock and reggae groups. As a result of these, nothing is quite as “black and white” as it seems.”
Simon Jones, ‘Black Culture, White Youth’, 1988
Under overcast skies, people of all ages and ethnicities are streaming into Potternewton Park in Chapeltown. As they’ve done on each August Bank Holiday Monday since 1967, the people of Leeds are gathering to celebrate Caribbean culture at one of Britain’s oldest West Indian carnivals.
It’s early afternoon at the 2018 edition and things have yet to really get going. The sweet and sticky smell of char-grilled Jerk Chicken rises from oil barrel barbecues dotted around the park’s winding paths, while the sounds of 21st century soca, dancehall and reggae drifts over from the flatbed trucks parked up on nearby Harehills Avenue. DJs and dancers, many of whom have headed to this corner of Leeds from as far afield as Birmingham, Leicester, Manchester and Bristol, idly stand around the trucks impatiently waiting for the costumed “masquerade” parade – an annual tradition for 51 years – to finally get underway.
They’ll need to wait a little longer. Before they can take to the streets, the troupes of costumed dancers will be presented to the crowds – a mixture of stoned students, veteran ravers, proud parents pushing prams, wise old West Indian sages and crews of excitable teenagers – in front of the festival-sized main stage recently erected within the park’s natural amphitheatre.
To the untrained eye, the dancers’ dazzling, kaleidoscopic outfits are a sight to behold. Designed to be representative of aspects of Caribbean life – think birds, butterflies, animals, coral reefs and mythological characters – these colourful costumes can trace their roots back to the earliest days of Trinidadian carnival culture in the 19th century. Yet prior to Trinidad and Tobago gaining independence from Britain in 1962, carnival celebrations were condemned or outlawed in the island nation; they were, after all, anti-establishment in nature, with the associated drinking and musical merriment laced with a heavy dose of satire at the expense of the colonial authorities.
When the first wave of post-war Caribbean immigrants stepped off the HMT Empire Windrush at Tilbury Docks on June 21st 1948, they brought with them music and cultural traditions that were initially alien to their new British neighbours. With suspicion and racism rife, it would take several years before they felt comfortable enough to parade these traditions before the public, despite the presence on the passenger manifest of several leading calypso musicians (most famously Lord Kitchener, Lord Woodbine, Lord Beginner and Mona Baptiste) and Sam Beaver King, a future Mayor of Southwark who was an early enthusiast for carnival-style celebrations in London.
Over a decade would pass before these “Windrush Generation” pioneers, now settled with more friends, family and fellow islanders by their side, felt confident enough to organise community celebrations that mirrored Trinidad and Tobago’s “mas” bands and parades. There were small-scale indoor events in London from 1959 onwards, but it would take a while longer before Notting Hill’s annual outdoor carnival would be established. In fact, the first serious celebration took place in 1966, though it was a fete celebrating not just Caribbean culture but the whole of the community.
It was actually Caribbean residents of Leeds who hosted Britain’s first dedicated “West Indian Carnival” – an event organised by, and for, the city’s British Afro-Caribbean community. The groundwork was laid in 1966 when two students – Trinidadian Frankie Davis and Jamaican Tony Lewis – joined forces to put on a “West Indian Fete” at Kitson College. Twelve months later, the Leeds West Indian Carnival was born, complete with a celebratory costume parade that danced down the hill from Chapeltown to the city centre.
That first carnival was a modest affair, but by the 1980s, it had grown into a vibrant annual celebration that draws in participants – particularly dancers, steel pan bands and calypso performers – from Yorkshire, the Midlands and North West. Musical satire at the expense of the British authorities still featured, but it would be the organising committee’s 1983 decision to involve local Jamaican-style soundsystems – complete with selectors and MCs – that would shape the future of the event and better reflect the nature of the music scene within Yorkshire’s sizable West Indian community.
Today, the off-route street corner soundsystems manned by local crews attract more partygoers than the traditional parade, steel pan bands and costume competitions. You’ll find these impressive looking “sounds” rising from the overgrown front gardens of Victorian terraced houses, sitting resplendent in the middle of blocked-off side streets and – as one ingenious crew did during the 2018 edition – nestling beneath bus shelters on Chapeltown Road, the main thoroughfare that heads from Leeds City Centre up towards Hyde Park, Woodhouse and the leafy suburb of Roundhay.
The selectors and soundmen skulking behind sizable speaker stacks don’t always stick to the script passed on by their forefathers. These days, their musical selections don’t just reflect the sub-bass heavy pulse of Jamaican music but also later British styles of dance music that owe their existence to the wide-ranging cultural impact of soundsystem culture. As darkness falls, you’re just as likely to hear jungle, drum & bass, trap and grime as dub, roots reggae and lovers rock. While the rhythms and exact musical make-up differ, each of these varying expressions of soundsystem culture has one defining feature: the richness, warmth and heaviness of the bass.
• • •
The story of how soundsystem culture took root in Britain is one that’s been told many times before, with focus falling mostly on the London-based pioneers who introduced it to the UK. Yet while they provided the foundation, the culture’s spread and long-lasting influence was as much the product of those outside the capital city as within it.
According to British reggae historians, the first man to fire up a Jamaican style soundsystem – albeit a rudimentary one – in the UK was “Duke” Vincent Forbes. It was 1954 when he began playing calypso and ska records using one turntable and custom-built valve amplifiers and speaker boxes. His simple but popular system would become the blueprint for bigger, louder and more prominent sounds operated by mic-sporting reggae, rocksteady and later dub “selectors” such as Lloyd Coxsone (who began building his rig in 1962) and Jah Shaka.
London was naturally the hub of soundsystem culture in the UK during the 1950s, ’60s and ’70s, but by the time the 1980s rolled around, the city’s dominance was being rivalled by similarly strong scenes elsewhere. There were notable outposts in Birmingham (clustered around the Handsworth and Aston neighbourhoods), Bristol (St Pauls and Easton), Manchester (Hulme and Moss Side), Nottingham (St Ann’s) and Liverpool (Toxteth). In fact, any town or city that boasted a significant British Afro-Caribbean community had its own soundsystems and associated events, with once mighty industrial cities, where work had been plentiful for immigrants in the first three decades after the Second World War, playing host to the most vibrant scenes.
Yorkshire’s scene was particularly strong during the ’70s and ’80s. While Chapeltown in Leeds arguably led the way, there were similarly significant communities of soundmen and selectors in Bradford (mostly in the West Bowling, Manningham and Heaton suburbs), Sheffield (Pitsmoor and Burngreave) and, most surprisingly of all for those outside the region, Huddersfield.
There, the number of custom-built sounds was, for a town of its size, surprisingly high; at its height, the town boasted over 30 systems, an astonishing figure fleshed out in delightful detail in Paul Huxtable and Mandeep Singh’s 2014 book Sound System Culture: Celebrating Huddersfield’s Soundsystems. These sounds would regularly battle against regional rivals from Sheffield, Bradford and Leeds at the local West Indian club, known as Venn Street due to its location, and at the lesser-known Aravark Club . These “sound clashes” were replicated in many other towns and cities throughout the country, with rival “soundmen”, selectors and vocalists taking it in turns to try and get the best response from the crowd.
This kind of competition was an ingrained part of soundsystem culture – a tradition that had made its way over from Jamaica, where sound clashes and battles between record-playing soundsystem operators were far more popular than concerts. It was a tradition that expressed itself in hip-hop culture in New York (thanks, in part, due to scene founder DJ Kool Herc being a Caribbean immigrant who owned his own soundsystem) and would later play a vital role in the development of numerous styles of British dance music.
Rivalry was not confined to the soundmen, either. Like the soul and electro all-dayer scenes, where dedicated dancers would battle for supremacy using jazz-dance moves, soundsystem-powered events in community centres and local Caribbean clubs also attracted competitive dancers. They didn’t breakdance or showcase their footwork moves, of course, instead choosing to style out their own take on “skanking” – a Jamaican pioneered dance that had become more widely recognised thanks to the popularity of the 2-Tone ska revival that swept Britain in the early 1980s.
Like the contemporaneous post-punk movement, this revival was the inevitable result of societal changes, most specifically, a generation of black and white teenagers who had grown up living side by side in British towns and cities. The Midlands was the birthplace of 2-Tone Records, the label that did most to popularise the sound, but there were plenty of young musical fusionists to be found elsewhere. To them, there were no boundaries and joining the dots between punk, dub reggae and American dance music made perfect sonic sense.
• • •
It would be a little longer before Bradford, Leeds and Sheffield would give birth to a futuristic new spin on soundsystem culture, though the seeds were being sown from the late 1970s onwards.
Chapeltown in Leeds may not have been able to claim the same number of soundsystems as Huddersfield, but its scene was arguably even more vibrant in the ’70s and ’80s. There, soundsystem dances and sound clashes took place in a handful of venues within the neighbourhood. “We had to do our own thing within the community,” says Mark Millington of Leeds’ leading soundsystem crew, Iration Steppas. “You couldn’t have a black dance in town, so that’s why we had the community centres to do them in, as well as certain warehouses that allowed us to do our thing with soundsystems in the ’70s and ’80s.”
DJ on the right is Mark Millington from Ital Rockers/Iration Steppas PHOTO CREDIT: Homer Harriot
Within Chapeltown, action revolved around the Community Centre on Reginald Terrace, the West Indian Centre on Laycock Place, a former synagogue on Francis Street that was variously called the International Club and the Phoenix Club, and the Trades Hall on Chapeltown Road. Soundsystem sessions also took place in the backroom of the Hayfield Hotel off Chapeltown Road, a historic pub that was eventually demolished in the early 2000s after becoming a magnet for gang-related violence.
“There were soundsystem sessions every week at the Community Centre,” Millington explains. “We had our own local sounds who would play regularly, but there were also big events that included Jah Shaka, Tubby, Saxon and even Coxsone – many sounds from out of town that people might know played there. When they got bigger, Saxon would play the Community Centre on their own without someone like Shaka also being on the bill. Those sessions were roadblock!”
In the Jamaican tradition, each soundsystem would have its own specific musical niche. Some would be light and soulful, showcasing roots reggae or lovers rock (Kooler Ruler, one of the first sounds to play at Leeds West Indian Carnival in 1983, led the way locally in this regard), while others would prioritise the bass-weight and heavy dancefloor rhythms of dub. Key Leeds sounds at the time included Chapeltown-based Ambassador, Genesis, Magnum 45, Ras Claart, Emperor and Jungle Warrior, as well as Mess-I and Messiah from Hyde Park (an area better known for its student population but also host to British Afro-Caribbeans thanks to its proximity to Chapeltown and Harehills).
“The North was quite strong in the ’70s and ’80s for dub,” Millington remembers. “Leeds was mainly a dub town at that time. The Community Centre in Chapeltown was the big thing at the time, but Venn Street in Huddersfield and Palm Cove in Bradford were also important. It was like a circuit – something would be happening every weekend at one of those places and you went there to support the dances. We were very entertained and that’s where we got our inspirations from.”
The circuit, as Millington describes it, also included Bensons and Checkpoint in Bradford, where he’d later DJ on Sundays, occasionally with his cousin’s local sound, Conquering Lion. Like a lot of local soundsystem DJs, Millington got his records from what has become a Leeds institution: Sir Yank’s record shop on Gathorne Road. A tiny, ramshackle place run out of a tiny building at the back of a row of back-to-back terraced houses, Sir Yank’s has somehow survived to this day.
“It was the main Jamaican import place at the time,” Millington explains. “Sir Yank had a garage and used to sell out of that, or his house. I’d go to Sir Yank’s straight from school and stand outside hearing music play. If you liked a certain record he put on, you’d stick your hand up and be like, ‘Yeah! I want one of these!’ Sometimes he’d have ten copies of something, sometimes one, so you had to be there to grab one or they’d all be gone. It was a great place to meet and listen to music.”
• • •
Sir Yank’s customers were not only the soundmen and selectors who lugged their heavy equipment down to local community centres for evening dances, but also those whose sounds resided in the ‘blues’ – unlicensed, all-night social clubs located in the backrooms and basements of residential houses within Chapeltown and Hyde Park.
“There were so many blues – I think Leeds had more than London at that time,” Mark Millington says. “They were all around the streets of Chapeltown. They had local sounds and DJs, but some also brought in sounds from out of town on Fridays, Saturdays and Sundays.”
Blues, or ‘shebeens’ as they’d previously been called, first emerged within the Caribbean communities of major British cities in the 1950s. They were much-needed safe social spaces where community members could gather, listen to music, dance and play cards or dominoes. In an era where regular pubs and clubs could be no-go areas, they provided an essential service for the communities they served.
“I think that was one of the reasons it was allowed to go on,” says George Evelyn, then a Hyde Park teenager who maintained an interest in dub and reggae music despite his devotion to breakdancing. “As long as the Blues were there, the police knew where everybody was. If it’s self-contained in a few places in one neighbourhood, it’s easier to control. It kept things under wraps to an extent because there was somewhere for people to go. People were occupied and entertained.”
Due to their illicit, word-of-mouth nature, blues came and went on a regular basis. “It was an open thing – anyone could do a blues,” Mark Millington says. “Once you had drinks, music and the authority of the property owner to run that Blues, it was no big thing. Anyone could run them and lots of people did.”
More often than not, blues were named after their proprietor, a member of the local community with an interest in soundsystem culture and an entrepreneurial spirit. In Chapeltown, that meant Blues with names like Duke’s, Cliff’s, Maxi’s, Sonny’s and Streeger’s; in Sheffield, it was CJ’s, Pinky’s, Mandeville’s, Brace’s, Chatoo’s (held in a prefab building in the back garden of a terraced house off Chesterfield Road) and the most famous of all, Donkey Man’s.
These infamous owners would often work the door, leaving hosting and bar duties to a strong female member of their family. Each blues would boast a soundsystem, which had either been built specifically for the space or was carried in for each all-night session. There would usually be a small homemade bar selling a limited range of drinks (think rum, Red Stripe beer and Coca-Cola) and occasionally a kitchen dishing up traditional Jamaican food. Entrance was at the discretion of the owner and was usually via a side door or backdoor. Crucially, the Blues often opened at 2am, around the time when city centre clubs were closing and went on through the night.
“Some of the blues, like Darkies near Sir Yank’s, would take up most of a house, while others were just the ground floor or cellar,” remembers Gip Dammone, then an aspiring promoter of jazz-dance clubs (he would later go on to be a successful restaurateur and club owner). “There were lots of blues in Chapeltown around that time [in the mid-1980s] and it was mostly reggae music you’d hear. You’d see lovely, incongruous things, like all these dreads hanging out and then two little women sat to the side drinking Babycham at six in the morning. There would be all sorts of people in there – they were like social clubs.”
Dammone, a white Yorkshireman of Italian heritage, regularly visited blues alongside other workers from the restaurant, club and pub trade. “In the 1970s and ‘80s the whole Leeds restaurant trade would go to Chapeltown after work because it was safer,” he says. “We were a bit scared of going into town after work – there was a lot of violence. For the most part, I found it friendly in Chapeltown in those days. It had quite a vibrant scene.”
Aside from Dammone and his colleagues, the blues were also a draw for members of the music community. “When I lived in Wakefield, I’d travel over to Chapeltown or Bradford to the blues quite a lot,” says Leeds promoter Dave Beer, one of the key figures behind the city’s long-running Back To Basics club night. “The Blues were the only place you could buy weed. It could be dangerous territory sometimes and you had to have big balls as a skinny white kid to go down there.”
It was a similar story down the M1 in Sheffield, whose post-punk “industrial funk” musicians regularly headed to the Blues after gigs or studio sessions. “Some members of the band were constantly at Donkey Man’s blues,” says producer and former Moloko member Mark Brydon who, at that point in the 1980s, was riding high as a member of Steel City band Chakk. “I always found it very friendly. We used to knock on the door and ask whether we could come in. I used to spend evenings with my head in the bassbins of their big soundsystem listening to proper roots rock dub reggae. There was no bother – nobody hassled us, and we could have a draw and listen to music.”
Brydon and his Chakk bandmates shared a house close to another notorious blues, CJ’s in Broomhall. “It wasn’t somewhere you’d go regularly,” Brydon says with a smile. “It was somewhere you felt privileged to be allowed in. It was probably the fact that our faces were seen so much around the neighbourhood that got us in. I think going to Donkey Man’s and CJ’s definitely informed the way that our records sounded because we learned so much about good bass and bad bass from those Blues. It’s true that the blues really influenced the way records were being made.”
The outlaw nature of the blues, which often switched location from one house to another on the rare occasions that the police decided to take an interest in their activities, did scare off some potential attendees, though not Brydon or Leeds’ Gip Damone and his friend DJ Lubi.
“I remember one night I was in Darkie’s with my brother Simone and we got into some trouble for roaching up this fag packet that we thought someone had discarded on the pool table,” Dammone says. “So, we’re smoking this joint and a guy appears – he looked like a general, with square shoulders on his jacket. He was carrying a cane. He was giving us the evil eye and started talking to us aggressively because it turned out we’d ripped up his cigarette packet. We knew the cook, so he took him into the kitchen and had a word. When he came back out again, he was all smiles, but we passed him the spliff and scarpered.”
That was not the only occasion that Dammone had to flee a blues in a hurry. “Another time, a guy came into the blues that Simone and I were in wielding a cutlass,” he laughs. “I got out of there pretty quickly and ran like fuck!”
• • •
By the mid-1980s, the musical purity of the blues as a haven for roots, dub and reggae was beginning to be challenged by a new generation of DJs and dancers. While some loved reggae, others were more excited by the potential of jazz-funk and emerging styles of American dance music, such as electro, hip-hop and house.
“I remember one time at Darkie’s, where a jazz dancer called Doville had arranged for Manchester DJ Hewan Clarke to play,” DJ Lubi remembers. “Hewan was already there when we walked into the basement, which was lit by red lights at either end of the room. Hewan was standing there in the DJ booth, which was encased in wire mesh. They must have got two turntables in for that one because they normally had one. Hewan played everything – soul, rare groove, electro, jazz-funk and reggae. We were meant to play but just got some beers and stood next to him in the DJ booth. A few looked at us suspiciously, but it was fine because we were with the DJ.”
Events like this were still a rarity, though, and it would take the efforts of a young DJ with ambitions to build his own soundsystem to really change things. This was Mark Millington, who along with his friend Sam Mason was well known for wandering around the neighbourhood with a “sound” made out of two connected ghetto blasters.
“Everybody knew me as Music Man,” Millington says with a chuckle. “Me and Sam would always be walking around with our ghetto blasters. People said to me, ‘why don’t you build your own sound?’ I’d say, ‘I can’t be arsed because it costs money and I’m on the dole’. Eventually, I was persuaded to do it and that turned out all right.”
Ital Rockers PHOTO CREDIT: Homer Harriot
It would take a while before that sound, Ital Rockers, would be built. By that time Millington was a respected DJ with a Sunday residency at Checkpoint in Bradford – assisted by an older local reggae musician and wannabe producer Homer Harriott. “When we played at Checkpoint, I used to play soul mainly,” Harriott says. “When house came in from Chicago, Mark started buying those records. Before we played as Ital Rockers at the community centre, it had always just been reggae on those Sunday sessions, but we changed that.”
By early 1987, Millington had started building what would become the Ital Rockers soundsystem. “It was never a major sound,” Harriott says. “It was a cross between a home hi-fi and a soundsystem. It had big [speaker] boxes, but they weren’t as big as a regular soundsystem’s boxes. Musically Mark was talented and could compete on the strength of his selections, but at that time not on the strength of his sound.”
The Ital Rockers soundsystem soon became a regular sight in venues around Chapeltown, particularly the Hayfield Hotel, the Trades Club and the community centre on Reginald Terrace. While Millington would stick to reggae – and dub specifically – at some gigs, he was just as excited by the possibilities offered by the new American styles of house and techno, which he saw as some futuristic form of dub.
“Ital Rockers was a party sound – I played everything,” Millington asserts. “That meant lovers, house, garage, soul, hip-hop, reggae, dancehall and dub. I did this thing once a month at the Hayfield Hotel with my little soundsystem. I’d be playing dub and dancehall, then get on the mic and say, ‘We’re switching’. I’d then play house and stuff like that.”
Not all of the drinkers at the Hayfield Hotel were that keen on Millington’s desire to mix up the sounds they were hearing. “I took a lot of flak,” he says. “Man would say: ‘take that shit off’ and ‘keep to rub-a-dub!’ There was a sound at the time called Jungle Warrior and their soundmen and DJs were often at the Hayfield when I was playing. As soon as I started playing house they’d leave or go outside, then the dancers who wanted to hear that sound would come in. The Jungle Warrior guys hated house and hip-hop, but later down the line they embraced it. It took a lot of people years to realise that to be a DJ you had to be versatile in what you played.”
Millington was a trailblazer in Leeds, but he was not alone. There were others across Yorkshire committed to mixing up styles, though they were more often found DJing in regular clubs than in community centres and blues. “For some reason, I didn’t give a fuck,” Millington says. “I believed in what I was doing. A lot of people tried to drag me back to just playing reggae but I stuck to my guns. I’m proud of myself when I look back on it. I can say that I created a pathway for a lot of people. The dub scene has now had evolutions through the introduction of house and hip-hop influences.”
To the west in Bradford, another DJ crew – one without a soundsystem of their own – was making waves. Formed by Ian Park and cousins Patrick Cargill and Kevin ‘Boy Wonder’ Harper during their time in breakdance crew Solar City Rockers, Unique Three were renowned for mixing up hip-hop, electro, jazz-funk, reggae, dub and house. They played regularly at local community venues such as Checkpoint and Benson’s, building a decent following among dedicated dancers and regular punters.
“Unique Three was a big name coming out of Bradford at the time,” Millington remembers. “They played really good music. People were saying things to us like, ‘Unique Three think that they can kill Ital Rockers!’ It was this big Bradford and Leeds rivalry I suppose.”
The rivalry was such that Unique Three decided to challenge Millington and the Ital Rockers crew to a sound clash, an old-fashioned soundsystem style battle for supremacy, at a club on Manningham Lane in Bradford. “It wasn’t a big deal at first, but the closer it got, the bigger it became,” Millington grins. “We took it really seriously.”
So seriously, in fact, that Millington enlisted the help of Homer Harriott to create some “specials” – exclusive tunes that would never leave his collection, like the dubplates cut for leading soundsystem DJs in Jamaica – to try and best their Bradford rivals.
“I’d just started putting a little studio together with a TEAC four-track, a Yamaha drum machine, a Juno 106 synthesiser and some other little bits of gear,” Harriott remembers. “Mark, our mate Maz and me could all sing so we’d get on the mic as well. We started making little dub versions of tracks like you would for a reggae dance, but in a house style.”
These ‘specials’ were largely covers of popular house tracks, with new lyrics and vocals making fun of their West Yorkshire rivals. “One of them was a cover of Hercules’ ‘Seven Ways To Jack’,” Harriott says. “We included us singing lyrics that said what we were going to do to Unique Three. So, ‘Seven Ways to Jack’ became ‘Seven Ways to Destroy Unique Three’. Like, ‘Number one, go in the studio. Number two, create some dubplates’. Near the end of the dance, we’d always want to end with a bang, so we’d have a few “specials” to drop. That’s where I started to get more interested in making dance music.”
When it came to the overhyped sound clash in Bradford, those ‘specials’ did the business. The set-up of the clash, which took place in the autumn of 1987, featured Unique Three at one end of the room using the house system, with Millington and Harriott on the Ital Rockers soundsystem at the other.
“We killed them at that clash,” Millington laughs. “I remember that ‘Seven Ways To Kill Unique Three’ kicked up the place – it went crazy! There was another one we did called ‘Ital Rockers In The House’ and that went down really well. People still ask me for that tune to this day. The thing is, Unique Three didn’t prepare for that clash like we did. I was the soundman in them days so I knew about dubplates and clashes. We went there as if it was a real soundsystem clash and they turned up with just their latest tunes from Chicago or whatever. Having stuff from Chicago didn’t mean jack shit when we had dubplates!”
It was a sign of things to come. Twelve months later, Unique Three would respond in the best possible way by unleashing a thunderously bass-heavy record that set the ball rolling on Britain’s bleep and bass revolution. It was a challenge that Millington, Harriott and many others in Sheffield, Leeds and Bradford simply couldn’t resist.
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The biannual San Diego festival returned to Waterfront Park for two days of staggering performances from leading names in the house and techno genres.
Produced by FNGRS CRSSD, the festival has become a San Diego favorite due to its consistent roster of electronic heavy-hitters alongside a laidback atmosphere. Its modest footprint and idyllic seaside setting have required minimal changes to the boutique event, offering guests a dependable backdrop to enjoy the latest in dance music.
CRSSD's City Steps stage.Miguel Monad
True to form, the downtown playground was home to CRSSD's three recognizable stages, each offering a unique electronic soundscape.
At the Palms stage, you could expect to be enveloped by all things house music. Here you could catch a groove to acts like Walker & Royce, Gorgon City, Idris Elba, Biscits and BLOND:ISH.
Idris Elba.Felicia Garcia/Fixation Photography
The City Steps stage catered to the techno mavens. The techno-fueled bangers blaring out of the speakers came courtesy of acts like HI-LO, VTSS, Klangkuenstler, Adam Beyer, I Hate Models, Mathame, Ann Clue, Chris Avantgarde and 999999999.
I Hate Models.Felicia Garcia/Fixation Photography
Over at the Oceanview stage, the sounds varied from melancholic live band performances to massive house productions. Disclosure, Tinlicker, Nora En Pure, Neil Frances, Soulwax, BICEP, and Gesaffelstein all graced the mainstage.
Kerala Dust.Miguel Monad
As it enters its 10th year, CRSSD Fest has proven to be a trustworthy San Diego staple. The caliber of artists that FNGRS CRSSD recruits, alongside its unaltered layout, offers guests a sense of familiarity amid an evolving festival landscape.
Find out more about CRSSD here.
Follow CRSSD:
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Facebook: facebook.com/crssfest
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Out now on Circoloco Records, the track has been electrifying crowds since as early as 2023. Fans of PAWSA had taken to social media in droves to check in on an official release.
"Collect The Commas" expertly showcases the London-based producer's trademark production style, lacing enticing vocal hooks and funky synths through thumping, minimalist beats. In true PAWSA fashion, the heady track is infused with layers upon layers of house grooves, speaking to his uncanny ability to stir up any dancefloor.
The "Too Cool To Be Careless" hitmaker has recently played at Circoloco Amsterdam, Creamfields and Chicago's ARC Music Festival, among many other major festivals and events. He's now posied for a momentous performance at the 2024 Amsterdam Dance Event, the world's leading electronic music summit, where he'll DJ a five-hour set alongside Dennis Cruz as GOLFOS.
Listen to "Collect The Commas" below and find the new single on streaming platforms here.
Follow PAWSA:
Instagram: instagram.com/pawsaofficial
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TikTok: tiktok.com/@pawsaofficial
Facebook: facebook.com/pawsaofficial
Spotify: spoti.fi/3TU9TB1
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The festival kicks off with Techmission 2024 – Immersive Reality on October 11, promising a futuristic techno experience that goes beyond just the music. With state-of-the-art production and a lineup packed with global techno powerhouses, Techmission will push the boundaries of what a festival can offer. One of the most anticipated sets comes from I Hate Models, whose genre-bending sound fuses techno with acid and industrial influences, delivering high-energy and emotionally charged performances. Also featured is Joris Voorn, renowned for his masterful, melodic techno sets that have captivated audiences worldwide. Lilly Palmer will make her long-awaited debut in Thailand, bringing her driving techno beats to the Techmission stage. Joining them are Nakadia, representing Thailand on the international stage, Space 92, known for his high-energy productions, and Philipp Straub, whose deep and melodic techno will captivate the crowd. This debut edition of Techmission promises an immersive and innovative techno journey that festival-goers won’t forget.
On October 12, Transmission 2024 – Elysium takes the spotlight, offering an unforgettable trance experience. Known for its stunning visual production and emotionally resonant performances, Transmission will transport attendees to a world of euphoria. Ben Nicky, presenting his Emotional Havoc set, is set to take fans on a rollercoaster of high-energy trance beats, while Driftmoon delivers his signature uplifting melodies. Key4050, the powerhouse duo of Bryan Kearney and John O’Callaghan, will perform a set that combines euphoric and hard-hitting trance, making it one of the festival’s highlights. Adding to the lineup are Maddix, known for blending big-room sound with trance elements, and the legendary Markus Schulz, whose Rabbit Hole Set will take fans on a deep and immersive trance journey. Rounding out the lineup are Rubén de Ronde, delivering emotive and progressive trance, and Moshic & Ozzyxpm, who will bring their atmospheric soundscapes to the event. Transmission promises to be a night of soaring melodies and unforgettable moments.
Closing out the festival on October 13, Hardmission 2024 – Destiny brings the harder styles of electronic music to Bangkok. With an explosive lineup of hardstyle and hardcore artists, this night will be all about relentless energy and earth-shattering beats. Leading the charge are D-Block & S-te-Fan, pioneers of melodic hardstyle, whose euphoric yet hard-hitting tracks make them fan favorites. Warface, known for his raw and aggressive style, is set to deliver one of the most intense performances of the festival. Radical Redemption and Miss K8 will both bring their signature hardcore and rawstyle beats, ensuring that the energy levels stay sky-high throughout the night. Joining them are Sickmode, whose hard-hitting drops and aggressive sound design will keep fans on their feet, and TNT (Technoboy & Tuneboy), legends in the hardstyle scene who will deliver a powerful set packed with anthems. The night will be rounded out by the likes of Devin Wild, Anime, and DJ Isaac, ensuring that Hardmission is a truly unforgettable conclusion to the We Are The Mission Festival.
In anticipation of the festival, the excitement builds up with exclusive pre-parties at Spaceplus Club, starting on October 8 with Jonnie B kicking things off for the Transmission crowd. On October 9, Kickcheeze x Papas JNR will bring the heat for Hardmission, followed by Lilly Palmer on October 10, setting the tone for Techmission with her signature driving techno beats.
And the excitement doesn’t end after the festival days — you can keep the energy going at the official after-parties. Nakadia, with support from Mr. Yang, will headline the Techmission after-party on October 11. Ben Nicky takes over for the Transmission after-party on October 12, while D-Block & S-te-Fan, supported by Ayrton L, will close out the after-parties on October 13 for Hardmission.
With three days of unmissable performances, cutting-edge production, and non-stop energy, We Are The Mission Festival promises to be a defining moment in Bangkok’s electronic music scene.
For tickets and more information:
Techmission: www.ticketmelon.com We Are On The Mission: https://weareonthemission.com/
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Join thousands of music enthusiasts from near and far as they gather under one roof to celebrate the power of music and the unity it brings. With a line-up that showcases the best artists across genres, DLDK guarantee an epic journey through sound that will leave you craving for more. International superstar DJs Axwell, Nicky Romero, Benny Benassi, Morten, Sub Zero Project, Kaaze and Hypaton will be playing at the second edition of DLDK Poland.
DLDK Poland will be the first event in 2025 of the ‘Don’t Let Daddy Know World Tour’. After this show, the concept will travel around the world to other big cities in Mexico, The Netherlands, Peru, Korea, Romania and many more!
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Illyus and Barrientos D.A.N.C.E
First of all, with their brand-new track “D.A.N.C.E.,” our beloved Scottish pair Illyus & Barrientos is making a comeback. For ten years, these fellas have been Toolroom mainstays. They are regularly producing outstanding tracks and rocking Toolroom presentations around the globe.
This has to be the toughest record from Illyus and Barrientos to have ever landed! Riding over the top, this real peak-time monster has bundles of energy, huge buildup, and an absolutely captivating synth.
This song signifies a major change in their sound, and we have heavyweight DJ support for it all around. Really, get ready for this one; it’s an amazing trip!
Sllash and Doppe, Jorge Aguilar and Sus Embelecos – Tombolero
Next up is Romanian house pair Sllash & Doppe making their triumphant comeback to Toolroom. They carry a very unique tune ready to soundtrack the tail-end of Summer 2024.
Back in 2018, these lads originally became well-known with their enormous tribal club song “Aguella,” which attracted support from major artists such as Claptone, HUGEL, and Fatboy Slim.
They are back now with another futuristic tribal anthem with a really recognizable melody. Originally penned by Toto La Momposina and made well-known by Michael Cleis, this fresh rendition of flutes, vocals, drums, and percussion entirely rewrites and recreates in a small Colombian community. This method provides the record with an incredibly amazing, raw, live element!
This classic has been brought straight up to date by Sllash & Doppe. It’s falling just in time for those Ibiza closing events. I promise you, on the White Isle and beyond this one will be enormous!
Toolroom has, yet again, you covered whether your taste in grooves is tribal-infused or peak-time bangers.
The post Toolroom welcomes back Illyus and Barrientos and Sllash & Doppe appeared first on The Groove Cartel.
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Tiësto teams up with Goldcher and Irina Rimes for ‘Dudada,’ a track that stands out with its catchy, vocal-driven rhythm and infectious beats. Blending Tiësto’s signature festival sound with Irina’s unique vocals and Goldcher’s vibrant production, ‘Dudada’ strikes a perfect balance between pop and dance. This track is bound to get stuck in your head with its playful, melodic vibe and powerful drop.
NUZB x GRX (Martin Garrix) – Empire
NUZB and Martin Garrix’s alias GRX combine forces for ‘Empire,’ a future house anthem that takes the listener on a sonic journey through pulsing basslines and uplifting melodies. The track showcases NUZB’s funky, groovy sound paired with the high-energy festival vibe GRX brings to the table, making this a must-listen for those who crave dance floor-ready bangers.
David Guetta & Jaden Bojsen – Let’s Go
David Guetta joins forces with Jaden Bojsen for ‘Let’s Go,’ a track bursting with energy, perfect for dance floors and festival stages. With an anthemic vocal hook and booming bassline, this single delivers a feel-good vibe that captures Guetta’s knack for crafting crowd-pleasing hits. Bojsen’s youthful energy shines through, making it an exciting addition to Guetta’s arsenal of dance hits.
Dimitri Vegas & Steve Aoki & Sound Of Legend – 2 Times
Dimitri Vegas, Steve Aoki, and Sound Of Legend reimagine Ann Lee’s 90s classic ‘2 Times’ with a fresh, big-room spin. The trio infuses the track with hard-hitting drops and high-energy production while maintaining the catchy essence of the original, creating a festival anthem that will light up mainstages around the globe. Expect massive drops and nostalgic vibes in this rework.
Oliver Heldens x RoRo – Shine
Oliver Heldens teams up with RoRo for ‘Shine,’ a groovy house track filled with feel-good summer vibes. With its infectious bassline, uplifting melodies, and RoRo’s smooth vocals, ‘Shine’ is the perfect blend of deep house and pop sensibilities. Heldens once again proves his ability to create catchy, danceable tracks that resonate across both mainstream and underground audiences.
Armin van Buuren & Vini Vici – Sarabande
Armin van Buuren and psytrance powerhouse Vini Vici take on Handel’s ‘Sarabande’ with their electrifying new track. Blending the classical piece with pulsating basslines and trance-infused melodies, ‘Sarabande’ is an epic fusion of orchestral grandeur and festival-ready psytrance. This unique rework showcases both artists’ ability to merge different musical worlds into one cohesive, high-energy anthem.
Honorable mentions:
Calvin Harris x Ellie Goulding – Free (Nicky Romero Remix)
Ceres, KVSH, Öwnboss – Molly
Chris Lorenzo x Laidback Luke – Break The House Down
Cosmic Gate x James French – Take Me
Frank Walker x Alexander Stewart – Crossfire
Gabry Ponte x Sean Paul x Natti Natasha – Born to Love Ya
Julian Jordan x Nouni – Never Stoppin’
La Fuente – Born To Make It
Layton Giordani – I Wanna Go Dancing
LNY TNZ x Lil Jon – Do What I Wanna Do
Luca Testa x Lotus – Wonderful Life
MOTi x Enny-Mae – Drunk on You
MRAK – The Turn EP
Odd Mob & Ed Graves – Vertigo
Robbie Rivera, Kimara Lovelace – Only You
Robin Schulz x CYRIL ft. Sam Martin – World Gone Wild
Sub Zero Project X Rebelion – Save Me
Tony Romera – Dance Naked
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Tomorrowland will host its first Expo, where the festival will showcase all its initiatives run during the year. They also will display what’s coming next from the festival, the record label, and even more.
What’s the Tomorrowland EXPO at ADE, Amsterdam Dance Event?
The Tomorrowland Expo is a free experience for everyone. It offers people from all corners of the globe a one-of-a-kind and free experience, transforming the historic venue of De Rode Hoed in the vibrant heart of Amsterdam into a magical Tomorrowland Expo for 5 days – from Wednesday, October 16 to Sunday, October 20.
The Tomorrowland Expo will give a unique opportunity to experience the magic of Tomorrowland and discover all novelties and innovations. It will also be a journey through the magnificent history and evolution of the iconic festival. You’ll be able to discover its humble beginnings and the moment it became a global phenomenon in the past 20 years.
Freely accessible to everyone, the expo makes for an inspiring moment in the midst of the busy ADE week.
Tomorrowland documentary ‘We Are Tomorrow’ Discover the iconic themes of the festival
People will get a special look behind the scenes at the creation and origin of several festival themes, including ‘LIFE’, ‘Adscendo’, ‘The Reflection of Love’, and ‘Planaxis’.
Some of these themes are playing a key role in ‘The Great Library of Tomorrow’ – the first novel in the trilogy of fantasy-adventure series ‘The Book of Wisdom’, available for sale as of October 18.
Other eyecatchers at Tomorrowland ADE Expo
You will be able to discover a lot of new things linked to Tomorrowland like the LEGO version of the spectacular 2022 ‘Reflection of Love’ Mainstage (recreated with 100.000 LEGO bricks), Tomorrowland’s very own Elixir of Life perfume, and a first introduction to Tomorrowland’s groundbreaking collaboration in metaverse festivals with Caliverse.
If you’re a cycling fan, you’ll definitely be interested in the Tomorrowland x Ridley cycling experience. Need some hydration? The Solo Vida Bar with eccentric Tomorrowland cocktails awaits you and the Tomorrowland Store features a selection of official Tomorrowland apparel & accessories.
Finally, visitors will also be able to get a sneak peek at the first tracks of the upcoming Symphony of Unity album and listen to a compilation of different Tomorrowland Music releases.
Tomorrowland presents Afterlife, two unique events during ADE
Amsterdam holds a significant place in the history of Afterlife. This year Tale Of Us‘ imprint makes its exhilarating return at the Ziggo Dome in Amsterdam during the Amsterdam Dance Event on Wednesday, October 16, and Thursday, October 17.
This partnership follows their successful collaboration at Tomorrowland’s iconic 20-year anniversary edition, where Afterlife hosted the Freedom stage on both weekends in July. Now Tomorrowland and Afterlife are joining forces again for a one-of-a-kind audiovisual experience with a scintillating production. The show will feature custom lighting, state-of-the-art sound design, and immersive visuals.
But, besides this massive visual experience, what’s the lineup of Tomorrowland presents Afterlife? To compliment Tale Of Us’ closing sets each evening, the audience can anticipate a thrilling and unique show with SCRIPT followed by Colyn and Chris Avantgarde B2B Massano, before a special performance Anyma presents ‘Genesys’. Thursday, October 17’s event will consist of 19:26, Rebūke and Cassian B2B Kevin de Vries, as well as another special performance, MRAK presents ‘We Don’t Follow’.
Tomorrowland presents Afterlife Amsterdam ADE 2024 lineup Tomorrowland presents Our Story 2024
Tomorrowland is celebrating its 20-year anniversary with a mesmerizing Our Story show in the Ziggo Dome in Amsterdam on Friday October 18. It will take place during the Amsterdam Dance Event as well.
People from around the world can expect a magical spectacle and journey through 20 years of Tomorrowland’s musical history with some of the finest electronic artists set to perform their most iconic tracks in front of 15.000 guests.
Prepare for a unique show created by the renowned creative team behind Tomorrowland and guided by the Symphony of Unity, a symphonic orchestra with musicians and vocalists to unite classical and electronic music live on stage.
The line-up will remain a secret until the artists take the stage. All proceeds of Our Story 2024 will go to the Tomorrowland Foundation to support children and youngsters around the world.
The post Tomorrowland moves to ADE 2024 with its Expo appeared first on The Groove Cartel.
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Crackling with electric tension, the stunning track is out now via SLANDER's Heaven Sent label. True to form, Herr's lyrics cut deep like daggers, carving out a space between self-destruction and rebirth.
"Liminal, I'm caught in the space between / Self-critical, Yeah I'll try to be patient / I'm bleeding out," she belts.
The artwork of Pauline Herr's new single, "Bleeding Out."Heaven Sent
As the track reaches its climax, Herr's promise to "be alright" feels less like hope and more like a battle cry. Meanwhile, her intense production pounds like a relentless heart monitor, tracking the vital signs of a mind on the brink. But it leaps off the cliff at the drop, a dark and disorienting four-on-the-floor sequence that transports us to a purgatorial dancefloor where demons and determination collide.
Herr says she began recording the deeply personal track during a solo retreat to Joshua Tree.
"I forgot my microphone at home, so I recorded the whole vocal on my MacBook Pro," she explains. "There was so much emotion in the original takes that I ended up leaving those in for the final version."
Listen to "Bleeding Out" below and find the new single on streaming platforms here.
Follow Pauline Herr:
X: x.com/paulineherr
Instagram: instagram.com/paulineherr
TikTok: tiktok.com/@paulineherr
Facebook: facebook.com/paulineherrmusic
Spotify: spoti.fi/3egDjDL
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This pulsing house track is a dark yet energetic descent into the dystopia of today's technology-addicted society. Crashing onto the underground dance scene like a broken smartphone against the pavement., the rising producer has crafted an unlikely anthem for those caught between the dream of virtual escape and the crash landing into the real world.
Driven by the jagged lyric, "Damn I broke my phone, now I gotta deal with reality," the song pulses with the same chaotic energy as late-night streetlights flickering over shattered screens. That lyrical grenade hits like a punchline to a cosmic joke as ToMix's relentless basslines and shadowy synths beautifully blend together like the pixels in those broken screens—erratic yet hypnotic.
Out now on Tchami's venerated Confession imprint, the track is part of a new compilation, Discothèque Records Vol. 5. That record features tracks from Loge21, Control Room, Chuwe and Myles O'Neal, among others.
You can listen to "Deal With Reality (Broke My Phone)" below and find the new single on streaming platforms here.
Follow ToMix:
X: x.com/tomixofficial
Instagram: instagram.com/_tomix_
Facebook: facebook.com/tomixhere
Spotify: tinyurl.com/mu3dxrhm
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"Your Lips" is what happens when a piano gets drunk on house music and starts spilling secrets. Akin to a whispered promise in a crowded club, the sultry track simmers with an infectious beat that'll have your body moving before your brain catches up.
Evocative lyrics drip like honey over an effervescent house rhythm, lamenting a day bereft of the touch of a partner's lips. Drenched in ache atop a paradoxically uplifting beat, the vocals paint a portrait of yearning so visceral you can almost taste the desperation on your own tongue.
Meanwhile, Irby's pirouetting piano riffs dance through the mix like fingertips trailing across bare skin. He manages to bottle that tantalizing feeling, distilling it into a breezy dance track for touch-starved lovers everywhere to reunite on dancefloors.
"This release is a reminder that you never know where your passion can take you if you stay true to yourself and your sound," Irby tells EDM.com. "Back in 2017, I was just a fan in the crowd at one of BIJOU’s shows. Fast forward to today, and I’m now signed to his label—going from someone who looked up to him to being on his label is surreal. It proves that when you trust your vision and stay authentic, you can end up standing alongside the very artists who inspired you from the beginning."
Listen to "Your Lips" below and find the new single on streaming platforms here.
Follow Justin Irby:
Instagram: instagram.com/justinirby
X: x.com/justinirby
TikTok: tiktok.com/@justinirby
Spotify: tinyurl.com/3yta5tzr
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Hibell and Wann’s collaboration is certainly timely; the Afro-infused number extends the dance/electronic genre’s recent streak of high-performing Afro House one-offs, most notably Keinemusik’s “Move” and more recently, HUGEL, Topic, Arash, and Daecolm’s “I Adore You.”
“I love this song because it’s such a clear blend between both mine and Alex [Wann’s]’s styles,” Hibell wrote on Instagram.
Indeed, the classically-trained producer’s inspiriting hybrid of trance and orchestral music complements the deep percussive rhythms and smoldering Afro House style for which Wann has become known (remember, Wann was behind the “Milkshake” remix that dominated dance/electronic’s live circuit last summer, a run that supported his selection as a Dancing Astronaut Artist to Watch in 2024).
“set me free” is the propulsive second preview of what remains to come on Hibell’s LP, following his revelation of its lead single, “morning light,” at the end of August. Judging by the compelling sounds and overall polish of the album’s initial previews, the project already has the makings of a standout dance/electronic LP — a narrative that Hibell will only continue to strengthen as the rollout proceeds via Astralwerks.
The post Aaron Hibell, Alex Wann convene on ‘set me free,’ official single of Ultra Music Festival’s 2024 aftermovie appeared first on Dancing Astronaut.
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What have been the standout memories of 2024 so far?
2024 started on a high note for us, particularly with an unforgettable event in Colombia. We were part of the Afterlife event in Medellín, performing in front of an incredible crowd of around 15,000 people. Just before our set, the skies began to cloud over, and by the time we finished, it was clear that a storm was imminent. In fact, as soon as we wrapped up our set, a huge rain hit, forcing the event to a complete stop. It was one of those moments where everything seemed to be hanging in the balance – imagine flying 15 hours, excited to play for such a massive audience, only to nearly have it canceled due to the weather. But we were fortunate. We managed to perform our set just before the storm took over.
What inspired you to start your upcoming new label OTHERVOICE, and what do you hope to achieve with it?
That’s a good question! Throughout our career, we’ve created a vast and diverse body of work, ranging from hard-hitting, unforgiving tracks to soft, melodic, and dreamy tunes. We’ve never confined ourselves to a single style or direction, and that’s something we’ve always been proud of. However, the process of releasing music often felt restrictive. Typically, you have to approach a record label, submit your music, and then wait to see if it aligns with their taste. If they like it, they’ll release it – if not, you’re back to square one. After years of relying on someone else’s opinion to determine whether our music would see the light of day, we realized it was time to take control. The idea behind OTHERVOICE is to create a platform where we can release music on our own terms. Where we have the freedom to share the sound we believe in, without the need to depend on someone else’s taste. With OTHERVOICE we will release what we want, when we want, and how we want. With OTHERVOICE we will showcase the full spectrum of our sound and connect with listeners directly, without any barriers.
Your new tune ‘Broken Inside’ featuring DJ Preach marks the label’s debut. Can you tell us more about the creative process behind this track?
To fully explain the creative process behind “Broken Inside,” we need to take a trip back about 20 years when we were just kids having fun, fully on into the rave scene. During that time, there was one track with a melody that lodged itself in our minds and never left. That melody became one we could never forget, not just because of the track itself, but because of the memories and emotions it evoked. It was a soundtrack to those formative years, a connection to our past, and a reminder of how far we’ve come. Fast forward to more recent times, we found ourselves in the studio, reminiscing about those days, and thought, why not pay tribute to these memories that meant so much to us? We set out to reinterpret the spirit of that melody – not by creating a remix, but by crafting a homage that honored the original inspiration. Though we didn’t use any samples from the original track, we reimagined that memorable melody through our lens, creating something entirely new. In the end, we produced something that we’re incredibly proud of – a track that not only marks the debut of our label but also serves as a deeply personal tribute to a piece of music that shaped us.
How does “Broken Inside” reflect the sound of OTHERVOICE? What can we expect from the label’s future releases?
As we’ve discussed, we have never confined ourselves to a single color of electronic music. Over the years, we have produced techno in all its various shades – from hardgroove at 140 BPM to softer and melodic ACID lines, exemplified by our album released on Afterlife. You can expect OTHERVOICE to continue this tradition of diversity. We aim to introduce a variety of aspects, all rooted in the WOO YORK ethos. There may be collaborations with other artists in the future, but for now, our priority is to present our sound and vision through the label.
The name OTHERVOICE suggests a distinct or alternative perspective. What message are you trying to convey through your label and its music?
In an industry where the approval of trendsetters hinges on their personal interests, great pieces of music can never see the light simply because they don’t fit someone else’s idea of what’s “in”. OTHERVOICE is our response to this. By establishing our label, we’re reclaiming the freedom to present music on our terms. We want to showcase a wide range of sounds, reflecting our belief that music should be celebrated for its uniqueness rather than its conformity.
Melodic Techno has been your signature sound. How do you continue to innovate within this sound while staying true to your roots?
While we’ve always had a deep appreciation for melodies, the genre you are referring to as Melodic Techno wasn’t even defined when we started and the sound landscape has evolved dramatically since then. For us, the essence of innovation lies in continually evolving while staying true to the core principles that define our artistry. On one hand, we remain deeply committed to our vision and on the other hand, we keep an eye on emerging trends and new sonic possibilities. This balance allows us to stay relevant and fresh without losing our authentic voice.
With OTHERVOICE, do you plan to focus solely on your own music, or are you looking to bring other artists into the fold? Will there be events or showcases?
We plan to host exclusive OTHERVOICE events. These events will feature specially curated lighting, visuals, and stage design, creating an environment where our performance can be presented in a fresh and engaging way. Unlike traditional shows, where we are presented just as “another DJs”, OTHERVOICE will feature us as a Live act, emphasizing our performance style and showcasing our music with the distinct energy and authenticity that define us. If the right opportunities arise, we might explore including other artists in our roster. For now, our goal is to establish OTHERVOICE as a platform for our own creative output.
What are your dreams for OTHERVOICE? Where do you hope to see it in the coming years?
We don’t have a rigid long-term plan. We want to see where the journey takes us. Maybe OTHERVOICE will evolve in unexpected ways, and that’s exciting to us. What matters most is staying true to our path and connecting with people who appreciate what we’re doing. If OTHERVOICE can become a home for music that we love and resonates with listeners, then we’ll consider it a success.
Woo York’s “Broken Inside” is out now on their new label OTHERVOICE
Grab it here – https://hypeddit.com/othervoice/brokeninside
The post EDMTunes Chats with Woo York appeared first on EDMTunes.
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One standout moment comes in Tinie Tempah’s 28th bar when he cleverly drops the line, “Like Lindsay Lo’ and Queen Latifah.” This reference to Lindsay Lohan feels especially fitting today, as Lohan is experiencing a career renaissance. Looking back, the track’s playful lyrics and energetic beats reflect a carefree, party-centric era, and they take listeners back to the peak of both EDM and Tinie Tempah’s early success. The blend of house beats and rap flows made ‘Miami 2 Ibiza’ an instant classic, securing Swedish House Mafia’s place as EDM titans and Tinie as a force in the UK rap scene.
‘Miami 2 Ibiza’ appeared on three major albums: Swedish House Mafia’s debut compilation Until One, their second compilation Until Now, and Tinie Tempah’s Disc-Overy. The track earned multi-platinum status across the globe, including 5x Platinum in Sweden, 2x Platinum in Australia, and Platinum in the UK. The song’s influence continues to be felt, as both Swedish House Mafia and Tinie Tempah have left a profound mark on the worlds of EDM and rap.
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With its infectious energy and driving beat, ‘Set Me Free’ is a perfect blend of dance and electro pop. The track’s simple yet effective structure showcases Bassjackers’ signature sound, while Wasback’s production prowess adds a fresh and dynamic element. The result is a euphoric anthem that’s guaranteed to get your heart racing and your feet moving. As the original song continues to resonate with a new generation of music fans, Bassjackers and Wasback have breathed new life into it with their modern interpretation. The track’s catchy melody and energetic rhythm make it a must-listen for anyone who loves dance music.
The post Bassjackers & Wasback Unleash Euphoric Nostalgia on ‘Set Me Free’ appeared first on EDMTunes.
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Users will hear everything loud and clear when performing with the HDJ-F10 headphones. The HDJ-F10 produces high-resolution, powerful sound with a wide range coupled with a new driver design. The headphones include enhanced earpads, housing structures and sound insulation. The new durable headphones are built and tested to withstand life on the road.
DJs can sync the HDJ-F10 headphones to a mobile phone or other Bluetooth-capable devices. Using the Noise Cancelling mode, DJs can immerse themselves in the music as if they are checking the sound of each track in the studio. These headphones offer AlphaTheta’s best experience for both on-stage and everyday use for professional DJs. The HDJ-F10 is available on its own, or as part of the HDJ-F10-TX bundle which includes the HP-TX01 transmitter.
KEY FEATURES :
Extra comfortable Monitoring with Ultra-Low Latency Wireless Communication via SonicLink
Enjoy total freedom in the DJ booth or on stage with the HDJ-F10 and HP-TX01 transmitter, which includes SonicLink wireless technology that enables DJs to move around unconstrained by cables during a performance. Conventional Bluetooth connections create a significant delay in audio transmission, which causes challenges for DJ monitoring. However, using the dedicated HP-TX01 transmitter connected to a DJ mixer, DJs can use SonicLink to listen to the audio and mix seamlessly. SonicLink transmits sound with just 9 milliseconds of latency, which is 20 times faster than the commonly used Bluetooth SBC codec, so DJs will not notice a delay, enabling accurate monitoring and mixing. The transmitter is compact, lightweight, and easy to carry with your gear.
High-Volume Playback and Sound Insulation for Accurate Monitoring in any Environment
When using the SonicLink wireless connection, DJs will hear music loud and clear, even in a noisy DJ booth or on stage. The HDJ-F10 headphones deliver high-quality sound reproduction at high volumes. Plus, thanks to newly developed earpads and housing structures, they achieve an outstanding level of sound insulation that’s higher than even the Pioneer DJ flagship HDJ-X10 model.
Tight Kick Sound and Wide-ranging Audio
The HDJ-F10 is the flagship headphones model under the AlphaTheta brand and are designed with a meticulous focus on sound quality. The newly developed 40-millimetre driver features a PEEK-PU-PEEK composite film diaphragm made from two different materials to help achieve a high-resolution sound, from low to high frequencies, where even the smallest details in the music can be clearly heard. The housing structure combines a bass-reflex duct and air chamber to ensure a high level of sound insulation while also expanding and enhancing low frequencies. This enables DJs to monitor crisp, punchy kick sounds, even in a loud DJ booth, and provides a studio-level monitoring environment for a wide range of situations, from DJing to music production and listening to tracks when preparing for gigs.
Ruggedness for Professional Use
DJs can rely on the HDJ-F10 headphones to handle life in any environment. The headphones are highly robust, and they have passed the stringent US Military MIL-STD-810H shock test.
Bluetooth Connectivity and Noise Cancelling Mode to Serve a Complete DJ Workflow
With active Noise Cancelling mode and Transparency mode, DJs will be ready for any scenario. While preparing tracks, DJs can choose whether to reduce or let in the sound from the world around them. This can be achieved when connected to a Bluetooth device. In Noise Cancelling mode, DJs can shut out ambient noise even in a busy city. This assists to become immersed in the music. With Transparency mode, DJs can hear external sounds and have conversations with people while listening to music.
Long Battery Life for Extended DJ Sets
Feel confident that the HDJ-F10 headphones will go the distance, even during a long DJ set. A full battery delivers 9 hours of continual use with SonicLink or 30 hours when connected with Bluetooth. The HDJ-F10’s can also be connected via a cable.
Other features
Built-in microphone: Make and receive hands-free phone calls with voice assistants such as Siri® and Google AssistantTM Carrying pouch Pair of replacement earpads The AlphaTheta HDJ-F10 is expected to arrive in stores mid-November with an expected price tag of $129 excluding tax.
The post Alpha Theta Launches New Wireless Professional DJ Headphones : HDJ-F10 appeared first on EDMTunes.
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Grammy-winning live electronic music trio RÜFÜS DU SOL just came out of a stunning performance at this year’s Portola Music Festival in San Francisco over the past weekend. The day before they performed their exquisite set at Portola, the Australian trio announced an intimate live performance ahead of the release of their highly-anticipated fifth album, Inhale / Exhale. This performance of RÜFÜS DU SOL will commence on October 10th at sunset on one of Australia’s most famous landmarks, the Sydney Harbour. Tickets will be available through a general onsale on Friday, October 4 at 10AM AEST on rufusdusol.com/sydney. When fans are on this page to purchase tickets, they can input an offer code (if they have one) and the page also provides event details such as transport options, entry requirements, the event’s start and end times, and more.
This exclusive show of RÜFÜS DU SOL, scheduled for the night before the album’s global release, will give the fans present at Sydney Harbour their first opportunity to hear the album’s tracks before everyone gets to hear the next day. The performance will bring trio’s signature musical style of beautifully blending live instrumentation and electronic elements to a breathtaking outdoor stage. Additionally, the show will offer fans a unique chance to witness RÜFÜS DU SOL in a more personal setting, with the stunning backdrop of the Sydney Harbour at sunset.
More events after Sydney Harbour that RÜFÜS DU SOL will headline in the near future
Adding to the excitement, the trio also launched a cryptic countdown at rufusdusol.com/live. This countdown hints at more live performance announcements to come. Furthermore, the site is expecting to unveil new dates and locations, which definitely enhance the anticipation for future experiences as the band continues to electrify their global fans at their live performances.
RÜFÜS DU SOL will deliver an unforgettable evening for their fans, locals and touring visitors alike at the Sydney Harbour, as Inhale / Exhale marks a new creative groove for the band. With the release of the album, the trio’s next era is set to have fans experience the trio’s process and creating their works in the current moment while merging the organic and electronic. In addition, this album encompasses the themes that have endeared fans for over a decade – romance, heartbreak, euphoria, despair – through a wonderful melting pot of sprawling, mature soundscapes.
The post RÜFÜS DU SOL Set to Headline at Sydney Harbour on October 10 appeared first on EDMTunes.
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From DJs to managers to social media mavens to promoters, there is something to learn here for everyone. At night, the beautiful city of Amsterdam turns into one big party with every venue featuring a world-class artist. We decided to make it easy for you and list our favorite events this year that you must attend. This list is just the tip of the iceberg for what you can attend.
Get ready to dance and learn.
Wednesday, October 16th
ADE kicks off in style with event after event running late into the morning. The official opening shows will be Nick Verstand’s brand new visual spectacle, Eefje de Visser with a unique performance at Van Gogh Museum, Greetje Bijma x Oceanic at Bimhuis, Metropole Orkest’s tribute to J Dilla at Melkweg, and Lavinia Meijer x Nikki Hock at Zuiderkerk
Oliver Heldens will be taking over Melkweg. MEROW & Friends + Mesto & Friends will unleash their STMPD sounds at Chin Chin Club and Jimmy Woo, respectfully. Parookaville will be presenting an ADE Special.
Tomorrowland will present their first night of Afterlife with Tale of Us and Anyma. Unreal x FYM will unite with 999999999 and I Hate Models. Vintage Culture will be at Het Sieraad. Armada will invite Drumcode to their Headquarters.
From a conference view, Timbaland & Martin Garrix will chat. Techno superstar Sara Landry will discuss the life of an artist. Tomorrowland will chat about its 20-year anniversary and how to stay at the top.
Thursday, October 17th
Day 2 the parties in Amsterdam are just starting. Armada will be hosting A State Of Trance at their headquarters. Dolby Atmos House is going to be having a variety of events showing their sound system. 1001 Tracklists will present the Top 100 Producers.
bitbird will celebrate its 10 year anniversary with San Holo. STMPD RCRDS will have its label night at AFAS Live featuring Martin Garrix, Dillon Francis, Julian Jordan, and more. Tchami and Habstrakt will team up at Chicago Social Club.
Hugel presents: Make The Girls Dance at Jimmy Woo. Monstercat x Blacklist come together for a bass-filled night at Melkweg featuring Crankdat, Kayzo, Whipped Cream, and more. Protocol will have their label night at Escape Club.
Matroda & Friends will be at Chin Chin club. Yellow Claw & €URO TRA$H: 4 Hour Set at Bitterzoet. Finally, and last but not least, Gorgon City will Enter The Realm at Het Sieraad.
From a conference view, Artist Branding: How to Build an Artist Brand at Mappa. From Niche to Next Level at Felix Mertis. Exploring Creative Synergy with Indira Paganotto & Joseph Capriati at De Brakke Grond. Creating Faster Than You Can Overthink at Mappa.
Friday, October 18th
The start of the weekend kicks off in style with MADDIX’s all-day rave at H7 Warehouse. Awakenings Upclose ADE presents Four Tet at Gashouder. Breakfast Club ADE Triathlon: BFC x Nachti Matinee at Pllek.
KNTXT Turbo Club invites BONZAI Theater Amsterdam. IMANU presents De__Verte at Melkweg. Tomorrowland presents Our Story 2024 at the Ziggo Dome. LP Giobbi will have her Album Release Party at W Amsterdam.
Jonas Blue & Friends at AIR. KNTXT Turbo Club presents KNTXT KONNECTED with Charlotte de Witte as the headliner of course. Awakenings ADE Adriatique present X at Gashouder. Fedde Le Grand presents his Darklight Sessions at Club NYX.
From a conference view, Soundcloud will continue their school. Kölsch: In Conversation with Dave Clarke. Armada University will be with Lilly Palmer & Karl Oliver. And after with Armin van Buuren.
A huge conference event will be a chat with Amelie Lens x Charlotte de Witte at Felix Mertis.
Saturday, October 19th
If you still have some energy, Saturday will surely take that away from you. The crown jewel of the week is AMF with an absolutely stellar lineup featuring Martin Garrix, Tiesto, Tita Lau, Wade, and more.
Awakenings has a huge night with Amelie Lens presenting Exhale at Ziggo Dome. They will also have Joseph Capriati present Metamorfosi at Gashouder. Intercell x 999999999 Invites will be at Warehouse Elementenstraat.
Revealed will have their level night at Q-Factory. Seth Hills & Friends at Club John Doe. Sam Divine Presents: DVINE Sounds at Chicago Social Club. Brooks will be at Oliva.
If you are looking for an awesome Boat party Amaeo x Discotexas x Marginalia will all come together at Eivissa Event Ship. Hospitality will be taking over Melkweg with a night of UK Drum & Bass.
The conference slows down on Saturday (mostly cause everyone is hungover) but there are still plenty of events! Music Rights on Tour with Laura van Dam. Femme Bass Mafia: Mental Health and Nightlife – an interactive discussion. The Future of Radio at Felix Mertis. How To Build Your Own Immersive Live Visuals.
Sunday, October 20th
To cap off the wild 5 days is a semi-chill Sunday (depending on how hard you go of course). There are parties all Sunday morning long with some starting right when the sun rises.
Lost Barcelona will have their Showcase. Breakfast Club ADE Triathlon: RADION Sunday. An ADE special The Offline Club at HEARTH. Verknipt will have its BIG Closing at AFAS Live.
Sekora will have Chill Sessions at Andaz Amsterdam. Awakenings ADE Sunday Closing at Gashouder. Speedy J presents STOOR Live at Paradiso. Sunday at W Amsterdam with a very Special Secret Guest. And finally, Justin Mylo presents ON/OFF at Oliva.
Which events are you planning to attend at ADE this year?
The post The Must-See Events At Amsterdam Dance Event (ADE) 2024 appeared first on EDMTunes.
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First introduced at EDC Las Vegas in 2018, Camp EDC has become a festival staple, welcoming over 25,000 campers annually. Offering a unique way to immerse oneself in the festival, campers are treated to wellness workshops, pool parties, games, exclusive sets from world-renowned artists, and more, all within the sprawling hub known as The Mesa. Notably, The Mesa holds the Guinness World Record for the largest synthetic lawn complex, covering an expansive 259,405 square feet.
The party begins on the Thursday night before the festival, leading into a weekend filled with music, wellness, and community. Over the years, Camp EDC has hosted performances by some of the biggest names in dance music, including Excision, Eric Prydz, Walker & Royce, and Kaskade. Other noteworthy acts include Fisher, Dom Dolla, Eli Brown, VNSSA, Dombresky, Joseph Capriati, Matroda, and Wax Motif. Last year, the weekend closed with a special Monday sunrise b2b set featuring Mau P and John Summit.
This year’s Camp EDC introduces several new features aimed at enhancing convenience and elevating the camping experience. RV campers will now have the option to purchase fuel on-site, ensuring they stay powered throughout the weekend. Shiftpod campers can look forward to increased seating and more spacious access on the continuous tram service, which connects multiple stops across the campgrounds. Additionally, Camp EDC has expanded its service teams for both RVs and Shiftpods, providing faster response times in case any issues arise, ensuring a smoother, worry-free stay for all campers.
In addition to the stellar lineup of world-class DJs, campers can indulge in a variety of exciting activities designed for everyone. From goat yoga and arcade games to shuffling classes and much more, there’s no shortage of fun at Camp EDC. After a full day of dancing, Headliners can unwind with a ride on the ferris wheel or take a refreshing dip in one of the many pools scattered throughout the campgrounds.
Loyalty Presale Begins Thursday 10/3 at 10AM PT (last year’s campers that purchased 2025 passes) and Future Owl Passholder Presale Begins Friday 10/4 at 10AM PT at lasvegas.electricdaisycarnival.com/camp-edc
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Each year, record stores all over the country celebrate Record Story Day, a biannual celebration of physical music printed on wax. The event features exclusive and early-access printings of music both new and old that can only be acquired firsthand at a participating record store.
Now, organizers have shared the list of albums set to be featured in their Black Friday 2024 sale. 159 titles will be available and each album is very limited, with some receiving less than 1,000 copies. A number of records will be exclusive to Record Store Day while others will be printed again sometime in the future.
This year tends to favor rock music like one would expect, but fans of electronic music will have a few exclusives to hunt down. In a surefire highlight, Boys Noize's remarkable reimagined version of Trent Reznor and Atticus Ross' soundtrack to the Zendaya-led Challengers film has received an exclusive vinyl pressing.
Labrinth, Sia and Diplo's group, LSD, will have a remix album available as well, with just 2,000 copies for sale. ILLENIUM's 2017 sophomore album, Awake, has also received an exclusive Record Store Day release with just 3,000 copies available across the US.
Outside the confines of dance music, fans can purchase vinyl from The Beatles, Billie Eilish, MF DOOM, Modest Mouse, Djo, Olivia Rodrigo, The Rolling Stones, Snoop Dogg, U2, Pearl Jam, OneRepublic, Stevie Nicks, Jimi Hendrix and many more.
Record Store Day's annual Black Friday event will take place on Friday, November 28th, 2024. You can view the full list of albums for sale and the participating locations here.
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