Jump to content

News

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

NBA Youngboy Adds 13 Shows to ‘Make America Slime Again’ Tour Following Trump Pardon

Photo Credit: Live Nation (NBA Youngboy)
NBA YoungBoy is making his return to the stage by announcing 13 new shows for his ‘Make America Slime Again’ 2025 tour. The tour is a sly reference to his recently granted presidential pardon from Donald Trump.
Trump granted the pardon on May 28,2025 after NBA YoungBoy served almost two years in prison on federal gun charges. In a statement at the time, the rapper thanked the president for “giving me the opportunity to keep building—as a man, as a father, and as an artist.”
The rapper isn’t resting on his laurels, either—the new MASA Tour is his first-ever headlining run. Due to overwhelming fan demand, the tour has expanded to include new stops in San Diego, Las Vegas, Charlotte, Glendale, and more. The tour has also added new dates in Dallas and Houston before wrapping up in Seattle on November 12.
Tickets will be available with artist pre-sales starting June 4 with general on-sale launching June 6 at 10 am on LiveNation.com. Fans can also elevate their experience with a range of VIP packages, backstage tours, pre-show VIP lounge access, and exclusive merchandise.
NBA YoungBoy — Make America Slime Again Tour Dates
September
01 | American Airlines Center — Dallas, TX 02 | American Airlines Center — Dallas, TX 05 | Moody Center — Austin, TX 06 | Toyota Center — Houston, TX 09 | Crypto.com Arena — Los Angeles, CA 10 | Crypto.com Arena — Los Angeles, CA 12 | Oakland Arena — Oakland, CA 13 | Golden 1 Center — Sacramento, CA 15 | PHX Arena — Phoenix, AZ 17 | Ball Arena — Denver, CO 20 | Enterprise Center — St. Louis, MO 21 | T-Mobile Center — Kansas City, MO 22 | Target Center — Minneapolis, MN (ADDED SHOW) 24 | United Center — Chicago, IL 25 | Nationwide Arena — Columbus, OH 27 | Barclays Center — Brooklyn, NY 28 | TD Garden — Boston, MA 29 | Prudential Center — Newark, NJ October
01 | Capital One Arena — Washington, DC 03 | Wells Fargo Center — Philadelphia, PA 04 | CFG Bank Arena — Baltimore, MD 06 | Little Caesars Arena — Detroit, MI 08 | Colonial Life Arena — Columbia, SC 09 | Colonial Life Arena — Columbia, SC 10 | VyStar Veterans Memorial Arena — Jacksonville, FL 11 | Kia Center — Orlando, FL 13 | Kaseya Center — Miami, FL 15 | State Farm Arena — Atlanta, GA 16 | Bridgestone Arena — Nashville, TN 18 | State Farm Arena — Atlanta, GA 19 | Smoothie King Center — New Orleans, LA 20 | Smoothie King Center — New Orleans, LA 22 | Legacy Arena at the BJCC — Birmingham, AL 24 | Lenovo Center — Raleigh, NC (ADDED SHOW) 26 | Spectrum Center — Charlotte, NC (ADDED SHOW) 28 | Toyota Center — Houston, TX (ADDED SHOW) 29 | Frost Bank Center — San Antonio, TX (ADDED SHOW) 30 | American Airlines Center — Dallas, TX (ADDED SHOW) November
01 | Paycom Center — Oklahoma City, OK (ADDED SHOW) 05 | Honda Center — Anaheim, CA (ADDED SHOW) 06 | Desert Diamond Arena — Glendale, AZ (ADDED SHOW) 07 | Viejas Arena — San Diego, CA (ADDED SHOW) 09 | T-Mobile Arena — Las Vegas, NV (ADDED SHOW) 11 | Moda Center — Portland, OR (ADDED SHOW) 12 | Climate Pledge Arena — Seattle, WA (ADDED SHOW) View the full article
Ravebot
Ravebot

LSDREAM Announces LIGHTCODE Denver With 360-Degree Dome Visuals

LSDREAM is elevating his renowned LIGHTCODE meditation experience at its next stop in Denver with a new 360-degree visual component, in partnership with local promoter Portal‘s visiting Portal Dome installation.
The fan-favorite experimental bass artist announced on social media today that he’ll bring the guided soundbath experience to the Mile High City on June 18, just days before he and CloZee unite to headline Denver’s Mission Ballroom as LSZEE.
While previous LIGHTCODE sessions from Electric Forest to Red Rocks have been audio-only experiences, featuring an ambient mix from LSDREAM and other meditative components like Tibetan singing bowls and guided breathing, the Denver event will utilize a 80-foot-tall geodesic projection dome—adding mind-expanding visuals to the experience for the first time.
Featuring visual displays crafted by renowned design studios Micro Dose VR and LIGHTBRUSH, the event makes up a portion of the Portal Dome’s week-long visit in Denver for the 2025 Psychedelic Science Conference next month. Beyond LIGHTCODE, the Portal Dome installation will host additional events covering “music, film, conversation & consciousness,” at the Auraria Campus in downtown Denver from June 14-22. 
For more information or to grab tickets to LSDREAM presents LIGHTCODE at the Portal, visit youaretheportal.com.

Featured image courtesy: LSDREAM. Credit: Felicia Budny.
The post LSDREAM Announces LIGHTCODE Denver With 360-Degree Dome Visuals appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

ULTRA Europe 2025 Drops Blazing Phase 2 Lineup

ULTRA Europe is back in a major way for 2025 and with its Phase 2 lineup now revealed, this year’s edition is shaping up to be the biggest yet. Set to take place July 11–13, 2025 at the legendary Park Mladeži Stadium in Split, Croatia, the festival is gearing up for a massive 11th edition.
ULTRA initially wowed fans with its Phase 1 announcement, which featured titanic names like Adam Beyer b2b Mau P (a world debut), Alesso, Amelie Lens, Armin van Buuren, Carl Cox, Hardwell, John Summit, Martin Garrix, Solomun, and Tiësto. ICYMI, check out our coverage of Phase 1 here. Now, with Phase 2, the lineup grows even stronger.
New Headliners Join the Party
Afrojack – Grammy-winning hitmaker and global festival staple
Gryffin – Melodic house savant bringing his guitar-driven sets to Split
MRAK – Afterlife co-founder and visionary live performer
SOFI TUKKER – The genre-bending, Grammy-nominated duo
Steve Angello – Swedish House Mafia member and progressive house icon
Support Acts Go Full Throttle
Joel Corry – British dance chart dominator
Maddix – A force in techno rave culture
Matroda – Croatia’s own bass house innovator
MORTEN – Future rave pioneer alongside David Guetta
NGHTMRE – Bass heavyweight and label boss
MYKRIS – ULTRA veteran returning for another epic year
ULTRA’s house and techno brand RESISTANCE also returns, spotlighting underground excellence from around the world.
Tickets, VIP, and Yacht Party Life
If you haven’t secured your passes yet, act fast:
Tier 3 GA tickets are sold out, and Tier 4 tickets are now on sale starting at €219 for a three-day GA pass. Tier 3 VIP is nearly gone, while VIP Premium and Fan Pit packages are in high demand.
For those seeking the ultimate luxury, ULTRA’s Destination Yacht Package offers a seven-day cruise along the Adriatic Sea, complete with VIP tickets, island stops, and exclusive access to all events on the Destination ULTRA journey.
As always, ULTRA Europe is part of the ULTRA Worldwide family, with events across six continents and a reputation for top-tier talent, jaw-dropping production, and global community vibes.
The post ULTRA Europe 2025 Drops Blazing Phase 2 Lineup appeared first on EDMTunes.
Ravebot
Ravebot

Kirk Franklin Announces Partnership with Insignia Assets—Appointed Chief of Creative Services

Pictured L-R: EJ Gaines, Phil Thornton, Norman Gyamfi, Kirk Franklin, Ron Hill, Trell Woodberry, Jonathan Jay (Photo Credit: Rob Ector)
Gospel music icon Kirk Franklin has announced a major partnership with Insignia Assets—the new Black-owned entertainment venture founded by Norman Gyamfi and Jonathan Jay.
This strategic alliance brings together Franklin’s acclaimed Fo Yo Soul Recordings and CLTRE Lab with Insignia Assets’ expanding portfolio which spans recorded music, publishing, television, film, touring, and live events. Franklin will also assume the role of Chief of Creative Services at Insignia Assets.
Franklin, who will be honored with the BET Ultimate Icon Award at the 2025 BET Awards on June 9 emphasized the cultural significance of the partnership. “This partnership with Insignia is bigger than business,” Franklin says. “it’s about building a platform where our stories, our faith, and our culture can live and breathe across every screen and stage. I’ve always believed in pushing Gospel beyond the margins and into spaces where it can challenge, inspire, and connect the world in a real way.”
To launch this new chapter, Franklin will release a new single “Do It Again” on June 6. His media production company CLTRE Lab will also team up with Insignia Assets’ 3 Diamonds Entertainment division to produce ‘Den of Kings,’ a dinner conversation series hosted by Franklin. The premiere episode focusing on fatherhood will feature D.C. Young Fly, Kountry Wayne, Lou Young, and Devale Ellis and will debut on Franklin’s YouTube channel on Father’s Day.
“We’re thrilled to fortify and deepen our partnership by welcoming Kirk to our executive team, and by charting a course for the future with him from recorded music to touring, film, TV, digital media, and more,” adds Norman Gyamfi, Co-Founder and CEO of Insignia Assets. “We are collectively very proud of this moment.”
Insignia Assets’ music portfolio includes leading Christian and Gospel labels such as Tribl Records, Maverick City Music, and Fo Yo Soul Recordings, as well as R&B label Platform Sounds. Additional divisions include Undivided Entertainment for touring and events, 3 Diamonds Entertainment for TV and film, and the Icho Group for marketing.
View the full article
Ravebot
Ravebot

50 Cent Heads Off Possible Trump Pardon for Diddy

Photo Credit: 50 Cent for Branson Cognac
50 Cent says he’s going to make his feelings about Diddy known after Trump said he’d “look at the facts” of the case regarding a potential pardon.
50 Cent says he’s going to “make sure” Donald Trump is aware of the “really bad things” Diddy has said about him. His comments come on the heels of Trump saying he would “look at the facts” of Diddy’s sex trafficking case regarding a potential pardon.
“[Diddy] said some really bad things about Trump, it’s not ok. I’m gonna reach out so he knows how I feel about this guy,” said 50 Cent in a now-deleted Instagram post on May 30. “Donald doesn’t take well to disrespect and doesn’t forget who chooses to go against him.”
Those remarks made headlines, which led to 50 Cent responding to The Daily Beast’s article with another Instagram post on Sunday, June 1. “I didn’t say I would nuke anything; I simply said I will make sure Trump is aware,” he explained.
On Friday, Trump was asked about a potential pardon for Sean “Diddy” Combs, should the music mogul be convicted in his case. The president said he and Diddy used to be friendly, but that he hadn’t spoken to him since he got into politics.
“He used to really like me a lot,” said Trump. “I think when I ran for politics, that relationship busted up. […] I would certainly look at the facts. If I think somebody was mistreated, whether they like me or don’t like me, it wouldn’t have any impact on me.”
Today (June 2), 50 Cent posted a clip on Instagram featuring Diddy discussing his feelings on Trump. “See Trump don’t like shit like this buddy, you run your mouth to [sic] much,” he wrote in the post’s caption, along with a laughing emoji.
Diddy is facing charges of racketeering and sex trafficking, to which he has pleaded not guilty. His trial is expected to continue through July, and the disgraced mogul could face life in prison should he be found guilty.
View the full article
Ravebot
Ravebot

Adam Sandler Takes a Swing at ‘Happy Gilmore 2’ with Bad Bunny, Eminem, Post Malone Cameos

Photo Credit: Netflix
Netflix tees up a trailer for Adam Sandler’s “Happy Gilmore 2,” featuring a slew of stars, including Bad Bunny, Eminem, and Post Malone.
Adam Sandler’s highly anticipated sequel, “Happy Gilmore 2,” got a new trailer reveal during Netflix’s Tudum event on Saturday, May 31. The footage shows a cavalcade of stars, including Eric André, Travis Kelce, Ben Stiller, Bad Bunny, Eminem, and Post Malone.
A teaser that initially dropped in March showed Sandler’s character, former pro hockey player Happy Gilmore, facing off against PGA champions and eventually returning to the green. Professional golfers John Daly, Scottie Scheffler, Rory McIlroy, and Bryson DeChambeau also appear.

The film, a sequel to the 1996 original, comes from a screenplay written by Sandler and Tim Herlihy, his co-writer on the first film. “Happy Gilmore 2” is directed by Kyle Newacheck, who also directed Sandler and Jennifer Anniston in Netflix’s “Murder Mystery.” The original film’s director, Dennis Dugan, returns as an executive producer.
Margaret Qualley, a huge fan of the original, also scored a cameo, thanks to the help of her husband, Jack Antonoff. According to Qualley during an appearance on The Tonight Show, Antonoff convinced Sandler to cast her by claiming she is good at golf.
“He lied for the sake of the family,” she joked. “I’ve never golfed a day in my life. I’m terrible, actually.”
Sandler has teased some of the film’s cameos in recent interviews. On The Dan Patrick Show back in December, he said he filmed for a day with Eminem, and the rapper “said a million things we can use.” He added, “I’ve known Eminem for a long time, and he’s a great guy.”
Beyond the cameos, the main cast of “Happy Gilmore 2” features Julie Bowen and Christopher McDonald, the latter of whom returns as fan favorite Shooter McGavin.
“Happy Gilmore 2” is slated to debut on Netflix on July 25.
View the full article
Ravebot
Ravebot

Four Years Later, Seated Founders Reacquire Company from Sofar Sounds: ‘We’re Doubling Down on What We Do Best’

Seated co-founders John Griffin (left) and David McKay, who’ve reacquired their company from Sofar Sounds. Photo Credit: Seated
Four years and change after selling to Sofar Sounds, Seated has officially been reacquired by its founders.
Seated co-founder and CEO David McKay, whose ticketing platform says it helps artists “gain fan insights and sell more” concert passes, announced the newly finalized deal in a brief blog post.
According to that message, the repurchase arrived as Somerville, Massachusetts-headquartered Sofar zeroes in “on their amazing global experiences business” under CEO Warren Webster, who came aboard in October 2024.
Eight-year-old Seated opted against publicly disclosing the transaction’s financials. But it did mention a number of its artist users – among them Ed Sheeran, Brandi Carlile, and Jelly Roll – and tout its operational vision as a standalone entity.
“This re-acquisition gives us the flexibility and focus to go deeper,” McKay summed up. “We’re doubling down on what we do best – building great software for artists to own their ticketing, capture and activate their fan data, and grow meaningful relationships with the people showing up to their shows.”
Of course, at the intersection of ticket-pricing concerns and a growing superfan emphasis, the highlighted objectives are even more relevant now than they were when Sofar bought Seated.
“We’re incredibly grateful to the team at Sofar Sounds for supporting Seated’s growth over the past four years,” McKay added of the circumstances surrounding the transaction. “As they refocus on their amazing global experiences business, we’re excited to carry Seated forward and keep building for the artists we’re lucky enough to work with.”
At least from the outside looking in, the process of splitting Seated from Sofar doesn’t appear to have been too involved. Worth reiterating here is that the parties at the time of their February 2021 deal clarified that Seated would “keep operating their services independently.”
On the personnel front, Billboard indicated that McKay will remain at the helm of the once-again-independent company, with CTO and fellow co-founder John Griffin also staying aboard. Per its LinkedIn profile, Seated has between two and 10 employees (with some claiming roles at both the business and Sofar).
In the bigger picture, following recent years’ avalanche of music-space acquisitions, Seated isn’t alone in selling back to its founders and original owners.
Likewise part of the list are ROSTR and Absolute Label Services (which Utopia Music offloaded in February and July 2023, respectively) as well as SoundBetter and Soundtrap (sold by Spotify in October 2021 and June 2023, respectively), to name a few.
View the full article
Ravebot
Ravebot

Midwest Dreams Festival Postponed After Tornadoes Rip Through St. Louis Area

Photo Credit: Midwest Dreams Music Festival
The Midwest Dreams Music Festival at World Wide Technology Raceway was postponed following a catastrophic tornado that struck St. Louis on May 16. It highlights unforeseen circumstances that festival organizers are facing in an already razor-thin margin live entertainment industry.
Organizers describe the tornado as “the worst tornado in St. Louis area history” with widespread destruction, collapsed buildings, and entire neighborhoods in need of aid. With additional storms forecasted, festival organizers made the difficult decision to delay the event to ensure the safety of attendees, artists, and staff.
The new date for Midwest Dreams this year has been confirmed as November 1, 2025. All purchased tickets will automatically transfer to the rescheduled date, though ticket holders have a limited window to request refunds. While the artist lineup—originally featuring Dom Dolla, Diplo, Acraze, and YDG—may see changes, organizers have reassured fans they are working to preserve the spirit and quality of the festival.
In response to the disaster, Midwest Dreams is donating 15% of ticket sales to tornado relief efforts. Organizers are joining forces with local sponsors, affiliates, and city personnel to provide supplies and support for those in affected communities. “We want to express our sincere condolences to all those affected by the recent storms,” said John Soell, Founder of Midwest Dreams.
“Our festival is about more than just music—it’s about community. We look forward to bringing our festival to metro St. Louis when the time is right and are planning important partnerships with local non-profit organizations.”
Severe weather, economic pressures, and logistical challenges have led to a surge in festival postponements and cancellations in 2024 and 2025.
Dozens of music festivals across the world have faced similar fates, with some industry trackers reporting a 20% increase in cancellations compared to pre-pandemic years. The Pitchfork Music Festival in Chicago threw in the towel, while GoldenSky Country Music Festival in Sacramento took a one-year hiatus. Meanwhile, the Eastern Music Festival in Greensboro, NC canceled its 2025 season due to unresolved labor negotiations between management and staff.
Festivals like Music Midtown (Atlanta), Kickoff Jam (Florida), Made in America (Philadelphia), and Firefly Music Festival (Delaware) have all been canceled or have not returned since 2022. Even iconic music festivals like Coachella and Electric Forest are feeling the squeeze as unsold tickets linger for months with noticeable drops in demand.
View the full article
Ravebot
Ravebot

Wehbba Drops Surprise ‘STUDIO DUMP 05.25’: A Raw, Unfiltered Album Experience

Electronic music disruptor Wehbba just dropped his latest body of work, STUDIO DUMP 05.25, a surprise, no-rules album, unveiled piece by piece over the past four weeks via his multi-art platform, HIFN. STUDIO DUMP 05.25 is what happens when an artist stops editing and starts releasing – immediately, impulsively, and unapologetically. It’s a collection of sonic sketches pulled straight from the studio floor: spontaneous, unpolished, and absolutely alive. Rolled out in weekly drops across the month and now finally here in its complete arrangement, the project invites listeners into the chaos and clarity of real-time creativity.
There is a moment in creation when everything flows – before the overthinking, before the polishing, before doubt creeps in. A moment when instinct takes over and ideas move faster than the mind can process. STUDIO DUMP 05.25 is that moment, frozen in time. Each track is a fragment of energy, a snapshot of movement and thought before it could be second-guessed.
The tracks on STUDIO DUMP 05.25 – including titles like ‘RENN,’ ‘TRACTION,’ ‘EXIT TIME,’ ‘RESPECT THE PROCESS,’ ‘SYNTHETICS, ‘BRAIN CONFUSION,’ ‘ESSENCE,’ ‘MIRAGE’ (with Misstress Barbara), and ‘SYMMETRY‘ – weren’t designed for uniformity or to chase trends. Each piece was developed with a clear purpose: to serve distinct moments within a DJ or live set, offering tools to shift momentum, redirect energy, or carve out unexpected space on a dancefloor.
Rather than aiming to match the sound of high-energy, chart-topping techno, these tracks lean into individuality – each one breaking form in its own way, challenging structure while remaining highly functional. The result is a collection that feels varied by design, grounded in utility but unafraid to stand apart. STUDIO DUMP 05.25 speaks to the volatile nature of electronic music in the age of social media, reflecting how the culture of the scene, like the fleeting scroll of a social feed, is created, consumed, and replaced with dizzying speed. 
As with every HIFN release, the music is accompanied by a wordscape; an abstract reflection of its essence through poetry. The wordscape itself is a meditation on the emptiness that would arise if our social media feed were to disappear. What would happen to someone’s behaviour, emotions, even sense of self, when governed by the need for validation through external interactions?
“What if my feed is empty / How can I know what happy is / How do I know what to like / And what to look like?”
The words move like the music – repetitive, hypnotic, unravelling. A mirror held up to the digital world, where reality is curated and fractured, where presence is measured in engagement, and where silence feels like oblivion. Bring back the feed.
Wehbba has always been an artist who thinks beyond the beats. His music is more than sound – it’s an exploration of ideas and unfiltered expression. Whether through his intricate productions, his conceptual wordscapes, or his refusal to cater to formulaic commercialism, he constantly searches for deeper truths in music. STUDIO DUMP 05.25 is a tribute to that ethos – an album that doesn’t strive for perfection but instead captures something real, something instinctive, something honest. The entire aesthetic is an explosion of textures and fragments, layered like a memory half-remembered. It doesn’t try to be perfect. It doesn’t try to be clean. It simply exists. And now, it’s out in the world.
The post Wehbba Drops Surprise ‘STUDIO DUMP 05.25’: A Raw, Unfiltered Album Experience appeared first on EDMTunes.
Ravebot
Ravebot

Stanford Stadium Stages First Live Music Concert Featuring Coldplay

Photo Credit: Anna Lee
Stanford Stadium hosted Coldplay for two sold-out dates as the band launches the North American leg of its Music Of the Spheres World Tour.
Stanford Stadium opened its doors to music for the first time to welcome the group on May 31 and June 1. The band performed to an elated audience, delivering a full set of songs from their latest global #1 album Moon Music. They also performed classics including “Yellow,” “Viva La Vida,” “Paradise,” “Fix You,” “The Scientist,” “A Sky Full of Stars” and many more.
This show featured Coldplay’s hallmark visual experience, replete with LED wristbands, confetti bursts, lasers, and fireworks lighting up the sporting venue in spectacular fashion. Support for these North American Dates came courtesy of Willow and Elyanna, both of whom were met with thunderous applause from the early evening crowd in attendance.
Coldplay’s Music of the Spheres World Tour has now sold over 12 million tickets globally—the most ever for a single tour. It firmly establishes the band as a cultural and touring phenomenon, while establishing a baseline for environmentally responsible live entertainment.
Lasts summer, Coldplay issued an update on their sustainability initiatives, revealing that their current tour has produced 59% fewer CO2e emissions than their previous stadium tour in 2016/2017. That exceeds their original target of achieving a 50% reduction in emissions. More than 9 million trees have already been planted around the world—with a further million to be planted.
Coldplay — Music of the Spheres World Tour Dates
JUNE
06 | Las Vegas, NV — Allegiant Stadium – SOLD OUT 07 | Las Vegas, NV — Allegiant Stadium – SOLD OUT 10 | Denver, CO — Empower Field at Mile High – SOLD OUT 13 | El Paso, TX — Sun Bowl Stadium – SOLD OUT 14 | El Paso, TX — Sun Bowl Stadium – SOLD OUT JULY
07 | Toronto, ON — Rogers Stadium – SOLD OUT 08 | Toronto, ON — Rogers Stadium – SOLD OUT 11 | Toronto, ON — Rogers Stadium – SOLD OUT 12 | Toronto, ON — Rogers Stadium – SOLD OUT 15 | Boston, MA — Gillette Stadium – SOLD OUT 16 | Boston, MA — Gillette Stadium – SOLD OUT 19 | Madison, WI — Camp Randall Stadium – SOLD OUT 22 | Nashville, TN — Nissan Stadium – SOLD OUT 26 | Miami, FL — Hard Rock Stadium – SOLD OUT 27 | Miami, FL — Hard Rock Stadium – SOLD OUT AUGUST
18 | Hull, UK — Craven Park Stadium – SOLD OUT 19 | Hull, UK — Craven Park Stadium – SOLD OUT 22 | London, UK — Wembley Stadium – SOLD OUT 23 | London, UK — Wembley Stadium – SOLD OUT 26 | London, UK — Wembley Stadium – SOLD OUT 27 | London, UK — Wembley Stadium – SOLD OUT 30 | London, UK — Wembley Stadium – SOLD OUT 31 | London, UK — Wembley Stadium – SOLD OUT SEPTEMBER
03 | London, UK — Wembley Stadium – SOLD OUT 04 | London, UK — Wembley Stadium – SOLD OUT 07 | London, UK — Wembley Stadium – SOLD OUT 08 | London, UK — Wembley Stadium – SOLD OUT View the full article
Ravebot
Ravebot

ICON Collective Suddenly Shuts Its Doors for Good

In a shocking announcement, the renowned ICON Collective in Los Angeles has officially ceased operations, citing financial struggles as the primary reason for the decision. A paper affixed to the school’s doors provided the startling news, accompanied by a QR code inviting former students and faculty to scan for further details on the situation.
Founded to provide comprehensive education in music production, vocal performance, and the intricacies of the music business, ICON Collective has long been a beacon of creativity and innovation in the industry. Over the years, it has nurtured and launched the careers of many successful artists, including EDM heavyweights such as Slander, Jauz, NGHTMRE, Bonnie x Clyde, Sullivan King, and more, who credit their time at ICON as instrumental in their EDM success.
Moreover, the closure of ICON Collective has sent ripples through the music community, as students, alums, and fans reflect on their experiences and the invaluable skills they gained during their time there. The school’s unique approach, which blends technical training with artistic development, has fostered a generation of talent that has now made significant contributions to the music scene.
As the music industry grapples with this loss, the legacy of ICON Collective will undoubtedly continue to inspire aspiring musicians and producers for years to come. The sudden closure raises questions about the future of music education, leaving many to ponder where the next generation of industry leaders will find their footing.
Photo via Facebook: ICON Collective

The post ICON Collective Suddenly Shuts Its Doors for Good appeared first on EDMTunes.
Ravebot
Ravebot

Enter the Dubstep Mirror Maze of Seven Lions, YDG and Bella Renee's New Single, "Man Down"

When two producers known for making crowds simultaneously weep and head-bang join forces, you get "Man Down," the new single from Seven Lions and YDG.
Featuring the stentorian vocal stylings of Bella Renee, the collaboration is as emotionally devastating as advertised. Her haunting vocals cut through the mix like broken glass, delivering lines about mirrors and self-reflection with the kind of defiant fragility that suggests she could either save your soul or key your car, depending on her mood.
There's something distinctly post-2020 about this brand of aggression, the way it channels collective exhaustion into dancefloor catharsis. The track's narrative arc follows a familiar trajectory of confrontation and breakdown, but Seven Lions' melodic sensibilities—those trance-inspired arpeggios that have made him the emotional support animal of the electronic music scene—prevent it from becoming pure sonic assault.
Instead, "Man Down" occupies that sweet spot between beautiful and brutal, delivering a festival-ready banger without sacrificing its darker impulses. While deliberately punishing at times, the track's expansive drops strike an uplifting chord with layers of heady bass.
"Had a ton of fun working on this song," Seven Lions wrote on social media. "It's always interesting collabing with new people and bringing different sounds together. YDG and Bella Renee are such a rad team."
"Man Down" is out now via Seven Lions' Ophelia Records. You can listen to the new collaboration below and find it on streaming platforms here.
Follow Seven Lions:
X: x.com/sevenlionsmusic
Instagram: instagram.com/sevenlionsmusic
TikTok: tiktok.com/@sevenlionsmusic
Facebook: facebook.com/sevenlions
Spotify: tinyurl.com/46axmucc
Follow YDG:
X: x.com/itsydg
Instagram: instagram.com/itsydg
TikTok: tiktok.com/@itsydg2
Facebook: facebook.com/itsydg
Spotify: bit.ly/3YlXh5V
Follow Bella Renee:
X: x.com/bellareneemusic
Instagram: instagram.com/bellareneemusic
TikTok: tiktok.com/@bellareneemusic
Facebook: facebook.com/bellareneemusic
Spotify: tinyurl.com/j2dnurem
Ravebot
Ravebot

Excision’s Lost Lands Drops Thunderous Bass Lineup For 2025

Lost Lands is back with another earth-rattling lineup for 2025.
Excision’s world-famous flagship festival is back at Thornville, Ohio’s Legend Valley Campground for its eighth dino-themed dubstep blowout this September 19-21, set to attract tens of thousands of bassheads with performances from over 200 artists spanning heavy-hitting electronic genres like dubstep, drum & bass, trap, and more.
Keeping with tradition, Excision will play three sets at Lost Lands 2025: a two-hour solo set on Friday, an awaited B2B with fellow dubstep don Subtronics on Saturday, and his famously experimental-leaning Detox set on Sunday.
An expanded slate of programming this year will also feature respective sunset performances from melodic titans ILLENIUM and SLANDER, along with nighttime sets from fellow bass superstars such as Rezz, Crankdat, Tape B, Sullivan King, Wooli, and ATLiens.
Other anticipated returning acts include experimental bass players ALLEYCVT, DRINKURWATER, Mersiv, PEEKABOO, and Zingara, tearout dubstep dynamos Dion Timmer, LEVEL UP, and Jessica Audiffred, and solo sets from Space Laces, Eptic, and SVDDEN DEATH, following their explosive collaborative performance as MASTERHAND at last year’s festival. SVDDEN DEATH will play twice: one set will come from harrowing minimal dubstep alias, VOYD, and one under his late-night house project, Deadroom.
Andy C, Hedex, JSJTR, Wreckno, Moody Good, BadKlaat, Flozone, Nikita, the Wicked, OkayJake, and The Resistance also join the roster for festival debut appearances, alongside CloZee and LSDREAM’s collaborative project, LSZEE. Check out the full lineup below. 
Fans can additionally catch two nights of curated pre-party programming, featuring sets from Jantsen, Super Future, Bear Grillz, Trivecta, and more, on Lost Lands’ Prehistoric main stage and the Crater, a new 360-degree stage that garnered headlines for its stunning lasers in its 2024 debut.
In January, Lost Lands confirmed that pyrotechnics will return this year after an unusual drought and fire ban forced the festival to abandon flaming production in 2024. Organizers also unveiled Camp Dino Divas, a new space for female-identifying ravers, and outlined improvements, including enhanced walkability at the Crater, new stage designs and activations, expanded food offerings, and additional seating and space in VIP.
For more information or to purchase tickets, visit lostlandsfestival.com.

Featured image courtesy: Lost Lands. Credit: DIVisuals.
The post Excision’s Lost Lands Drops Thunderous Bass Lineup For 2025 appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

Excision’s Lost Lands Drops Thunderous Bass Lineup For 2025

Lost Lands is back with another earth-rattling lineup for 2025.
Excision’s world-famous flagship festival is back at Thornville, Ohio’s Legend Valley Campground for its eighth dino-themed dubstep blowout this September 19-21, set to attract tens of thousands of bassheads with performances from over 200 artists spanning heavy-hitting electronic genres like dubstep, drum & bass, trap, and more.
Keeping with tradition, Excision will play three sets at Lost Lands 2025: a two-hour solo set on Friday, an awaited B2B with fellow dubstep don Subtronics on Saturday, and his famously experimental-leaning Detox set on Sunday.
An expanded slate of programming this year will also feature respective sunset performances from melodic titans ILLENIUM and SLANDER, along with nighttime sets from fellow bass superstars such as Rezz, Crankdat, Tape B, Sullivan King, Wooli, and ATLiens.
Other anticipated returning acts include experimental bass players ALLEYCVT, DRINKURWATER, Mersiv, PEEKABOO, and Zingara, tearout dubstep dynamos Dion Timmer, LEVEL UP, and Jessica Audiffred, and solo sets from Space Laces, Eptic, and SVDDEN DEATH, following their explosive collaborative performance as MASTERHAND at last year’s festival. SVDDEN DEATH will play twice: one set will come from harrowing minimal dubstep alias, VOYD, and one under his late-night house project, Deadroom.
Andy C, Hedex, JSJTR, Wreckno, Moody Good, BadKlaat, Flozone, Nikita, the Wicked, OkayJake, and The Resistance also join the roster for festival debut appearances, alongside CloZee and LSDREAM’s collaborative project, LSZEE. Check out the full lineup below. 
Fans can additionally catch two nights of curated pre-party programming, featuring sets from Jantsen, Super Future, Bear Grillz, Trivecta, and more, on Lost Lands’ Prehistoric main stage and the Crater, a new 360-degree stage that garnered headlines for its stunning lasers in its 2024 debut.
In January, Lost Lands confirmed that pyrotechnics will return this year after an unusual drought and fire ban forced the festival to abandon flaming production in 2024. Organizers also unveiled Camp Dino Divas, a new space for female-identifying ravers, and outlined improvements, including enhanced walkability at the Crater, new stage designs and activations, expanded food offerings, and additional seating and space in VIP.
For more information or to purchase tickets, visit lostlandsfestival.com.

Featured image courtesy: Lost Lands. Credit: DIVisuals.
The post Excision’s Lost Lands Drops Thunderous Bass Lineup For 2025 appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

Brainheart – A Chance To Bloom

Brainheart has been creating life-changing music that affects not only the brain and the heart, but the soul as well. You may call it uplifting, motivational, or a spiritual experience, but no matter how you describe it, Brainheart’s emotional songs continue to have an euphoric effect, leaving footprints on his listeners’ lives. Sometimes his songs are like calling me home, and other times it’s like he stepped right into my life with the notes and lyrics.
He mentioned, “Whether it’s a track that helps someone through a tough time, a song that becomes the soundtrack to an unforgettable memory, or something that simply makes a listener feel understood, I want to create those moments. If my songs can help people feel less alone, feel empowered, or inspired to follow their own dreams, then I’ve done my job. “
Brainheart, whose real name is Roei Zoar, is an independent music producer, songwriter, and DJ from Israel. EDM was initially his form of escape after he watched the Tomorrowland Aftermovie and discovered how strong a feeling it gave him. I know I can relate to that myself. The 2012 Tomorrowland Aftermovie filled my body with chills and helped me realize there can be so much more to life than I already knew. He didn’t have any real DJ background; he just started by wanting to turn his emotions into something bigger than words.
Brainheart debuted in 2019 with Explore The World, a powerful and emotional anthem sung by his own sister, who is featured on a few of his songs as “Sis“. This inspirational track was used on more than one million reels, capturing the perfect sound for those wanting to share their love for traveling and nature with the world.
On May 16, 2025, Brainheart released his newest song, A Chance To Bloom, a melodic house collaboration with Sis. The track marks a deeply personal creative union between siblings, delivering a message of healing, self-discovery, and transformation. The atmospheric synths, rhythmic pulses, and uplifting lyrics create an emotional response, urging listeners to reconnect with their inner child, embrace vulnerability, and rediscover what truly makes them feel alive.
The track opens with his sister’s voice, “Get out there and change the way you see life / Seek and find what makes you feel alive”, delivered with tenderness and strength. You can understand how cinematic Brainheart desires to be with his electronic music. Bringing energy and emotional depth, there’s a layer of intimacy that elevates the track’s theme of reconnection and rebirth. Check out the incredible single yourself below!
 
The post Brainheart – A Chance To Bloom appeared first on EDMTunes.
Ravebot
Ravebot

[Event Review] Movement Detroit 2025: A Techno Pilgrimage Through the Heart of the Motor City

Over Memorial Day Weekend, Hart Plaza once again transformed into a sacred site for electronic music devotees as Movement Detroit 2025 unfolded in full force. Celebrating 25 years since its inception, the event reaffirmed its status as a cornerstone of electronic music culture. With over 115 artists spread across six dynamic stages, this year’s edition was a seamless blend of the genre’s storied past and its ever-evolving future .
More Than Music: A Full-Sensory Experience
Movement has evolved beyond a mere music festival; it stands as a vibrant celebration of community, culture, and creativity. Marking its 25th anniversary, this year’s event was imbued with profound emotion and reverence. Attendees immersed themselves in expansive art installations, live graffiti exhibitions, and captivating lighting displays. A notable highlight was the return of the esteemed “Respect the Architects” exhibit, situated in the Underground Amphitheatre. This exhibition paid homage to the unsung heroes who have been instrumental in shaping Detroit’s electronic music scene.
Culinary offerings at the festival were diverse and catered to a wide range of tastes. Festival-goers indulged in Detroit-style pizza, Middle Eastern falafel wraps, vegan Korean BBQ, and refreshing craft cocktails. Prominent vendors included Island Noodles, Byblos, and Zestia Greek Street Food, all providing vegan and gluten-free options . Enhancements to the VIP zones offered attendees shaded lounges, expedited bar services, and exceptional views of the stages.
Six Stages, Endless Energy
Movement Stage
The beating heart of the festival hosted jaw-dropping performances all weekend. Jeff Mills delivered an interstellar Saturday night set, showcasing the 909 wizardry that made him a Detroit legend. Charlotte de Witte took Sunday into overdrive with her signature dark, pulsing techno. And John Summit closed out Monday with an emotionally textured, genre-blending journey.
Waterfront Stage Presented by JARS
Tucked near the Detroit River, this shady oasis was home to some of the weekend’s most experimental sets. Highlights included a stunning Sara Landry, The Blessed Madona, Shigeto Live Ensemble performance and a rare Goldie B2B Photek featuring Armanni Reign, whose set delivered a drum & bass masterclass.
Stargate Stage
The spiritual hub of Detroit’s house and funk tradition, Stargate featured the unforgettable Carl Craig B2B Moodymann B2B Mike Banks set that lit up Saturday night with raw soul, vinyl energy, and crowd euphoria. Among other heavy hitters were Mau P, Patrick Topping and Loco Dice B2B Vintage Culture.
Underground Stage
Industrial, sweaty, and uncompromising, the Underground Stage delivered pounding techno for the purists. Helena Hauff, DVS1, and DJ Nobu were just a few who turned this cavernous space into a dance ritual. By far my favorite stage, the epitome of raw, underground techno was there. Klangkuenstler was the highlight of day 3 closing out this stage.
Pyramid Stage
A playground for eclectic and forward-thinking acts, Pyramid saw uplifting sets from Seth Troxler, Layton Giordani, Walker & Royce, and Detroit’s own DJ Minx.
Detroit Stage
A love letter to the city itself, this stage highlighted local talent all weekend. From Brian Kage, DJ Sphinx, Ember Lafiamma, to Shawescape Renegade, Detroit proved it is still growing, evolving, and thriving.
The Movement Crowd: Style, Substance & Soul
What truly sets Movement apart is its people. The crowd was diverse, vibrant, and decked out in expressive fashion that celebrated both rave culture and Detroit’s gritty elegance. Whether it was their tenth year or first time, attendees danced side-by-side like family. From sun-drenched afternoons to midnight rituals, the unity was palpable.
Social moments were also big this year. Viral dance circles formed, spontaneous marriage proposals happened at the Pyramid Stage, and artists like Anfisa Letyago and Boys Noize jumped into the crowd post-set to meet fans.
Final Thoughts
Movement Detroit 2025 didn’t just live up to expectations—it deepened the festival’s legacy. It honored the past while fearlessly pushing into the future. For those who made the journey, it was more than music. It was connection, culture, and collective excitement.
As the final bassline echoed across the Detroit River and the city lights shimmered behind Hart Plaza, one thing became clear: techno isn’t just alive in Detroit—it leads here.
See you in 2026.
The post [Event Review] Movement Detroit 2025: A Techno Pilgrimage Through the Heart of the Motor City appeared first on EDMTunes.
Ravebot
Ravebot

REZZ Dazzles Fans in Central Park

Another weekend passes by the embattled Brooklyn Mirage as they were forced to cancel and / or reschedule another round of events with A-list talent. Fortunately, REZZ and her team were able to pivot to Summer Stage in Central Park, an iconic outdoor venue with similar capacity. The resilience of the team showed through and she ended the show with a heartfelt speech and thunderous applause.
The show went off without a hitch — and despite an early start time of 5pm and the opening acts receiving a shortened set length of 50 minutes, the fans were out in force and the vibes in the park were immaculate. Throughout the week, there was a rain forecast for Friday that never materialized, providing REZZ and her team with a partially cloudy paradise that was just the right temperature and perfect for an out door show. Despite the quick turnaround, REZZ’s production manager was still able to pull out all the stops and provide fans with the dazzling and hypnotic experience that they had come to expect.
The Brooklyn Mirage’s troubles began when its scheduled May 1st reopening with shows by Sara Landry was abruptly canceled just hours before starting, as building inspectors did not grant the newly renovated venue a permit to open. Consequently, all subsequent events at the Mirage have been either canceled or postponed.
This situation has also led to a leadership change at Avant Gardner, the parent company of Brooklyn Mirage. Josh Wyatt is no longer the CEO, with Gary Richards, the non-executive chairman of the board, stepping in to manage daily operations for the time being.
Despite ongoing issues, the Brooklyn Mirage continues to announce new shows.
The post REZZ Dazzles Fans in Central Park appeared first on EDMTunes.
Ravebot
Ravebot

2025 Lost Lands Lineup Revealed With Over 200 Acts

Lost Lands Music Festival has officially announced its full 2025 lineup ahead of its return to the prehistoric paradise of Legend Valley, taking place September 19–21, with early arrival programming set for Wednesday, September 17, and Thursday, September 18. Now in its eighth year, Lost Lands continues to define and elevate the bass music festival experience. With an expanded slate of immersive performances, new stage designs, enhanced fan amenities, and forward-thinking infrastructure, the 2025 edition promises to be its most unforgettable yet.
Founded and curated by Excision, Lost Lands has evolved into one of the most influential and celebrated festivals in electronic music—a fully realized realm that brings the global bass community together through towering stage production, prehistoric-inspired landscapes, and a spirit of unity that resonates far beyond the music. Each year, tens of thousands descend upon Legend Valley to witness the most dynamic and boundary-pushing acts across the bass music spectrum—from dubstep and experimental to house and hybrid sounds—during a weekend that has become a rite of passage on the international festival circuit.
The 2025 lineup welcomes back standout artists such as Rezz, Illenium, Slander, Crankdat, Tape B, Sullivan King, Wooli, and ATLiens. Fan-favorite performers, including ALLEYCVT, DRINKURWATER, Dion Timmer, Level Up, Mersiv, Peekaboo, Jessica Audiffred, and Zingara also return. Following a standout collaborative performance as MASTERHAND in 2024, Space Laces, Eptic, and SVDDEN DEATH return this year for individual sets, with SVDDEN DEATH delivering two: the crushing return of VOYD and an atmospheric Deadroom experience.
A new wave of artists will make their Lost Lands debut, including Andy C, Hedex, JSJTR, Wreckno, Moody Good, Badklaat, Flozone, Nikita, The Wicked, OkayJake, and The Resistance. Groundbreaking collaborations also join the roster with performances from Dab The Sky (Dabin x Said The Sky), Kill Safari (Kill The Noise x Bro Safari), and LSZEE (CloZee x LSDREAM), promising sets that defy genre boundaries and push sonic frontiers.
The 2025 early arrival experience begins on Wednesday and Thursday with two nights of curated pre-party programming, featuring performances from Jantsen, Super Future, Bear Grillz, Trivecta, Versa, Beastboi., and more. The early arrival schedule culminates with the annual mega B2B2B2B2B session—a tradition now spanning both the legendary Prehistoric Stage and the fully immersive Crater Stage.
This year, Lost Lands is rolling out a broad range of enhancements across the festival grounds. The Village Marketplace will include a new dedicated zone offering a wider variety of health-conscious options, including vegan, vegetarian, gluten-free foods, non-alcoholic and mocktail beverages. A brand-new in-venue dining experience curated by a special guest chef will elevate culinary offerings within the main venue. Additional seating has been installed across key locations including Wompy Woods VIP, Subsidia Stage, and Prehistoric, providing more comfort without compromising views.
The post 2025 Lost Lands Lineup Revealed With Over 200 Acts appeared first on EDMTunes.
Ravebot
Ravebot

Major Labels, Suno, and Udio Reportedly Explore Settlement and Licensing Talks in High-Stakes Copyright Disputes

The major labels, Suno, and Udio are reportedly negotiating possible settlements in their copyright infringement disputes. Photo Credit: Sebastian Herrmann
Nearly one year after suing Suno and Udio for copyright infringement, the major labels are reportedly exploring possible settlements with the gen AI music platforms – including a licensing and compensation framework.
Rumblings of the potential resolution discussions just recently entered the media spotlight. At the time of writing, however, neither the majors nor the AI-platform defendants had publicly addressed the matter; Suno and Udio didn’t respond to requests for comment in time for publishing.
But according to Bloomberg, the settlement discussions are ongoing, with the majors pushing for licensing fees and “small” equity interests in the AI upstarts. Additional details are few and far between, though the same source claimed that the talks “are happening in parallel.”
This doesn’t exactly come as a surprise given the cases’ considerable overlap and the fact that both Udio and Suno have tapped Latham & Watkins for representation. (Udio is also repped by Quinn Emanuel Urquhart & Sullivan.)
That said, it’s unclear whether there’s weight to the same report’s indication that the dual negotiations are “creating a race of sorts to see which” AI company will settle first.
To state the obvious, preventing (extremely) protracted courtroom confrontations can bring inherent advantages.
Here, avoiding even bigger attorneys’ fees would certainly qualify as one such advantage. Meanwhile, the majors would have the opportunity to invoke the resulting terms in licensing talks with other AI platforms, and Suno as well as Udio would put an end to an apparently thorny discovery process.
“Given the complexity of the case, the number of discovery requests at issue—to date, over fifty RFPs from each side— and the number of Plaintiffs and Asserted Works, this process has been a complex one that has required careful attention and compromise on both sides,” counsel for Udio and the majors summed up in an early May update.
Plus, “the parties spent several months negotiating the protocols that govern Plaintiffs’ inspection of Udio’s source code and training data,” they wrote.
With all this said, the settlement “race” description doesn’t necessarily paint a full picture of the situation. Most significantly, Suno and Udio remain adamant that their training processes constitute fair use.
As broken down by DMN Pro, the central argument is deceivingly strong from a legal perspective, and litigation wins aren’t guaranteed for the majors should the cases play out. In other words, it’ll be especially interesting to see whether the rumored back-and-forth resolves the cases and sets the stage for different AI licensing models throughout the wider industry.
View the full article
Ravebot
Ravebot

BLOND:ISH, Pacha Ibiza's First-Ever Female Headline DJ Resident, Breaks Attendance Record

BLOND:ISH has shattered both gender barriers and attendance records at one of the world's most prestigious nightclubs, Pacha Ibiza.
The Canadian DJ and house music artist made history this season as the first woman ever selected as a resident DJ at the fabled Pacha Ibiza club. On May 28th, her headlining performance drew the venue's largest Wednesday night crowd since it opened over 50 years ago, she announced on social media.
"Just got word that we broke all records and had the biggest Wednesday night in the history of Pacha!" BLOND:ISH wrote on Instagram. "Thank you to everyone involved, you have no idea how much work it is being the new girls in town in ibiza, we out here on the hustle."
View the original article to see embedded media.
Italian house legend Marco Carola joined her for a groove-laden b2b DJ set that electrified the packed venue. Pacha has not disclosed specific attendance figures for the event.
BLOND:ISH, who is also a sustainability advocate and environmental entrepreneur, is set to take over the club every Wednesday through July 30th with her beloved "Abracadabra" party series. Her residency will feature additional performances by Diplo, LP Giobbi, Mau P, Vintage Culture and SG Lewis, among other prominent DJs.
"I've been going to Ibiza since I was 17, so you can imagine that I’ve been dreaming about a residency, and what I can bring to the island that’s unique," BLOND:ISH said in February after signing on with Pacha. "Energy is everything, and you can be sure that we will bring fresh energy to the island. It’s something you need to experience in person on Wednesdays at Pacha Ibiza with Abracadabra."
You can purchase tickets to BLOND:ISH's residency here.
Follow BLOND:ISH:
Instagram: instagram.com/blondish
X: x.com/blond_ish
TikTok: tiktok.com/@blondish
Facebook: facebook.com/blondish
Spotify: tinyurl.com/3ubp7xjz
Ravebot
Ravebot

A Taste From Teddy Killerz’ Fresh Melting Pot ‘Cooked’ 

The Teddy Killerz are back, and they have conjured up a new arsenal of razor-sharp, mean teeth. Albeit with a slightly more welcoming grin… 
It’s the gift that keeps on giving – but reassembled inside-out, and poised to set the bar for a new era. 
As for the occasion to kick-off this brand-new chapter: their upcoming second album, Cooked, on Souped Up, drops on Friday June 13. 
A whole lot of heat to expect there. So much so, it’s safe to say the kinetic energy those 14 tracks on the LP will generate is enough to power a small country for a year. 
What’s more, besides the state-of-the-art sound design, as well as the knack to create bangers that truly stick, Cooked is a salute to (the roots of) rave culture. 
And above all: it’s a statement of intent for what the future holds for the Teddy Killerz – becoming something way broader in the drum and bass genre, than the Neurofunk they’re mainly recognized for. 
We caught up with Grigory Cherekaev, one-third of Teddy Killerz, to give you all a personal taster of what they’ve been brewing lately.  
So read on for insights into the conception of the album, the challenges involved, some advice on writing music, and much more!

Congratulations on the upcoming album Cooked. We went through tons of bangers to cause a proper dance floor frenzy. How does it feel to have it done?
Grigory: It feels like the culmination of a significant project is on the horizon. This is our second album; the first one was on RAM Records almost a decade ago.
Releasing an album today is a completely different experience. Previously, you’d deliver the music, and the label would handle all the marketing magic. 
Now, preparing an album demands a tremendous amount of additional work, especially on the social media front – creating videos, promotional content, and so on. It felt like the workload was easily two or three times what it used to be. But I think we’re managing it well.
So how long have you guys been working on this one, from the initial idea to this point? And when did the decision to make an album come about?
It all began about two years ago. We were deep in experimentation, trying to find that perfect synthesis between neurofunk and jump-up. Our discography from that period, with releases on Souped Up, Monstercat, and others, clearly reflects this exploration. 
We had this idea to create a 90s-inspired, ravey EP. Crafting that EP was a lengthy process, because we were very specific about the elements we wanted: those big, Prodigy-esque intros, rave stabs, funky vocals – it all took time to get right. 
By the time we were nearing finishing that EP, we found ourselves with not just four complete tunes, but an additional eight demos that we were also really excited about. That was the “aha!” moment, like: “Maybe this should be an album”.
We approached Souped Up, as that was our primary label home at the time, and we had a fantastic relationship with them – big shouts to Serum and Ed Priest for their incredible work and for just being amazing people. We pitched the album idea to them about a year and a bit ago.
A crucial factor in deciding to pursue an album was also our desire to shift the broader perception of Teddy Killerz. Before Cooked – and I truly hope this album changes things – many people saw us as a purely neurofunk act that occasionally dabbled in weird dubstep, jump-up, breakbeats, or other genres. But we’ve never felt confined to just neurofunk.
That’s interesting, you never felt like a purely neurofunk act. Is that more reflective of your foundational tastes?
I think it was a natural evolution. When we started producing music, say some 14 years ago, our heroes and biggest inspirations were undeniably from the neurofunk scene – artists like Noisia and Spor. 
Our early music was heavily influenced by them. However, as time went on, we never wanted to be pigeonholed or stamped with a single genre label. Our interests expanded to other bass music genres and various subgenres within drum and bass.
This album, for us, became more than just a creative statement of where we are sonically today. It also serves a utilitarian function: to clearly communicate, “Hey, we’re not just a neurofunk act; we’re about the broader spectrum of drum and bass”. 
When you release singles, that message isn’t always obvious. People might see a different-sounding track as a one-off experiment. But with an album, when listeners can hear a dramatic and consistent shift in sound across multiple tracks, it becomes a definitive statement, a borderline. That realization solidified our decision: we absolutely needed to make this album to showcase our current inspirations and direction.
Looking at the bigger picture of making a whole album, many artists describe it as telling a longer story. Was there a specific approach to showcase this new direction and create a cohesive whole? What glues it all together?
Initially, the album had a different working title, inspired by Tom Wolfe’s “The Electric Kool-Aid Acid Test,” a legendary book from the 60s about hippie counterculture. I’m a big fan; I studied journalism and my thesis was on counterculture and alternative journalism, figures like Hunter S. Thompson. 
So, we envisioned something like “The Electric Ravers’ Acid Test,” aiming to revisit and reimagine 90s rave sounds with a modern twist – incorporating elements like big, nostalgic rave textures but making them incredibly dancefloor-friendly, all while leveraging the sound design expertise we’ve developed. 
We even had ideas for a cartoon involving time travel.
However, as we started shaping the album, we realized we didn’t want to strictly limit ourselves to the 90s sound. Other ideas emerged that didn’t quite fit that initial concept, but we still felt strongly about including them. That’s when the “Cooked” idea surfaced. The process of making this album felt like cooking – experimenting, blending diverse ingredients. What we’re “cooking” is fresh; it represents our current state, who we are today. So, the concept shifted to this culinary theme.
It’s not a conceptual album with a linear narrative journey in the traditional sense, like some space travel epic. Instead, it’s about showcasing what’s happening “in the studio,” behind the individual tracks. It’s a declaration: “This is our sound now. This is what we’re cooking”. 
It’s a collection of different dishes, but they all work together as part of a singular chef’s vision. It’s akin to a tasting menu at a restaurant where the chef curates the entire experience, from starter to main to dessert. You’re not just choosing individual items; you’re immersing yourself in someone else’s complete vision.
Beyond the marketing and content creation, what was the biggest challenge in switching to this new direction and making the album?
The most persistent challenge, given that we’re based in three different countries, is simply staying on the same page and coordinating our efforts. Sometimes, there can be quite long breaks between sessions or in-depth discussions about our plans. 
During the album’s creation, for instance, Oleg (Cholovskyi) was in Poland, then moved to the US, then back to Poland. I’m still in Slovakia, and Anton (Mashevsky) is based in Russia. Finding common time, especially with Anton having a baby a couple of years ago and Oleg last year – children rightfully take up a lot of time – was the main logistical difficulty. 
Conceptually and sonically, however, I believe we were ready to make this album and finalize this new sound direction for a long time.
Obviously, there’s some collective momentum, and that carries you in the creative process. Is it from experience that you can be more assured that, even if it’s not always going quickly, you have the patience to find the moments and reap the creativity together?
Yes, absolutely. We’ve been friends for a long time and know each other incredibly well – our strengths, our weaknesses. This understanding deeply informs our creative process. When it comes to patience: we can have a track that’s perhaps only 30% or 40% complete, but if the core idea is strong, we’re comfortable leaving it untouched for six months, even eight months, until the right moment or inspiration arrives to complete it. 
We don’t force things creatively just to meet deadlines. When it comes to the music itself, I’d much rather postpone a release date, than rush a track to completion with subpar solutions like copy-pasting.
Is that something you also appreciate from working with the guys from Souped Up?
Yes, definitely. They are very patient as well, which has been invaluable.
Talking about this new creative direction, is this something we can expect more from Teddy Killerz in the future? Is this the first chapter of a new era?
Definitely. Without a doubt. We feel we’ve genuinely found a new sound for ourselves on this album, something that truly excites and inspires us. So, we absolutely intend to continue moving in this direction. 
This album marks a proper new chapter for us, not just sonically but also visually. We’ve stepped back from our previous visuals and developed a completely new aesthetic for Cooked. We’re working with an amazing new designer and illustrator who is creating everything – from animations to cover art to overall concepts. As you might have seen from the singles, the new visuals are more funky, bright, and less dark and aggressive than our older style.
We wanted to strike a balance. My initial, somewhat whimsical, reference point for the visual vibe was “Mr. Pickles,” that insane cartoon about a seemingly sweet dog who is secretly a satanic overlord. It’s incredibly bloody and cruel, but also hilariously funny – like a wholesome family dog aesthetic meets pure evil. 
While our visuals aren’t that extreme, the idea was to have something that felt funky and nice on the surface but still retained an edge. I feel we now have a perfect balance between our sound and our visuals. 
We’re also developing special visuals for our live shows once the album drops, properly time-coded. We’ve always wanted to do this, but finding the right illustrator, someone who truly gets your vision and can support it consistently, is a real challenge. 
And, frankly, custom animation can be incredibly expensive. Luckily, the demand now is more for shorter, social media-friendly clips, which has made it somewhat more affordable. Most importantly, we found the right person, Natalie, who you can find on Instagram as shevshaker. She feels like a fourth member of our team, crafting the visual storytelling.
Do you have a personal favourite track on the album? If so, why does it stand out?
It’s genuinely hard to pick just one. I really like “I Got Love,” which isn’t drum and bass; it’s more in line with that new-old dubstep sound. It’s a style we’ve always appreciated, but never heavily focused on, so including it on the album felt right. “Smash It Up” is another favorite because, to me, it’s the most authentically 90s-sounding track, with that classic rave stab intro and a great four-on-the-floor section that takes the energy to a more techno-infused level, evolving from what we did with “Night Train”.
I also have a real fondness for “Sadece”, which is a Turkish title. This collaboration came about very naturally through an Instagram connection with Billur Battal, a singer from Istanbul. When we discussed the track, she asked what language she should use for the lyrics, assuming English. I suggested she sing in her native Turkish, believing it would be cool and add a unique flavor. 
The result is a song I really love. For so long, English has been the default language for international music, but luckily, that’s changing. We’re hearing more diversity, like songs from Brazil in Portuguese, and different languages appearing in drum and bass. Each language has its own inherent melody and rhythm, its own unique way of sounding. Having this linguistic diversity on the album, and her fantastic contribution, is something I really appreciate.
Do you have any shows planned for the upcoming months you want to mention, maybe standout festivals?
We’re still finalizing the full album tour, which will officially kick off around the end of summer. We’re planning dates across Europe, while working on Australia, New Zealand, and significantly: aiming to return to the UK after years of visa-related challenges. 
For this summer’s highlights, Let It Roll is always special; it feels like a homecoming, and massive thanks to their crew for having us for six or seven years running. We’re also playing Tomorrowland in Belgium, which is a huge one for us – I played Tomorrowland Brazil last year, so the main event is very exciting. And we’re thrilled to be returning to Boomtown, one of our absolute favourite UK festivals. Those are definitely key moments for us this summer.
Back to the album: as for the technical side – with the fusion of genres on the album, did you introduce any new software or VSTs into your toolbox?
Our core setup has remained pretty consistent. Anton is a Reaper maestro; if he were here, he’d undoubtedly highlight the Kilohearts bundle and Phase Plant as his main tools. 
Kilohearts are actually celebrating their sixth  anniversary soon. We had a chat with Stu from Kilohearts about how much Phase Plant was used on our tracks, and it’s probably around 20% to 30% of the sounds on the album. 
One of our earlier tracks on Souped Up, “Techno,” was made almost entirely using Phase Plant – literally every sound. It’s an incredibly flexible and powerful synthesizer, and their whole plugin bundle is state-of-the-art. We appreciate their tools immensely. 
Perhaps some people don’t know what really makes those punchy Teddy Killerz drums. Any tips on layering or processing?
Our approach to drums hasn’t changed drastically and is fairly standard now: layering a body, a click, and then applying distortion, compression, and so on. It’s difficult to convey effectively in text. We actually have multiple tutorials and presets for Serum and Ableton on our Patreon, including ready-made, adjustable drum sounds where you can swap out samples. 
Some of those tutorials are also available on our YouTube channel, as we usually post Patreon content there after a period. We don’t see the point in keeping them private indefinitely.
More mindset-wise, for aspiring producers, what common mistakes do you see them make early in their productions, and what advice would you give?
I think the biggest blocker for new producers is trying to get overly technical from day one. We have a limited tier for students on our Patreon, with monthly classes for a small group, and we frequently see people diving into highly complex technicalities before they’ve even finished their first demo. They might spend hours synthesizing drums, for example. 
Personally, I believe you start making music because you want to make music, not necessarily to become a sound design expert immediately. These days, it’s so much easier to get started. You can go to Splice, find high-quality, ready-made sounds for any element you need, and construct an entire track from samples.
The sheer joy and satisfaction of actually finishing something is incredibly motivating. So, instead of getting bogged down in advanced techniques and trying to create everything from scratch initially, start with samples. Make something. Finish it. Create something you can show to friends, family, or just play for yourself. Then, you can begin to learn and delve deeper into specific sound design, mixing, and mastering as subsequent steps of improvement. 
But initially, the primary driver should be the satisfaction of creating music that grooves, that makes you want to move.
It’s also a matter of having the right habits, like not constantly being too zoomed in and taking a step back, because tunnel vision can set in, right?
Exactly. If you start a session focusing solely on drums, six hours later, you might still be working on those same drums. But if you start with a loop or an idea and focus on building the arrangement, in six hours, you could have at least half a track, or the core idea fleshed out. 
A practice that has worked exceptionally well for us over the years is to separate music writing sessions from dedicated sound design sessions. We try not to spend excessive time on sound design when we’re in the flow of arranging a tune. 
One day, we might sit down and focus purely on creating sounds – experimenting with different bass patches in Phase Plant or Serum, trying to deconstruct how other producers achieve certain sounds, or just exploring new sonic territories – and then save these creations to build our personal sound library. The same applies to drums and any other element. 
Then when you sit down to write a track and an idea strikes, you already have an arsenal of custom sounds to draw from. You might recall, “Ah, I made a bass sound like this a few weeks ago”. You can then pull it up, tweak it to fit the current idea, and it allows for a much more organic and faster workflow. 
Diving deep into synthesis during an arrangement session can be an instant inspiration killer, because it’s so time-consuming and shifts your mental focus, often causing you to lose the initial vibe or idea.
You often hear that aspiring artists should find their “own sound” rather than just emulating others. Yet, creatively, you often need to learn the rules before you can break them. How do you see this?
I very much agree with the sentiment that you need to know the rules before you can effectively break them. I watched a great documentary about guitar players, and there was a segment on John Frusciante from Red Hot Chili Peppers. It explained how he sometimes plays in a way that might seem technically “unprofessional” or overly relaxed, not strictly adhering to conventions. 
But this works, precisely because he possesses such a profound mastery of “proper” technique. When he deviates purposefully, it sounds cool and intentional. The same was true for Nirvana and many other bands. This principle applies across all music; I think of jazz chord progressions, where playing something “wrong” can sound fantastic if it’s done with an understanding of the underlying harmony.
Regarding an artist’s “signature sound,” I believe it’s largely a collection of ingrained habits. The more music you make, the more you develop habitual ways of constructing drums, designing sounds, structuring tracks, and so on. 
These repeated processes and preferred techniques carry over from one track to another, and that’s how listeners begin to recognize your work. Of course, unique sounds and innovative ideas play a part, but habits are foundational. 
For new producers it’s virtually impossible to find a signature sound, without simply putting in the hours and working with any kind of sound. Initially, it’s perfectly fine to copy other artists. When you try to emulate someone, you’re essentially reverse-engineering their process, which helps you understand how things work. Through that process, you might stumble upon a new technique by thinking, “What if I try this differently, or turn this knob instead?” That’s how you can discover your own happy accidents, a unique tone, or a sound that becomes distinctively yours.
I studied journalism, and during a short course on creative writing, our teacher advised: “If you want to write stories or novels, spend the first year or two just writing for your drawer”. What he meant was that for the initial period, you’ll mostly be regurgitating ideas and styles you’ve absorbed from other authors. 
You need to clear that out, to let all those collected influences pass through you. Only then, after much practice and developing an understanding of structure and craft, can you begin to deliver something truly your own, something unique. I believe this mirrors music production perfectly. So, I see nothing inherently wrong when people say a track “sounds like someone else”. In the grand scheme, especially today, most music bears resemblance to something that has come before.
I think, especially in this age with the overwhelming accessibility and sheer volume of new music, it’s less about inventing something entirely new from scratch and more about creatively rethinking or reinterpreting existing ideas in a novel way. 
It’s always been like this to some extent, but now it’s often about blending old and new elements, or combining two older ideas to create something fresh. This isn’t necessarily a lack of creativity, but rather a new mode of creative thinking. You see it everywhere, not just in music. Look at movies – sequels, remakes, and established franchises dominate. 
What’s your biggest lesson ever since you started with Teddy Killerz? What’s the biggest lesson for you as a person, perhaps a producer as well?
I think if you genuinely want to achieve something, you have to pursue it, without letting other things distract you. If you are truly passionate about what you do and what you love, that passion is the key to success, progress, and everything else. And crucially, don’t let criticism derail you. You should be able to perceive and process critique, but ultimately, staying true to yourself is the main thing.
So how do you stay creatively inspired after all those years of making so many releases? What feeds you? Maybe some other styles or some other activities as well? 
Music-wise, a huge source of inspiration is simply listening to other music – all genres, it doesn’t matter. Sometimes you’ll hear a chord progression, a specific element in a track, or an entire piece that sparks an idea for something new. 
Watching streams and tutorials from other producers is also incredibly inspiring. Firstly, it helps you progress and avoid getting stuck in your own sound; you can always discover something interesting. That’s why we subscribe to, I think, almost all producers’ Patreons and watch videos or streams related to music production. 
We watch a lot on YouTube, not just drum and bass. I’m personally a massive fan of Disclosure’s streams; they are insane musicians, and it’s fascinating to watch how they develop ideas creatively, especially in terms of arrangement and musicality, which are areas where I feel I’m not as strong. Those guys are just gifted musicians. For me, watching their streams is like ASMR; I sometimes watch them before bed, and it’s pure pleasure.
What’s next for Teddy Killerz after the album? Obviously the tour, are there any new ideas already brewing for upcoming EPs?
One of our “problems” is that we tend to produce a lot of music, perhaps too much for a single act, because it’s not always a collective effort where all three of us are involved from start to finish. Sometimes one of us starts something, another finishes it, or one person handles the entire process. 
So yes, we have plenty of new music ready even after the album. We’re planning a remix project – I’m not sure if it will be the entire album remixed or perhaps an EP featuring remixes of select album tracks. 
That’s already in progress, and we have some really good names, artists we admire, working on remixes for us. And then, as you mentioned, the tour, and of course, more new music. It’s an ongoing journey of putting out new material.
Wonderful. Last question. The name Teddy Killerz, how did you come about this? What’s the meaning here?
Many, many years ago, I was in the UK for a while, and that was when we wanted to form a trio, a band. It sounds really stupid now, and I feel so cringe saying it, but we were hanging out with Jonas from Blokhe4d (hi, Jonas!), and I mentioned I was trying to find a name. He joked, “You Russians, you have to use something with bears and stuff”. 
We were just fooling around. I wanted something anti-pop, counter-cultural, because, as I mentioned, I was a big fan of figures like Hunter S. Thompson, “Fear and Loathing in Las Vegas,” Tom Wolfe, and that whole counterculture scene. 
I was looking for something that was “counter” to the mainstream. We considered names like “Barbie Killers” or something similar – taking a symbol of, let’s say, “shitty” pop culture and creating an antithesis to it. Then Jonas suggested, “Yeah, but what if you put a teddy bear instead of Barbie?” And that’s how we arrived at Teddy Killerz. Technically, grammatically, it’s not correct; it should probably be “Killers of Teddies” or something like that. But “Teddy Killerz” just sounded better, so we decided to go with it. 
Also, from day one, we envisioned having cartoon-style art and visuals. Huge inspirations for this came from Gorillaz, Feed Me, and Kill The Noise with his early cartoon work. I’m a big fan of animation, and “Teddy Killerz” fits perfectly for an animated concept. If you have a more abstract name, it’s harder to create a strong visual identity, but with Teddy Killerz, we had that image right from the start.
Follow Teddy Killerz: Instagram / SoundCloud

Ravebot
Ravebot

Too Lost & Olympic Projects Power New Era for Brazilian Music’s Global Reach with ‘On the Radar’

Photo Credit: Olympus Projects
The partnership between Too Lost, Olympus Projects, and On the Radar Radio marks a pivotal moment for international music professionals—particularly those invested in the cross-pollination of genres and markets. This initiative is not only a showcase for Brazil’s vibrant music scene, but also a case study in how strategic alliances between distribution, label, and media platforms can redefine global music discovery.
The following is in collaboration with Too Lost, a proud partner of Digital Music News.
Too Lost is a leading music distribution company, recognized for delivering releases to over 450 platforms globally. Their infrastructure ensures same-day delivery of music, making them a preferred partner for labels and artists seeking rapid, global reach. Too Lost is the backbone of this initiative, providing the infrastructure for Olympus Projects’ expansion.
Olympus Projects operates as both an independent label and a global music strategy company. Their core mission is to build bridges between international markets, with a particular focus on cross-cultural collaboration and genre expansion. Olympus Projects plays a multi-faceted role in this strategic partnership. They facilitated the partnership between Too Lost and On The Radar and led talent coordination, creative direction, and on-the-ground production in Brazil.
The flagship campaign is the Brazil Initiative. This initiative aims to spotlight over 100 emerging and superstar Brazilian artists across genres—inncluding trap, funk, and other local styles. Olympus Projects’ team spent two weeks in Brazil, filming in São Paulo and Rio de Janeiro, capturing original freestyles and performances that reflect the country’s musical diversity.
The group currently has three tracks charting on Spotify’s Brazil Viral Daily 50 playlist, including Franco, The Sir!’s On The Radar Freestyle debuting at #6. Remixesare dropping this summer with artists including Cash Cobain, Bay Swag, and 41—with fans able to expect notable UK and Latin names to appear. Since launch, OTR’s Spotify has increased 500% in monthly streams. It has also been featured on over 10 different DSP editorial playlists.
“I don’t think we ever get used to life’s surprises,” Brazilian singer Grelo told Digital Music News. “Back when I was writing my first songs, I never imagined I’d be recognized by such an incredible international project. Everyone should have the opportunity to make their dreams come true like this—even the dreams we never imagined having.” Grelo has achieved 10 million monthly listeners on Spotify in the Seresta genre. Seresta is a Brazilian domestic music genre that is characterized by romantic and nostalgic feelings.

Now over 100 original freestyles and subsequent videos are being released across all major platforms—powered by Too Lost’s distribution engine—every Thursday and Friday. The group also filmed more than 10 in-depth interviews with top Brazilian producers. These interviews are scheduled for release on Saturdays, giving insight into the creative forces behind Brazil’s biggest hits. Meanwhile, a Brazil-themed event in collaboration with Live Nation is set for July at Irving Plaza in New York City.
Too Lost’s distribution capabilities ensure that Brazilian artists and their content are accessible to a worldwide audience. Too Lost helps break down historical barriers of language and geography for music fans. The campaign’s structure with regular content drops and strategic remixes is designed to sustain engagement and streaming growth over time.
As a result, this collaboration is more than just a marketing campaign—it’s the launchpad for global expansion strategy. Too Lost serves as the distribution backbone for the effort. On The Radar’s Brazil initiative is the first step in a planned rollout to every major music market worldwide. Meanwhile, Olympus Projects and Too Lost are poised to replicate this model of cross-market collaboration and content distribution.
Combining Too Lost’s digital infrastructure with market expertise creates new opportunities for artists. Influential media platforms like On the Radio also help reshape the international music landscape for fans across the globe.
View the full article
Ravebot
Ravebot

Vintage Culture & Layla Benitez – Nirvana (Hot Since 82 Remix)

Vintage Culture and Layla Benitez‘s song Nirvana was built from dramatic builds and melodic-techno synth work. Now we have an official release with a new variant. Hot Since 82 created their remix of Nirvana. It keeps much of the original feel, but with a focus on movement.
As you listen, you’ll hear more textured drums tied in with their commanding house rhythm. Max Milner’s vocals on the track brings the emotion and sucks in any listener even more. Hot Since 82’s version further heightens the hypnotic feel. Elevating the original track with more powerful house chords that straddle the line between contemporary and classic. This release is on the horizon of the summer’s brightest sounds.
The song is out now, released on May 30, 2025. Give it a listen now.

The post Vintage Culture & Layla Benitez – Nirvana (Hot Since 82 Remix) appeared first on EDMTunes.
Ravebot
Ravebot

Unique instruments and equipment from David Lynch’s home recording studio to go up for auction

Over 400 items that belonged to filmmaker David Lynch are due to go up for auction this month, including unique musical instruments and audio equipment from his home studio.
The auction is being hosted by Julien’s Auctions and Turner Classic Movies, and will take place on 18 June live and online from Julien’s Studios in Los Angeles. Lynch was behind famous works such as Twin Peaks, Eraserhead, The Elephant Man, and more. He died in January 2025.
READ MORE: Warm Audio WA76-A and WA76-D2 review: The most versatile ‘76-style compressors ever? Among the collection is a 1997 Parker Fly electric guitar and a Roland VG-8EX guitar synthesiser system with original manual, 13 pin cable, and expression pedal. Both were heavily played by Lynch while producing numerous musical projects including his solo debut album, 2011’s Crazy Clown Time and its follow up, The Big Dream (2013).
Also listed is an unusual Danny Ferrington Custom five neck guitar, plus a Yamaha Motif 7 synth keyboard and a Korg Micro X. A number of Bang & Olufsen audio systems are also listed – namely a pair of Beosound A9 speakers, one with a limited edition David Lynch cover featuring his “Paris Suite” artwork.
Other listings include a 1980s E-Mu Systems E III Model 6083 keyboard sampler workstation, Audio-Technica microphones and accessories, a personal collection of his own music, and numerous effects pedals from the likes of Boss, MXR, DigiTech and more.

Catherine Williamson of Julien’s Auctions comments, “These historical and cherished pieces reflecting David Lynch’s singular artistic vision, as well as his passions and pursuits ranging from his director’s chair, espresso machine to his guitar, record collections and Twin Peaks style decor, come directly from the home of the visionary artist whose enigmatic films stirred our most imaginative and collective surreal dreams.”
To view the full David Lynch collection, head over to Julien’s Auctions.
The post Unique instruments and equipment from David Lynch’s home recording studio to go up for auction appeared first on MusicTech.
View the full article
Ravebot
Ravebot

“See you later, oscillator”: Ricky Tinez steps back from his YouTube channel to work at Apple

Ricky Tinez, an artist and music production educator on YouTube, is stepping back from his channel for a new career with Apple.
Tinez has also stepped down from his role as brand manager at Elektron for his new career move, though he assures all was left on a good note. He will be joining Apple’s worldwide product marketing team. Tinez’s YouTube channel spans videos from across nine years, and features content on production tips and tutorials, gear reviews, and more.
READ MORE: Apple Logic Pro 11.2 and 2.2: Stem Splitter, Flashback Capture, ChatGPT and everything else you need to know Tinez will be the new product manager on the music creation apps team with Apple, which means he’ll be working on Logic, GarageBand, Voice Memos, and MainStage. In his new YouTube video, he says, “What’s really nuts about this position is when I read the description of it, the first thought that came to mind was, ‘did I write this description?’ Because it was so in line with what I want to do and the original purpose of this YouTube channel.
“The whole reason this channel even exists [was] for me to be able to help as many people as I could make more music by providing information, some inspiration, and explaining the tools available to help you make more music you could be proud of.”
He adds, “I’ve been an Apple user forever so to actually be able to help shape the direction of these products and know that they’ll have an impact for many creatives like you and myself is just freaking cool. So with all that being said, what this all means is I’m going to take a pause from the channel for now. I think you can appreciate I’m going to be pretty damn busy.”
Tinez says he still may try to upload content “a little here and there”, but doesn’t make any promises. He concludes, “This dream probably wouldn’t have come true without the help of you and your support, your viewership, just being an awesome community of people. I am forever grateful to you… This isn’t goodbye, but maybe so long. See you later oscillator.”
You can watch the full video below:

The post “See you later, oscillator”: Ricky Tinez steps back from his YouTube channel to work at Apple appeared first on MusicTech.
View the full article
Ravebot
Ravebot

Important Information

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