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[EDMTunes] The Vanguard in Orlando Implements No Phone Policy

In a bold move to elevate the nightlife experience, The Vanguard, one of Orlando’s premier nightclubs, has announced the implementation of a no-phone policy starting at the end of April. The venue believes this innovative policy will minimize distractions and encourage guests to immerse themselves in the vibrant atmosphere and pulsating beats.
The decision comes as part of The Vanguard’s commitment to providing an unparalleled experience and will go into effect starting April 25, 2025. By banning phones, the club aims to create an environment where attendees can truly connect with the music and each other, fostering a sense of community and shared enjoyment. This innovative policy will minimize distractions and enhance the overall nightlife experience, allowing guests to live in the moment, dancing freely without the urge to capture every second of social media.
So far, fans are responding well to The Vanguard’s recent IG announcement about the new policy, showing the mutual desire for this change. Some patrons often focus more on recording experiences than engaging with them. With this new policy, the club hopes to shift the focus back to the music and the live performances of world-class DJs.
While guests may initially hesitate to part with their devices, The Vanguard is confident in this change. The club plans to implement a secure and convenient complimentary phone storage system, ensuring the safety of your devices while you dance and get lost in the music. As the nightclub gears up for this new chapter, the excitement is palpable for what promises to be a more exhilarating and connected experience on the dance floor.
Photo via Instagram: The Vanguard
The post The Vanguard in Orlando Implements No Phone Policy appeared first on EDMTunes.
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[EDM House Network] Tomorrowland Brasil Release Full Lineup For 2025 Festival

Tomorrowland Brasil now releases the line-up of artists that will perform in the stunning festival area of Parque Maeda in Itu, São Paulo. Welcoming more than 100 of the world’s finest electronic artists across 6 fabulous stages, festivalgoers can expect performances by Agents Of Time, Alesso, Alok, ANNA, Antdot, Armin van Buuren, Axwell, Bhaskar, Bibi Seck, B Jones, Bora Uzer, Cassian, Cat Dealers, Curol, Da Tweekaz, Dimitri Vegas, DubVision, Fedde Le Grand, Henri PFR, Ida Engberg, I Hate Models, James Hype, John Newman, KASIA, Kevin de Vries, Kevin di Serna, Kölsch, Konstantin Sibold, Laidback Luke, Layton Giordani, Lost Frequencies, Lucas & Steve, Maddix, MANDY, Matisse & Sadko, Max Styler, Maz, Meduza, Mees Salomé, Mind Against, Miss Monique, NERVO, Nicky Romero, Nico Moreno, Odymel, Olympe, R3HAB, Reinier Zonneveld, Samm, Steve Aoki, Third Party, Vintage Culture, VTSS, Yotto, Yves V, Zerb, and many more. Taking place on October 10-12, Tomorrowland Brasil 2025 will embrace the enchanting ‘LIFE’ theme. The Bybit Exclusive Pre-Sale starts on April 4 at 15:00 CEST | 10:00 BRT, the Worldwide Ticket Sale starts on April 8 at 15:00 CEST | 10:00 BRT. Go to your Tomorrowland Account or create a Tomorrowland Account on my.tomorrowland.com and complete Pre-Registration to have access to the ticket sales for Tomorrowland Brasil 2025. Discover the line-up and all ticket info – day and weekend passes, including Global Journey Travel Packages and DreamVille accommodations – on tomorrowlandbrasil.com. ​

Set against the backdrop of Brazil’s enchanting natural beauty, Tomorrowland Brasil 2025 will showcase a diverse and eclectic line-up of electronic music, from progressive and trance to Latin house, hard techno, melodic house & techno, psytrance, drum ‘n’ bass, and much more. With over 100 of the world’s best artists performing across 6 fabulous stages, festivalgoers from around the world will gather in the lush and green scenery of Parque Maeda, Itu, for three unforgettable days in October – offering the ultimate escape from the city to dive into a magical reality, where music unites and dreams become reality.
Alok presents Something Else
​Brazilian dance music superstar Alok is set to perform under his new alias, ‘Something Else’. Marking a bold shift from his signature electronic pop sound, this new project sees Alok returning to his roots in psychedelic trance and underground music. With ‘Something Else’, he embarks on an experimental journey, offering fans a deeper, more immersive musical experience. Alok’s highly anticipated set is sure to be one of the festival’s standout highlights, drawing in fans eager to witness this new chapter in his career.
Brazil’s finest
​This year’s Brazilian edition will again host some of the country’s outstanding electronic music artists, including Brazilian superstars Alok, ANNA, Vintage Culture and Zerb, as well as Absolem, Aline Rocha, Ananda, Antdot, ATKÖ, Aura Vortex, Bárbara Boeing, Becker, Bhaskar, Bigfett, Blazy, Bruno Be, Bruno Martini, Camila Jun, Cashu, Cat Dealers, Curol, Dang3r, Eli Iwasa, Etcetera, FatSync, Fernanda Pistelli, From House to Disco, GABE, Kiko Franco, KVSH, Liu, Malifoo, Malive, Maz, OMOLOKO, Pedro Gariani, Pontifexx, RHR, Roddy Lima, Sighter, Silvio Soul, Tessuto, Unfazed, V.Falabella, Victor Ruiz, Wrecked Machines, ZAC, and many more.
The breathtaking ‘LIFE’ Mainstage travels to Brazil
​Last year, People of Tomorrow came together in Brazil to celebrate the rise of ‘Adscendo’. This year, the Brazilian edition embraces ‘LIFE’, a prequel to the 2016 ‘Elixir of Life’ theme, uncovering the origins of the legendary healing potion. Set in the mythical realm of Silvyra, where nature, creatures, and people coexist in harmony, this beautiful tale will unfold on a the breathtaking ‘LIFE’ Mainstage, bringing another unforgettable chapter to Tomorrowland’s story. First revealed at Tomorrowland’s special 20-year anniversary edition in Belgium in 2024, the spectacular stage will now make its home at the festival grounds of Parque Maeda in Brazil.

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[EDMTunes] Mondingo Opens Up About the Journey Behind ‘Underwater’ and the Road to ‘Island’

Following the release of his latest single, ‘Underwater,’ Producer, Songwriter, and Live Electronic Artist Mondingo continues to captivate with his unique fusion of organic warmth and intricate electronic production. Inspired by real-life moments and crafted with a cinematic touch, ‘Underwater’ serves as a gateway into the soundscape of his forthcoming debut album, ‘Island.’ We caught up with Mondingo to dive into the story behind the track, his creative process, and what listeners can expect as this exciting new chapter unfolds. 
Hi Mondingo, how’s it going? Congrats on the release of ‘Underwater’! 
Hey! Thanks so much.  
‘Underwater’ was inspired by a diving experience with your father—can you take us back to that moment and how it translated into music? 
That dive with my father was one of those surreal, out-of-world experiences. Everything was quiet, weightless, and full of these unreal colors—it felt like stepping into another world. I wanted to capture that sensation in music: the stillness, the vastness, and the deep sense of wonder. That’s why the track flows in waves, with space to breathe, but also moments where everything swells up and pulls you in. 
The track blends organic warmth with precise synth work—how did you approach balancing these elements in production? 
That balance is always key for me. I love the raw, imperfect feel of organic sounds, but I also want the track to have that hypnotic electronic energy. I used warm pads and airy textures to keep it human, but I layered them with crisp, evolving synths to give it depth. The key was letting both elements breathe—nothing too polished, but still structured enough to keep the groove locked in. 
Did you face any challenges during the production of ‘Underwater’? If so, what were they and how did you work to overcome them? 
One of the biggest challenges was keeping the track immersive without making it too busy. It’s easy to overproduce a song like this, especially when you’re trying to capture something as vast as the ocean. I had to step back and ask myself: does this sound add to the feeling, or is it just filling space? In the end, I stripped some elements back and focused more on creating movement with subtle changes in texture and dynamics. 
When building the groove of the track, what elements were most important to you in creating that immersive flow? 
The low end was crucial—I wanted the bass to feel like it was gently pulling you forward, like an underwater current. I also focused a lot on the percussive details: soft shakers, deep kicks, and reverb-washed claps that blend into the space rather than hitting too hard. Everything needed to feel fluid and natural. 
Your vocals play a key role in the track’s depth and atmosphere. How did you shape them to fit within the sonic space of ‘Underwater’? Do you have any go-to production techniques you use when it comes to integrating vocals? 
For this track, I wanted the vocals to feel like they were floating inside the mix rather than sitting right on top. I used a lot of reverb and delay but in a controlled way—automating the tails to make them ebb and flow. I also layered whispers and harmonies underneath the lead vocal to create this ghostly, immersive effect. It’s all about making the vocal feel like part of the soundscape rather than just sitting on it. 
With ‘Island’ on the horizon, how does ‘Underwater’ serve as a bridge to what’s coming next? 
‘Underwater’ is one of the most visual tracks on the album—it really paints a picture and sets the tone for ‘Island.’ The whole album is about escape, nature, and reconnecting with something bigger than yourself. This track introduces that world perfectly: it’s deep, reflective, and sonically rich, just like the rest of the album. 
How did you know ‘Underwater’ was complete? Do you ever find it challenging to step away from a track during the production process? 
It’s always hard to step away! I’m someone who loves tweaking details forever. But with ‘Underwater,’ I reached a point where every change I made was just different, not better. That’s when I knew it was done. Also, sometimes you just have to trust your first instincts—this track already captured the feeling I wanted early on, so it was more about refining rather than overworking it. 
What message or feeling do you hope listeners take away from ‘Underwater’? 
I hope they feel a sense of wonder and stillness—like they’re submerged in a different world, just floating. The track is about taking a step back, letting go, and allowing yourself to be present in the moment. 
Can you give us a glimpse of what’s next before the album drops? Can fans expect any more releases ahead of its launch? 
Yes! Before ‘Island’ drops, there’s another single coming—’Rhythm of the Sun.’ This track revolves around the big orange sun above us, carrying a hypnotic energy and featuring acoustic guitar. It still ties into the album’s themes of nature and escape. Plus, there are some exciting remixes on the way, including a stunning rework of ‘Underwater’ by Felix Raphael. Lots more to come! 
As Mondingo builds towards the release of ‘Island,’ ‘Underwater’ stands as a powerful indicator of the emotive, nature-inspired sonic world he continues to create. Balancing immersive sound design with personal storytelling, he invites listeners to step into a space of reflection and wonder. With more music, upcoming singles, and remixes on the horizon, Mondingo’s journey is only just beginning—and it’s one worth following closely. So, be sure to keep up with his releases and evolution by following Mondingo across social media today. 
Listen and Buy ‘Underwater’ Here:      
https://newsdigital.ffm.to/underwatermondingo
Mondingo Online   
Spotify | Instagram | TikTok   
  
The post Mondingo Opens Up About the Journey Behind ‘Underwater’ and the Road to ‘Island’ appeared first on EDMTunes.
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Listen to “Ghosts in Sunlight” by ParkerJax AI DJ

This groundbreaking release is sure to stir up conversations in the music industry. As its name indicates, Parker Jax AI DJ embraces the transformative power of AI technology in music creation. While some lyricists may be quick to voice concerns about the potential loss of human creative skills. Notably it’s essential to recognize that ParkerJax AI DJ represents an innovative fusion of Tony Schillinger’s original lyrics with cutting-edge AI-generated compositions and vocals. Undoubtedly, this project signifies a monumental shift in the realm of synthesizers and computer-generated sounds, (including the evolution of autotune) marking a new shift in music production.
However, it’s essential to recognize that a proficient level of skill is vital in crafting AI-generated results that truly resonate with a human connection. “We take pride in creating music that sparks creativity,” states the artist, whose deep fascination with dark themes is vividly shown in this captivating pop-dance single “Ghosts in Sunlight“.
The song profoundly explores the intricate emotions surrounding lost dreams and fractured memories, skillfully intertwining vivid imagery with deeply resonant lyrics. Expressions like “Dreams that slipped away” evoke a poignant sense of longing and nostalgia. Whereas “All we find are broken lines” underscores the disarray and disconnect we often experience. Yet, within this poignant contemplation of sorrow, the song emerges with a compelling sense of hope. Moreover, exemplified in inspiring lines such as “We find our love trapped behind crumbled walls.” This striking contrast powerfully conveys that even in our bleakest moments, love and optimism can prevail.
Ultimately, the song transcends mere reflection on adversity. The narrative embodies the resilience needed to cling to joy and hope. Thus, urging us to embrace life fully and authentically, no matter the challenges.
Above all, the captivating groove is irresistibly addictive and intoxicating. ParkerJax AI DJ fearlessly explores the cutting edge of electronic pop, showcasing his talent. He masterfully combines driving rhythms with a plethora of enchanting electronic melodic refrains. His artistry is undeniably exhilarating, propelled by a forward-thinking vision, all while deftly steering clear of boundaries.
Connect with ParkerJax AI DJ
Facebook: https://www.facebook.com/people/ParkerJax-AI-DJ/61568632280367/
Instagram: https://www.instagram.com/parkerjaxaidj/
The post Listen to “Ghosts in Sunlight” by ParkerJax AI DJ appeared first on EQ Music Blog.
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[GrooveCartel] Let’s Talk About Anvaya

Deep house beats and South Asian classical music are coming together in Anvaya to make something truly amazing. Kaushal and Sonia, who are married and work as doctors during the day and as visionary producers at night, have quickly become major voices in the growing Indo House movement.
Anvaya is at the center of cultural heritage and cutting-edge electronic music. Their debut EP “Sands Between Us” on Indo Warehouse and a historic show at Coachella are just around the corner.
We talked to the duo about their unique journey from medical professionals to musical pioneers and how they’re changing what South Asian representation looks like in global electronic music. They had just come off a sold-out show at London’s famous Roundhouse, and their hypnotic single “Dheere” is still playing in clubs around the world.
Before the sold-out showcases and landmark releases, there was the spark—that first moment of connection with electronic music. Can you transport us back to those formative experiences that first ignited your passion for creating rather than just consuming music?
We’re both lifelong musicians, so in a way music creation has always been in our lives. It just looked differently in the early years. Sonia is a classically trained singer, and Kaushal has been performing in orchestras and bands, playing every instrument I could get his hands on – tenor sax, French horn, piano, guitar, bass, drums, you name it. In college, I started experimenting with music production in a casual way. When we met, we would play together with Sonia singing and Kaushal on guitar or keys. We tinkered with blending electronic sounds and human elements. When we went to shows together, we would find ourselves oscillating between enjoying the moment and also trying to understand the sound design, energy flow, arrangement within the music we’d hear. That influence naturally flowed into our music production and that led us down this path.
The underground electronic scene can be notoriously difficult to navigate. What early barriers did you encounter when attempting to establish your unique sonic identity, and how did you overcome them?
Establishing a clear sonic identity is challenging because, to be honest, our sonic identity is not static, and we are constantly pulling from so many sources of inspiration. We are equally likely to pull inspiration from Chemical Brothers, Miles Davis, or AR Rahman. And this reflects in the music we write. In today’s music landscape, emerging artists are sometimes under pressure to have a clear and concise sound when the reality is that most artists have many facets to their inspiration and love for music. We have currently opted to let our sonic identity be an amalgamation of all of our sources of inspiration. We’ve been fortunate to join a label (Indo Warehouse) of producers and DJs who ardently support this authentic approach.
Your creative evolution has clearly been marked by distinctive phases. How has your sound metamorphosed from those initial productions to the hypnotic, culturally-infused compositions we hear on “Dheere“?
Our sound has gone through and continues to go through an evolution. In the beginning, our productions were more exploratory—finding our footing, experimenting with sound design and arrangement. We were figuring out how to blend our influences in a way that felt authentic, and sometimes, that meant leaning into safer or more familiar sonic territory. With “Dheere,” everything shifted.
“Dheere” isn’t a “safe” track by any means, and that’s exactly why it feels so important. It was a moment where we leaned fully into instinct rather than expectation. It’s darker, more hypnotic, and you won’t hear another track quite like it on Sands Between Us. That’s intentional. This track reflects us exploring the edges of what Indo House can feel like. It also represents the kind of creative risks we’re excited to take and the freedom we feel when we trust our own vision.

Many artists speak of watershed moments—performances or releases that fundamentally altered their trajectory. Was there a singular turning point that catapulted your career forward, or has your rise been more of a steady, organic evolution?
Our rise has definitely been more steady. There was an early defining moment in 2023 that comes to mind, which is when we released Garba Szn 2 on Indo Warehouse. We reimagined Haa Re Ma, a traditional Garba composition originally written by Kaushal’s grandmother. This marked the first time we reached back into our roots and brought something so deeply personal on so many levels into a contemporary context. It was a tribute to timeless cultural traditions and a bridge between generations. The response was overwhelming, and seeing people from all backgrounds connect with the energy of that track and dance to it in both cultural and club spaces meant everything to us.
Each show we perform at, whether in the United States or internationally, pushes us to take bigger risks and refine our skills. Now, performing at Coachella feels like a major catalyst. It’s more than a stage—it’s a chance to invite a massive, diverse audience into our world, and that has been an incredible source of motivation. Just the preparation alone has challenged and matured us. We’re excited to see how we grow even more from this experience.
The leap from releasing singles to crafting a cohesive EP represents a significant artistic expansion. What unexpected challenges emerged during the creation of “Sands Between Us” that you hadn’t encountered when producing individual tracks?
One of the biggest challenges we experienced was deciding which tracks belonged on the EP and which should stand alone as singles. We have a growing collection of music we love, but not everything served the narrative we wanted this project to carry. Cutting some tracks—for now—was tough, especially when we were attached to them emotionally or creatively. Ultimately, we wanted Sands Between Us to feel intentional, not just a playlist of songs we liked. Another unexpected challenge was defining the story we wanted to tell through the EP: one that captured both of our journeys as individuals, our growth, and the emotional landscapes we’ve traveled. It took a lot of joint reflection over numerous cups of coffee to weave our individual experiences into something that felt unified and true to who we are as a duo.
Coachella represents electronic music’s grandest stage—a radical departure from intimate club environments. How are you preparing to translate the nuanced emotional textures of your production for such a massive, potentially mainstream audience?
Coachella demands a completely different kind of energy than some of the intimate club spaces we have played in. We’ve been carefully reworking our set to bridge that gap—curating live elements and creating moments that invite the audience in, even if they have never heard our music before. The goal is to stay true to our artistry and quality of production while embracing the scale and opportunity of a stage like Coachella.
Many artists find themselves pressured to dilute their cultural specificity when reaching broader audiences. Are you feeling any tension between maintaining your authentic South Asian-influenced sound and adapting to Coachella’s more commercial expectations?
Not once have we felt pressured to dilute our culture in the music we are presenting on a stage like Coachella. If anything, we’re amplifying it and showing you just some of the best of what our culture has to offer. An hour-long set is not enough. This show is so much bigger than us, and we want the kids, adults, grandparents, uncle,s and aunties all around the world watching us perform to feel pride in our community and feel part of the movement.
Festival sets often serve as laboratories for testing unreleased material. Will Coachella attendees be privileged to experience exclusive previews beyond what appears on “Sands Between Us,” and how do you select which unreleased gems to share?
Coachella attendees are in for something truly one of a kind. We’ve crafted a set that goes beyond Sands Between Us, both sonically and visually. This isn’t just a DJ set, but rather an experience we’ve built specifically for this stage. We’ve written and produced entirely new, unreleased material just for Coachella. Some of these tracks won’t be found on Sands Between Us and haven’t been heard anywhere else. When choosing what unreleased gems to include, it’s all about energy and emotional impact. Every track in this set serves a purpose, whether it sparks a moment of nostalgia or takes you into the future of Indo House.
The duality of your existence—healing bodies by day, moving them by night—creates a fascinating tension. How does the precision and empathy required in medical practice infuse the emotional architecture of your productions?
Practicing medicine demands unwavering attention to detail. There is no room for compromise when lives are at stake. Through years of specialized training, we’ve developed a work ethic and nuanced skill sets that naturally inform how we approach music production.
Caring for patients keeps us grounded in the raw, unfiltered reality of human experience. We’re constantly bearing witness to moments of vulnerability, resilience, fear, and hope. These encounters leave us with stories—so many stories—and music has become the space where we process, express, and honor them. In that sense, music has become more than an outlet; it has come to be a form of emotional translation. Being able to create through sound allows us to channel the weight of what we carry into something meaningful. In turn, this artistic vulnerability only deepens our empathy. Somehow, we feel more connected to our audience and our patients.
The demanding nature of both medicine and music touring seems almost impossible to reconcile. What practical systems have you developed to honor both callings without sacrificing your artistic output or patient care?
First and foremost, it comes down to time management and efficiency. We plan our touring and studio sessions around our clinical responsibilities, often months in advance. Shared calendars on our phones are a must!
We also lean on strong support systems in both worlds who help make it all possible. Flexibility and communication are imperative. On the creative side, we’ve learned to work efficiently—writing on flights, producing in short windows, and staying inspired even when we’re on the go.
Your South Asian heritage pulses through every bass line and melodic phrase in your work. How has your cultural background provided both inspiration and challenges as you’ve navigated predominantly Western electronic music spaces?
Our South Asian heritage is an endless source of inspiration—the range, depth, and richness of its musical foundations are truly unparalleled. From intricate rhythms, various styles of singing, and beautiful ragas, there’s a vast sonic landscape that we constantly draw from.
We’re deeply inspired by these elements, but we also want to make our music accessible and inviting to a broad audience. Having grown up in the United States, it feels natural and authentic for us to weave together Western and global influences alongside our South Asian roots. We’ve found that when we lead with authenticity, the right listeners, across cultures, respond. And that’s been one of the most rewarding parts of this journey.
As our talk comes to a close, it becomes very clear that Anvaya’s dual existence isn’t just an interesting fact about their life; it’s what makes them who they are as an artist. Every beat and melody they make has the same level of accuracy, empathy, and depth that they use in their medical work. In today’s fragmented music scene, many artists struggle to define themselves. Kaushal and Sonia, on the other hand, have accepted the variety of their influences, creating a sound that is hard to put into a single category but is still clearly their own.
Follow Anvaya on Instagram and listen to their music on Spotify.
The post Let’s Talk About Anvaya appeared first on The Groove Cartel.
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[EDM House Network] Dimitri “Vegas” Thivaios Joins Arnold Schwarzenegger in new Amazon Christmas Movie  ‘The Man with the Bag’

Electronic music superstar Dimitri “Vegas” Thivaios is stepping back into Hollywood, confirming via Instagram his role in Amazon MGM Studios‘ highly anticipated holiday action-comedy, “The Man with the Bag.” Thivaios joins an impressive ensemble cast headlined by legendary actor Arnold Schwarzenegger and rising action star Alan Ritchson.
“The Man with the Bag,” directed by acclaimed filmmaker Adam Shankman, revolves around Santa Claus (played by Schwarzenegger) who partners with a reformed thief (Ritchson) to retrieve his stolen magical sack and ultimately save Christmas. The film promises a thrilling mix of comedy and action, perfect for the holiday season.
Thivaios’ involvement further underscores his successful transition from global electronic music icon to budding film actor. His burgeoning filmography already includes high-profile appearances in “Jurassic World Dominion,” the upcoming “Den of Thieves 2,” and a lead role in the European blockbuster “H4Z4RD.”
Despite his demanding schedule on film sets, Thivaios continues to dominate the electronic music scene, recently releasing hit tracks like ‘Thank You’ and ‘Mockingbird’ with fellow EDM titan Tiësto, and the Vin Diesel collaboration, ‘Don’t Stop The Music’.
Adding to the excitement, “The Man with the Bag” boasts an all-star cast featuring talents such as Awkwafina, Ken Jeong, and Liza Koshy, making it one of this year’s most anticipated holiday films.
Stay tuned for further updates on this festive blockbuster’s release!
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[UKF] We Need To Talk About Onhell

This interview isn’t a formal petition to bring more strippers to dubstep shows… but if you ask Onhell, the L.A.-based DJ known for his wild parties and raves that feature a laundry list of untraditional antics (a life-size Donald Trump piñata filled with magic mushrooms, nail salons, salsa bars, all-gender strippers, etc.), strippers and dubstep are a match made in heaven. In Onhell’s eyes, every party is better with strippers.
Onhell, whose real name is Angel Rubio-Hale, is a longstanding force in dubstep sound and culture. His music dates back to his 2013 Use EP, and he’s toured with the biggest names in dubstep — Zeds Dead, Truth, Eprom, and countless others. Recently, he’s become known for his exuberant parties, which hold no punches in creating the most chaotic, absurd atmospheres in modern-day rave culture.
Onhell is a busy man. Last year, he threw nine Onhell parties, released 2 EPs (“Juntos” with Deadbeats, and “Sandía” with 1985), and 11 total original tracks. The majority of this music, and the parties he threw, happened while he lived in his car — by choice, not by necessity.
Eventually, the weight of building multiple businesses and touring the world caused Onhell to experience some serious burnout. In response, he took an extended vacation in Hawaii, and logged offline for the entire month of January. Now he’s back, and ready to take his music and parties to the next level.
In this exclusive interview with UKF, Onhell details his Hawaiian adventures, gives insight into the fundamentals of a “hot, sexy, queer party,” making “Dubstep for Kids” and what living in a car is actually like for a touring artist.
Read on to discover what’s next for the Onhell project in 2025… including scoring a movie and throwing bigger, better parties all year long.
What are the fundamentals of a “hot, sexy, queer party”?
I’ll start by saying the Onhell parties are pretty tame compared to actual gay parties. There are no glory holes, and there’s not usually people having sex in the open. But we do bring dominatrixes to the Onhell parties, and that’s always such a blast.
I just want my parties to be as wild as possible. There needs to be cock and ass in people’s faces, because that’s really what really stirs the pot. Some of this stuff is pretty out there for the bass music world, but that’s why I love it. I’ve been in the bass music world for a long time, and it’s a very straight community. That’s why I push the limits — I want these events to be a safe space for people to experiment with their sexuality and music tastes. My goal is to create a space for straight people to feel comfortable having a gay experience if they’re curious. And I want gay people to feel comfortable dancing to dubstep all night.
Oh, and also strippers. When the strippers have a good night, everyone has a good night. That’s a good rule for life. 
A lot of the things that go on at these Onhell parties seem sacrilegious — like dominatrixes whipping people (with consent, of course) strapped to a cross. I see some other religious themes in the Onhell project. For example, the cover art for your recent Deadbeats EP, Juntos depicts an angel figure, and the name “Onhell” is the phonetic spelling of the word “angel” in Spanish. Was religion a big part of your life growing up?
No, definitely not. I grew up in Humboldt County, California. That’s the land of the hippies — very far removed from western religion. So whenever I did run into christians or Catholics growing up, I was always so interested in how they lived.  It always seemed so weird to me that these people seemed pretty normal, but at the same time they believed all this insane religious stuff.
As far as the Onhell name — “Onhell” is actually the phonetic spelling of “angel” in Spanish, which is my birth name. I’m half Mexican from my mom’s side, and “Angel” is a very common Spanish name. 
I do have some imagery across the Onhell project that relates to Santa Muerte. In Mexican culture, she’s “Saint Death,” and seen as a protector of people. I fuck with Santa Muerte because she doesn’t judge anybody. She just wants to help people.
I also fuck with the idea of death in general. Death is actually extremely common… crazy fact: 100% of people on earth die. There’s no escaping death. My relationship with death is a bit different than most Americans because I was around death for most of my life, my mom was sick most of my life, and I started taking care of her when I was 13. She was sick for about 10 years before she died, so when she did die it sort of felt like a relief, because she wasn’t suffering anymore. A lot of Mexicans have a relationship with death that’s more positive and honouring of people that die. I like that. 
Your parties also include some sillier antics, like stuffing a five-foot Donald Trump piñata with magic mushrooms and letting fans beat the shit out of it. How do you think of something like that?
When Trump was elected in 2020, we protested in the streets in Oakland. Oakland goes hard, if you didn’t know. The protest grew to the point where we were getting tear gassed. Cars were being lit on fire with molotov cocktails. At that point, I was out. A weekly party called Wormhole Wednesdays was happening that night, and someone brought a trump piñata. Everyone was going crazy beating the shit out of that thing. So when Trump got elected again last year, I knew I had to do something like that.
At one point during my set, I played YG’s  “Fuck Donald Trump” and brought the piñata out. The people went fucking crazy. It eventually fell onto the ground and people started stomping on it. But the funny part is no one knew there were mushrooms in the piñata. When the mushrooms started coming out, someone yelled “THE PIÑATA IS FULL OF MUSHROOMS!” Everybody stopped for a second, backed up, and then it was a mad dash to get the mushrooms.
I learned a valuable lesson that night: If you want to see a group of adults act like kids again, fill a piñata with drugs. It’s that simple.
I feel like most of what we’re talking about is pretty mature by design… but “Dubstep For Kids” from your recent Deadbeats EP, Juntos is on the complete opposite side of the spectrum. What inspired you to make a dubstep track for toddlers?
The idea came to me when I had an epiphany that dubstep isn’t really a “new” genre anymore. Dubstep has been around long enough that there are dubstep parents now. So I thought, logically, if there are dubstep parents, that means there are dubstep kids too. So when I sent a bunch of tunes to Deadbeats, that’s one of the songs they chose. I was kind of shocked… like, really? You want the dubstep nursery rhyme? Okay, I guess I’ll make a music video too then haha.
I don’t think I’ll do something like this again though; definitely don’t expect an Onhell dubstep nursery rhyme album or anything like that… it was fun, but I’m not sure dubstep for toddlers is really my bag if I’m being honest.
You’ve laid kind of low so far in 2025, and I saw a video you posted on Instagram recently explaining that you spent January relaxing in Hawaii. In that video, you explained that you were feeling really burnt out, and definitely needed a long-overdue break from touring and music stuff. How do you feel now that you’re back in L.A.?
I feel so much better, it’s actually crazy. I think “youthful” is how I would describe my state of mind after that trip. Right before I left, I was feeling insane burnout. But I didn’t realize how fucked up I actually was until I was in Hawaii for a few weeks and finally took a deep breath.
I realized I needed a break when I started questioning my love for playing shows. Because I was planning these parties — I was supposed to do 10 parties in February — and I found myself dodging anything that had to do with those parties. I just wouldn’t respond to emails and I was like ‘Why am I not responding to these people? Do I just not want to do this music stuff anymore?’ My whole life, all I’ve ever wanted is to do this music shit, so I couldn’t understand what was happening. All my friends told me I needed to take a break but I wouldn’t listen. Plus, there’s all these super ‘motivational’ guys on the internet that are like “Are you tired? Too bad. Work harder. Don’t be a bitch.” That definitely didn’t help.
I also come from an immigrant family, so theres a certain feeling of necessity to succeed deep within me. Like, I literally feel it in my stomach. It’s a feeling that if I stop doing the music thing, everything will fall apart and I’ll be a failure. But that fear is so intense sometimes that I just want to escape it. I think that’s why I scroll so much on my phone… but that’s something I’m trying to work on.
Can you walk me through how you spent most of your time in Hawaii? What did a normal day look like? Were you hiking and surfing, or were you mostly sitting on the porch drinking coffee?
All of the above — depended on the day. I was making a lot of banana bread, so I’d go check out the banana trees on the property every morning. I’d cut down all the ripe bananas before the chickens got to them (those bastards). There was a lot of problem solving too. One week a wind storm blew off part of the roof so I had to do some handy work and strap a tarp down while it was pouring rain.
I was also hanging with the hippie community… well, not exactly a hippie community, but a community of positive spiritual people. I volunteered at this one spot called White Paw too. We’d just clean the poi and taro patches. 
That sounds very wholesome!
Oh ya, very wholesome. I’m a wholesome dude. People hit me up all the time like “Yo I wanna party with you!” and I’m like… I’m just the little guy who wants to throw the parties for everyone else, you know?
You were living in your car when you were throwing a lot of these parties last year, right? How the hell did you manage that?
Yeah, I through multiple parties while I was living in my car. Granted, I wasn’t actually living in my car the whole time. I would camp in National on the outskirts of Los Angeles National Forest, and I was crashing on friends couches from time to time… but I hate feeling like a mooch, so I wouldn’t stay at anyone’s house for long. 
Honestly, the first couple months I lived in my car, I loved it. And if I was just some kid who was traveling around with no responsibilities, I think it would have been more sustainable. But instead I’m building all these businesses, flying out of LAX every weekend, trying to throw these crazy parties… it was too much.
What was it like building multiple businesses while you’re living in a car? Like, how did you do work?
When you’re living like that, everything is very minimal — including how you work. It’s just you, your laptop, and a coffee shop. You really don’t need anything more than that at the end of the day, even if it’s not necessarily ideal for work. But it’s just like anything else — you think of ideas, and you execute them.
Plus, I was saving hella money. My rent before I lived in my car was $2,400 a month. So after two months of not paying rent, I saved $5,000. I spent that money on a nice camera to film content for my businesses, which was a great investment. Building a business is mostly about actually following through with good ideas.
I will say, living in my car did affect my creativity in a pretty negative way, because I didn’t really have a space to make music. Sometimes I would go to a park or go to a friends house to make music, but even then it usually wasn’t a proper studio. Eventually, I bought a small portable speaker and keyboard, which I set up on a table outside of my car and ran power through my prius with an extension chord. That really helped. It wasn’t all bad; I camped on a beautiful lake in Big Bear for a week and made a bunch of cool music at one point. That was sick.
Music isn’t your only business though — don’t you make salsa?
Yeah I do!
How did you get into that? Have you been cooking your whole life?
Yeah, since I was 12. My mom had a lung disease, and when your lungs don’t work right, that affects everything. It affects your ability to talk, to move your arms, everything. She couldn’t really cook when she got sick, so I started cooking for us. My mom taught me how to cook… but she was a terrible cook. Not because she didn’t know how to cook good food, but because she was a healthy hippie kind of mom. If a recipe called for sugar, she’d use honey instead. If it called for butter, she’d use coconut oil. And don’t get me started about the buckwheat! The result was usually a sandy, non-sweet pile of flavorless food.
Then one day she told me “grandma used to fry enchiladas in oil and sauce instead of putting them in the oven. But it’s really bad for you, so don’t do that.” Of course I had to try it… and they were so fucking good. After that, I learned to cook my own way, with all the “bad” stuff. More oil. More butter. More everything! It was a snowball affect — my love for cooking grew from there. 
Is there a correlation that you draw between the creative process and cooking and making music?
Absolutely. Let’s use salsa as an example. Salsa is a relatively simple thing to make. We can break the flavor pallet into four sections: sweet, salty, spice, and acidity. And you can change how much of those flavors stand out by changing the type of ingredients you use. For example, a red tomato is a bit sweeter than a green tomato, so using a red tomato makes the salsa sweeter. But then you need to balance that, so you add some more salt, and maybe some peppers to make it spicy.
It’s the same thing with music. If there isn’t enough space for the melodies to shine through, you might need to make your bass quieter. But then you also want your drums to punch through, so you might use this little trick called “side compression.” At the end of the day, cooking and making music are both about balance. Once you have the core formula down, you can really play with it.
With all of these things in the pot (pun intended), what are you most excited for in 2025? And what can fans expect from the Onhell project this year?
I want to do more collabs with my friends, and I want to put more effort into the Onhell parties to make something really cool and exciting across the country. I was supposed to do 10 parties in February, but that was too much (and one of the reasons I got burnt out). So maybe not THAT many, but still. 
I’m also working on a movie soundtrack and hope to work on an album soon! Right now, I’m figuring out exactly how I want to move forward with everything I was planning before I went to Hawaii. I feel like I’m in a very primordial state, and things are all coming together.
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[Decoded] Serato & Roland announce SP-404MKII integration with Serato DJ + Serato Studio

oday, in celebration of the 20th anniversary of the iconic SP-404 sampler, Serato and Roland have announced the official integration of the SP-404MKII with Serato DJ and Serato Studio. Roland’s free V5 update with Serato transforms the SP-404MKII into a powerful, accessible tool that bridges the gap between DJing and music production, maximising creativity for live performance while delivering powerful features for sampling and beatmaking. 
The dynamic collaboration between two legendary music brands opens up the seminal 404 beat culture to more DJs and producers than ever before. Furthermore, Serato’s support of Roland’s SP-404MKII promotes new sonic possibilities for performance, sampling and beatmaking through the fusion of Serato’s advanced audio processing and the SP-404MKII’s beloved effects. 
Roland SP-404MKII for Serato DJ: 
The new built-in integration with Serato DJ unlocks fresh live performance opportunities with Roland’s compact, customizable and iconic sampler.  As the first DJ software to officially support the SP-404MKII, Serato DJ offers access to a portable performance machine without the complexity of a full DJ set up.  Now with pre-mapped Serato controls, DJs can easily integrate their workflow and perform sets on the go with a versatile, portable DJ rig that has access to Serato Stems, looping, hot cues and much more.  Enjoy smooth transitions, real-time mixing and looping, and access to both SP and Serato FX.  Roland SP-404MKII for Serato Studio:
Roland and Serato’s integration advances the SP-404MKII hardware into a hands-on, pre-mapped controller and USB audio interface for Serato Studio with even deeper hardware integration.  Producers now have the ability to route Serato Studio audio through the SP-404MKII’s onboard effects for real-time processing.  Separate stems and trigger loops and one-shots directly in Serato Studio with the famed hardware’s 16 performance pads.  With Roland’s iconic SP-404MKII, producers can utilize a portable recording studio on-the-go while tapping into Serato’s powerful software features.  Explore integrated functionality with the SP-404MKII V5 update for Serato DJ Lite, Serato DJ Pro* and Serato Studio. *Requires a DJ Pro license. 
Serato’s official support for Roland’s internationally-renowned portable sampler launches alongside a string of global events in the vibrant cities that were vital hubs of the early 404 beat community, from Los Angeles, Atlanta, Tokyo, Berlin, London and beyond. 
Live performances, beat battles, artist panels and exclusive merchandise giveaways will unite the artists, DJs and producers who were integral to the cultural phenomenon that is the SP-404. Roland stores around the world will host in-person celebrations – from London to Tokyo – where guests can join 404 Day gear raffles for creative tools aligned with the SP-404MKII, including Serato licenses, the AIRA Compact S-1 and J-6, a limited-edition Roland graphic tee, Roland Cloud access, Melodics subscriptions and more. To join this landmark 20th year celebration of the SP-404, visit Roland’s dedicated 404 Day page here and Roland’s ultimate guide for 404 Day 2025 here. 
The post Serato & Roland announce SP-404MKII integration with Serato DJ + Serato Studio appeared first on Decoded Magazine.
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[Decoded] Serato & Roland announce SP-404MKII integration with Serato DJ + Serato Studio

oday, in celebration of the 20th anniversary of the iconic SP-404 sampler, Serato and Roland have announced the official integration of the SP-404MKII with Serato DJ and Serato Studio. Roland’s free V5 update with Serato transforms the SP-404MKII into a powerful, accessible tool that bridges the gap between DJing and music production, maximising creativity for live performance while delivering powerful features for sampling and beatmaking. 
The dynamic collaboration between two legendary music brands opens up the seminal 404 beat culture to more DJs and producers than ever before. Furthermore, Serato’s support of Roland’s SP-404MKII promotes new sonic possibilities for performance, sampling and beatmaking through the fusion of Serato’s advanced audio processing and the SP-404MKII’s beloved effects. 
Roland SP-404MKII for Serato DJ: 
The new built-in integration with Serato DJ unlocks fresh live performance opportunities with Roland’s compact, customizable and iconic sampler.  As the first DJ software to officially support the SP-404MKII, Serato DJ offers access to a portable performance machine without the complexity of a full DJ set up.  Now with pre-mapped Serato controls, DJs can easily integrate their workflow and perform sets on the go with a versatile, portable DJ rig that has access to Serato Stems, looping, hot cues and much more.  Enjoy smooth transitions, real-time mixing and looping, and access to both SP and Serato FX.  Roland SP-404MKII for Serato Studio:
Roland and Serato’s integration advances the SP-404MKII hardware into a hands-on, pre-mapped controller and USB audio interface for Serato Studio with even deeper hardware integration.  Producers now have the ability to route Serato Studio audio through the SP-404MKII’s onboard effects for real-time processing.  Separate stems and trigger loops and one-shots directly in Serato Studio with the famed hardware’s 16 performance pads.  With Roland’s iconic SP-404MKII, producers can utilize a portable recording studio on-the-go while tapping into Serato’s powerful software features.  Explore integrated functionality with the SP-404MKII V5 update for Serato DJ Lite, Serato DJ Pro* and Serato Studio. *Requires a DJ Pro license. 
Serato’s official support for Roland’s internationally-renowned portable sampler launches alongside a string of global events in the vibrant cities that were vital hubs of the early 404 beat community, from Los Angeles, Atlanta, Tokyo, Berlin, London and beyond. 
Live performances, beat battles, artist panels and exclusive merchandise giveaways will unite the artists, DJs and producers who were integral to the cultural phenomenon that is the SP-404. Roland stores around the world will host in-person celebrations – from London to Tokyo – where guests can join 404 Day gear raffles for creative tools aligned with the SP-404MKII, including Serato licenses, the AIRA Compact S-1 and J-6, a limited-edition Roland graphic tee, Roland Cloud access, Melodics subscriptions and more. To join this landmark 20th year celebration of the SP-404, visit Roland’s dedicated 404 Day page here and Roland’s ultimate guide for 404 Day 2025 here. 
The post Serato & Roland announce SP-404MKII integration with Serato DJ + Serato Studio appeared first on Decoded Magazine.
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[EDM.com] Armada Music Joins Forces With Peloton for Studio's First-Ever Global DJ Residency

Renowned dance music label Armada Music has nabbed Peloton's first-ever global DJ residency, bringing the energy of the imprint, founded by iconic DJ and producer Armin van Buuren, to the brand's studios in New York and London.
Merging electronic music with the community-driven workouts for which Peloton is known, the residency kicks off in April with ARTY headlining Peloton Studios New York on April 3rd. The influential producer will soundtrack Peloton's inaugural "LIVE Dance Cardio" and "LIVE DJ Ride" classes with Peloton instructors Emma Lovewell and Olivia Amato, respectively.
“Being an instructor, music plays a pivotal role in planning my classes and setting the tone for the workout," Amato said in a press release. "Armada’s sound serves as the perfect mental escape and motivator during the tougher parts of class. Riding to a live DJ set is that same concept amplified—combining movement, music and community makes these moments so powerful."
The collaboration follows the success of last year's residency with Defected Records in the UK and will include six live, DJ-led classes throughout the year. Peloton members will be able to experience a mix of high-energy rides and mat-based workouts with live performances from prominent Armada artists, including van Buuren.
"Partnering with Peloton for this residency is an exciting way to merge fitness with the music we love," added Armada CEO Maykel Piron. "It creates a space where people can push their limits while being immersed in the sound."
More details on upcoming artists and classes will be released throughout the year. In the meantime, check out our recent interview with Peloton star Jess King here.
Follow Armada Music:
X: x.com/armada
Instagram: instagram.com/armadamusic
TikTok: tiktok.com/@armadamusic
Facebook: facebook.com/armadamusic
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[EDMTunes] MDLBEAST Reveals Huge Lineup for 1001 Festival Debut Edition

Following the announcement of its imaginative new festival concept, 1001, MDLBEAST now unveils the full lineup for the debut edition of this two-day celebration of music, fantasy, and Arabian folklore. Taking place on April 24 and 25 at the UG Complex in Binban, the inaugural event will bring together a world-class roster of DJs across five custom-designed stages, each inspired by legendary tales from One Thousand and One Nights.
Blurring the lines between story and sound, the debut edition of 1001 invites festival goers into a two-night journey through many of the most coveted names in global electronic music. DJ Snake, known for his high-energy sets and genre-bending approach, leads the charge, while Salvatore Ganacci will add a dose of surreal theatre to the desert night. Brazilian superstar Mochakk will also deliver his trademark blend of groove-laden chaos, capturing the attention of house heads and casual fans alike, with mainstays like Seth Troxler and DJ Tennis rounding out a showstopping first night.
As the story deepens, the focus shifts toward melodic journeys and immersive soundscapes. Eric Prydz, revered for his sweeping live sets and groundbreaking visuals, is set to headline with a performance designed to fully captivate the senses. He’s joined on the lineup by electronic powerhouses ARTBAT and Hot Since 82, both celebrated for their emotionally charged approaches to house and techno. German tastemaker Dixon also brings his signature precision and tension-building style, while Innellea adds a melodic edge with his futuristic, genre-blurring sound. Rounding out the night are Marco Carola and Nicole Moudaber—two titans delivering the peak-time bliss that fans have grown to love them for.
With limited tickets still available, don’t miss your chance to be written into the opening chapter.
Stay tuned for more news!

The post MDLBEAST Reveals Huge Lineup for 1001 Festival Debut Edition appeared first on EDMTunes.
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[EDMTunes] Boiler Room Reaches New Low With Kesha Event

Boiler Room, once revered as a bastion of underground electronic music, is now at the center of a heated debate. Events featuring pop artists like Rebecca Black and Charli XCX have sparked concern and mockery among fans and artists alike, particularly since these artists are not DJs. Many fear that the platform is shifting toward mainstream appeal, straying from its original mission. Now it’s planning an event in Miami featuring Kesha
A Shift Toward Mainstream Acts
This change comes in the wake of Boiler Room’s acquisition by Superstruct Entertainment, backed by private equity giant KKR. With new ownership often comes new priorities.
In recent announcements of a collaboration with White Claw, along with a new job posting for a Partnerships Development Manager, the brand suggests a move away from the grassroots ethos that defined the platform. 
Historically, the platform championed emerging talent, providing a sanctuary for experimental music. However, the decision to feature mainstream artists signals a potential shift. Many fear that commercial interests are taking precedence over artistic integrity. Can a platform that thrived on underground culture maintain its authenticity while chasing mainstream visibility?
Underground Fans React to Boiler Room’s Booking Choices
The inclusion of commercial artists fundamentally clashes with the ethos that made Boiler Room special. Rebecca Black, once a viral meme for her 2011 single ‘Friday’, has since reinvented herself as a hyperpop artist. While her reinvention is commendable, her association with a platform historically dedicated to underground electronic music feels forced and out of place.
Similarly, Charli XCX—despite her electronic and experimental influences—represents a level of mainstream recognition. This contradicts Boiler Room’s underground spirit. Kesha’s involvement in an upcoming Boiler Room event in Miami only adds to the frustration. Kesha, like Charli XCX and Rebecca Black, has experimented with sounds outside of her pop roots. Her presence in underground-adjacent spaces raises the same concerns about authenticity.
While artistic evolution is natural, the issue lies in institutions like Boiler Room leveraging these names for attention. Meanwhile, they sideline the very artists who built the platform’s reputation. Fans argue that these artists, regardless of their talent, do not embody the underground music culture that Boiler Room once stood for.
Longtime Boiler Room fans have taken to social media to voice their outrage. They argue that these booking choices dilute the brand’s credibility. When Boiler Room was featuring artists like Fred Again, Ben UFO, Objekt, or Helena Hauff, it catered to a dedicated community of electronic music enthusiasts. Today, with pop-adjacent acts being given the same platform, that exclusivity and curatorial integrity seem to be eroding. Some argue that Boiler Room’s shift reflects a broader trend. Underground music spaces are being co-opted by corporate interests seeking to capitalize on subcultures. It appears that the Boiler Room brand is being licensed out to anybody who wants it.
Fan Backlash and the Future of Boiler Room
Boiler Room built its reputation on intimate performances featuring unique talent. This new direction feels like a betrayal to many. Additionally, some artists are reconsidering their association with Boiler Room. If this trend continues, the platform risks alienating its core audience. These are the very people who made it successful in the first place. The delicate balance between authenticity and commercialization is at stake.
Boiler Room finds itself at a pivotal moment. Will it return to its underground origins or continue down the path of mainstream appeal? The direction it chooses will not only define its own future but will also influence the underground music scene as a whole. As fans and artists look on, they hope the platform stays true to the spirit that once set it apart.
For those curious and wanting experience the changes of this brand firsthand, the event featuring Kesha will be in Miami on Thursday, April 3, from 8:00 PM to 12:00 AM ET. There will be additional sets by DJs Ty Sunderland and Flirty800. Admission is free, but attendees must RSVP to gain entry. For more information and to RSVP, visit Boiler Room’s official website.
The post Boiler Room Reaches New Low With Kesha Event appeared first on EDMTunes.
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[EDMTunes] The Brooklyn Mirage Taps Black Coffee for its First-Ever Residency

On the heels of unveiling its bold new redesign and in honor of its 10th birthday, The Brooklyn Mirage announces its first-ever residency with none other than Black Coffee, one of the most influential electronic music artists of our time. This groundbreaking residency marks a historic moment for the venue, artist, and city. In fact, fans will have the chance to enjoy an unparalleled audiovisual experience and the first New York City residency from the GRAMMY Award-winning artist.
Renowned for his signature “Afropolitan” sound, a distinctly metropolitan techno with heavy traditional influences from his formative years in South Africa, Black Coffee pioneered what has quickly become one of today’s leading dance music genres globally. Each evening’s soundtrack will envelop the entire venue through a newly installed, custom L-Acoustics Soundsystem. The colorful, high-energy visuals that Black Coffee is known for will appear in high definition on The Brooklyn Mirage’s new, hyper-realistic 270-degree virtual environment, boasting 30K resolution, 100 million pixels, and over 3,000 tiles. Each performance promises to be unique on its own as the DJ will perform like never before.
This residency is a full-circle moment for the iconic venue and award-winning DJ. Black Coffee performed at The Brooklyn Mirage in 2019, 2021, and 2022 and sold out every date. Over the next two years, Black Coffee headlined and sold out two venues that enjoy a co-promotional relationship with Avant Gardner: the legendary Madison Square Garden and the raw industrial backdrop of Under the K Bridge. The former marked a historic moment as Black Coffee became the first African DJ to sell out the Garden.
The four-date residency kicks off on May 4, will continue on July 3, and August 24, and concludes on October 19. For more info, please visit the official website.
Stay tuned for more news!
The post The Brooklyn Mirage Taps Black Coffee for its First-Ever Residency appeared first on EDMTunes.
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[EDMTunes] Rebūke Drops Emotional New Single ‘Teardrops’ Featuring Karin Park

Rebūke is back with a powerful new release: Teardrops, featuring haunting vocals from Karin Park, out now on his own ERA label. Accompanied by the hypnotic B-side ‘Aingeal’, this emotionally driven release is a glimpse into Rebūke’s upcoming debut album The World of Era, expected later this summer.
Blending futuristic techno elements with melancholic storytelling, ‘Teardrops’ hits deep with its heartfelt lyrics, lush atmospheres, and cinematic production. Park’s vocals pierce through layers of rich textures, expressing vulnerability and beauty with every note. The track is co-written by Melissa De Kleine, who also collaborated with Rebūke and deadmau5 on ‘Endless’.
This isn’t your typical club track—it’s a moment. Karin Park explains: “I love when sadness can turn into something beautiful and be shown to the world like a flower instead of bitterness. I put all my heart and soul into this and working with someone as dedicated as Rebūke makes it even better.”
Co-writer Melissa De Kleine adds further emotional depth, revealing: “When I wrote ‘Teardrops’ with Karin, I kept hearing: ‘teardrops all over my face.’ The song doesn’t need to refer to romantic love—it could be about someone you lost. For me, it became a way to cope with losing a close friend to leukemia. Writing this was an emotional release.”
This release follows a string of high-profile appearances and collabs for Rebūke. From his Coachella debut to a standout b2b with Chris Avantgarde at Anyma’s Sphere residency in Las Vegas, Rebūke has made 2024 one for the books. Add in tracks like ‘Choose Life’ with Linska, ‘Endless’ with deadmau5 & Ed Graves, and remixes like ‘Not Exactly‘—and you have an artist shaping the sound of this era.
With The World of Era, Rebūke isn’t just releasing music—he’s building an immersive world. If ‘Teardrops’ is any indication, this debut album is going to be more than just a collection of tracks—it’s going to be a story worth hearing, feeling, and living through.
Listen to Rebūke – ‘Teardrops’ (ft. Karin Park)
Listen to ‘Aingeal’
The post Rebūke Drops Emotional New Single ‘Teardrops’ Featuring Karin Park appeared first on EDMTunes.
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[EDMTunes] Adam Ten X Mita Gami Curate New Maccabi All Stars 007

Maccabi House returns with Maccabi All Stars 007, a diverse VA compilation showcasing the label’s evolving sound and its commitment to pushing underground dance music forward. Curated by Adam Ten and Mita Gami, the release unites forward-thinking artists from around the world, bridging continents through a shared language of rhythm and groove. This edition offers a glimpse into the label’s current and future musical evolution, uniting a diverse lineup of artists who each bring their own interpretation and inspiration to the label.
Maccabi All Stars 007
Maccabi All Stars 007 opens with ‘Labirinto Babylonia’ from Brazilian producer Cour T., a funky and percussive cut that truly “sets this place on fire”. Representing the label’s homegrown energy of Israel, Laroz and Yuvèe deliver ‘Rhythm in Motion’– layering tribal energy with massive bass hits to create a track that balances movement and depth.  ‘Brain Delay’, from emerging American artists Broken Hill & Soraya, delivers a darker contrast to the compilation– driven by intricate drum programming and a suspenseful acid breakdown. Osadon rounds out the release with ‘Just Say’ – a nostalgic, dance-fueled anthem, designed for late nights.
Maccabi House’s latest VA brings together a truly global roster of talent, uniting rising stars with underground legends. Brazil’s Cour T. has made a name for himself with his forward-thinking approach to house music, earning support from Jamie Jones, Damian Lazarus, and The Martinez Brothers. Representing the U.S., Broken Hill blends indie dance with Detroit-style techno, securing releases on Disco Halal, Multinotes, and EXE. Joining him is one of California’s standout indie dance DJs, Soraya, who is making her production debut with the release and becoming the fifth woman to ever be signed to the label—following in the footsteps of AZZECA, Mila Journée, Mary Jane, and Roni Amitai.
Continuing on the compilation are hometown heroes such as Osadon, who has been a cornerstone of Tel Aviv’s underground scene since 2004. Returning to the label is Yuvèe (formerly PINTO.), an alum of the prestigious Academy of Music in Jerusalem, who boasts past releases on Tomorrowland Music, REALM Records, and Kinetika Music. Lastly, Laroz, a pillar of the dance music scene for over 30 years, joins the label for the first time– bringing his deep catalog of releases on Solomun’s Diynamic, Sabo’s Sol Selectas, and beyond.
Maccabi House
Since its launch in 2020, Maccabi House has rapidly become one of the most influential collectives in the dance music space. Built on a foundation of hypnotic grooves, trippy textures, and a distinctly funky twist on club music– the imprint has evolved into more than a label, but a movement—one that is taking over the world’s biggest dance floors. Label heads Adam Ten and Mita Gami have delivered this signature sound to major stages such as Coachella, III Points Festival, and Universo Parallelo, and hosted label takeovers in Los Angeles, Tulum, and Tel Aviv. This summer, the duo will bring Maccabi House to the legendary Pacha Ibiza for an all-night takeover and back to Los Angeles with Stranger Than x Factory 93– further cementing the label’s status as one of the most in-demand and trendsetting imprints in dance music today.
With its latest release, Maccabi House further solidifies itself as an international hub for cutting-edge electronic production. A true testimony to the universal language of music, Maccabi All Stars 007 showcases the imprint’s global community of artists– such as Cour T., Yuvée, Laroz,  Broken Hill, Soraya, and Osadon– who are defining the next wave of dance music.
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[EDM.com] Mersiv on How His Upcoming Red Rocks Headline Presents "A New Way to Listen to Live Music"

Beloved DJ and dubstep producer Mersiv is returning to Colorado's legendary Red Rocks Amphitheatre for his third headline show on April 4th. But this time around, innovation is also taking center stage.
Dubbed "Attack on Mars," the show's lineup promises a night of blistering bass through supporting performances from Seth David, Zen Selekta, Lumasi, Mr. Carmack and EDM.com Class of 2025 star ALLEYCVT. Factor in eight speakers placed strategically around the crowd for an immersive listening experience, and the result is an inevitably unforgettable night.
Already carried out successfully at Mersiv's performance at The Caverns in Tennessee last year, the "Audiosphere" experience refers to those speakers' placement around the crowd as well as their ability to manipulate different elements of the music as it plays. The production is the "first of its kind," according to Mersiv and AKA Event Productions' Andrew Kirschman.
And with anticipation already simmering for the "Audiosphere," it was effectively brought it to a boil when Denver residents started spotting mysterious posters on the city's streets containing Mersive's unmistakable swirl logo, the number 444 and a message: "New album live at Red Rocks 4.4.25."
We caught up with Mersiv and Kirschman to discuss the ambitious "Audiosphere" experience and what fans can expect at the show.
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EDM.com: When did you realize that the Audiosphere experience could happen for your Attack on Mars Red Rocks show, and what changed in your set preparation (musically, visually, or otherwise) after putting the plan into action? How is it similar and/or different to the Audiosphere experience at The Caverns?
Mersiv: Once we pulled it off at the Caverns, we knew it would be achievable on a larger scale—we just didn’t know where yet. And when the idea came about to do it at Red Rocks, we got so excited and started chipping away at what was possible and what wasn’t, until we ended up with the version of it that we will be deploying on April 4th. It’s different from the Caverns in many ways due to the nature and layout of Red Rocks itself, but the concept and experience will be very similar in essence.

EDM.com: Your fans on social medias know how much you appreciate a 360 set—how does the idea of a sort of spherical experience contribute to your project and creative process?
Mersiv: It’s just so much different than anything we’ve done before, and so much different from anything than any artists have done in the live space before. It’s more engaging for the fans, and a new way to listen to live music.

EDM.com: How do you anticipate the innovative "Audiosphere" to elevate and deliver your sound? How do you want it to impact the Mersiv Sound Project as a whole?
Mersiv: What we are aiming to do has not only never been done at Red Rocks, but will also be the first Mersiv set of its kind. I don’t want to give too much away, but we’re really excited to share something we have put countless hours and days into developing for the next chapter of the Mersiv Sound Project.
EDM.com: In your opinion, how does the Audiosphere experience differ from and rise above the traditional sound dispersion at Red Rocks?
Andrew Kirschman: The Audiosphere, specifically for this event, is all about additional coverage. While there will certainly be key moments where sound will travel freely up and down, left and right, for a special listening experience, the main goal is to increase coverage in the audience area to create a more even listening experience for the patrons, regardless of where they are located in the amphitheatre.
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EDM.com: What challenges do you face in creating this dynamic sound experience in an open-air venue as opposed to a contained venue like The Caverns? Is any fullness of sound lost to the wind, or do you anticipate that the rocks will amplify the effect?
Andrew Kirschman: Compared to the debut of this project at The Caverns, the biggest change is just the sheer size of the audience area. Without the use of cutting edge processing for object based mixing (in this case D&B Audiotechnik’s “Soundscape”) the listening experience would be substantially impacted with different arrival times of multiple sources for the listener.
Additionally, care has been put into ensuring that every listening position maintains some baseline of all sounds, regardless of their automation. Say a specific sound comes out of the arrays at the top of the amphitheatre, the person on the front row wouldn’t be able to hear it. To mitigate this, time has been spent to ensure that even if something may pan hard in one direction, it still has a baseline level emitting from all sources, so that content isn’t lost based on your location.
EDM.com: How do you hope this project will leave its mark on Red Rocks and the broader respective scenes of music and sound design moving forward?
Andrew Kirschman: This particular project, and our mission at AKA Event Productions in general, has been to add a new tool for creativity for the artist to express themselves. Doing this not only breathes new life into songs that may already be fan-favorites, but it also elevates the listening experience for everyone in the crowd.
This win-win scenario hopefully stimulates new ideas, inspiration and allows artists new avenues to express their creativity by adding a new layer in which they can consider their art to be represented. 
Follow Mersiv:
X: x.com/mersivsound
Instagram: instagram.com/mersivsoundproject
TikTok: tiktok.com/@mersivsound
Facebook: facebook.com/mersivsoundproject
Spotify: spoti.fi/3g72tXg
Follow AKA Event Productions:
X: x.com/akaeventpros
Instagram: instagram.com/akaeventproductions
Facebook: facebook.com/akaeventproductions

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[EDM.com] Martin Garrix Announces Long-Awaited Debut at Legendary Red Rocks Amphitheatre

Against a backdrop of towering red monoliths and star-filled Colorado skies, Martin Garrix is set to mark another milestone in his illustrious career by debuting at the iconic Red Rocks Amphitheatre.
The upcoming performance, which the Dutch EDM superstar called "an absolute dream," is scheduled for Thursday, October 25th.
Red Rocks, carved from ancient sandstone and rising dramatically against the Colorado sky, has hosted legendary performances from artists across genres, from The Beatles and Jimi Hendrix to more recent electronic music pioneers like Skrillex. The venue's natural acoustics and breathtaking views have made it a bucket-list destination for both performers and music enthusiasts.
Thats rings especially true for Garrix, who is prevalently considered the world's top DJ. His long-awaited Red Rocks debut is expected to feature his signature high-energy production alongside visual elements designed specifically for the unique amphitheatre setting. Tickets are anticipated to sell out quickly.
Garrix is launching a pre-sale tomorrow at 10am MT and fans can access it using the code FINALLYRR. The general on-sale will then take place Friday, April 4th at the same time.
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Follow Martin Garrix:
X: x.com/martingarrix
Instagram: instagram.com/martingarrix
TikTok: tiktok.com/@martingarrix
Facebook: facebook.com/martin.garrix
Spotify: spoti.fi/2YszVxQ
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[EDM.com] Suwannee Hulaween Festival Returning With ILLENIUM, Zeds Dead, LSZEE and More in 2025

The beloved Suwannee Hulaween festival is returning and bringing with it an explosive array of multi-genre heavy-hitters in 2025.
From Thursday, October 30th to Sunday, November 2nd at Spirit of the Suwannee Music Park in Live Oak, Florida, festival-goers will be treated to a one-of-a-kind experience featuring headliners across the electronic, jam and indie music scenes.
Leading the charge are returning fan-favorites ILLENIUM, Goose (performing two sets), Zeds Dead, LSZEE (LSDREAM and CloZee) and The String Cheese Incident. Other notable headliners include The Disco Biscuits, Sammy Virji, Anderson .Paak's DJ Pee .Wee and a special b2b set between Mersiv and EDM.com Class of 2025 star Tape B.
Elsewhere on this year's lineup are Gorgon City, Tinlicker and Jade Cicada, as well as sets from rising stars like Odd Mob, SIPPY, it’s murph, Mary Droppinz and YDG, among many others. Festival veterans like BLOND:ISH and PEEKABOO will also return to Live Oak to keep the party going.
And for those seeking something a bit different, Hulaween's organizers have announced the return of their 360° stage experience, OFF LIMITS, following a wildly successful debut in 2024. Located at Spirit Lake, the immersive stage will again feature underground dance music programming curated by DEF alongside with fire effects by Incendia and a Funktion-One sound system.
Tickets are on sale now. You can watch the official Hulaween 2024 aftermovie below.
Follow Suwannee Hulaween:
Instagram: instagram.com/hulaweenfl
X: x.com/hulaweenFL
Facebook: facebook.com/suwanneehulaween
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[EDM House Network] Egg London Celebrates 22nd Anniversary With Levi London Debut

While a lot of clubs in the UK have been struggling Egg London has continued to thrive and is now reaching the incredible 22-year milestone. Following on from a major renovation which has seen a series of big improvements made to the club they have now planned a huge celebration for their 22nd anniversary.
This birthday weekender sees the Australian sensation Levi heading up two nights of amazing music on his London debut. Having had a major breakthrough last year with his smash hit ‘Jump’ he’s now expanding his horizons with his first London show where he’ll have exclusive upgraded production to elevate the experience. Known for his signature blend of soul, R&B-infused house, and Afro rhythms he’s sure to bring the vibes to Egg London.
2024 saw some big changes for Egg London as it came under new leadership from Chapter 1 Creations along with undergoing an extensive renovation. The improvements go beyond just sprucing up the venue a bit as they’ve made significant upgrades to the sound system. They’ve installed the d&b Audiotechnik in the main room, the updated KV2 Audio system on the middle floor, and a reconfigured Funktion One in the Loft. This gives them one of, if not the best sound system in London.
Egg London has a great series of events coming up including:
April 5th – Chris Watson
April 12th – Molly Mouse Showcase
April 16th – Mums Against Donk
May 10th – Peach Showcase
May 17th – UKG Brunch Showcase
June 14th – Sickick
July 5th – Legacy Showcase
To get more information on all Egg London events, click the link below:
http://egglondon.co.uk/: Egg London Celebrates 22nd Anniversary With Levi London DebutYou can follow Egg London on their socials below:
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[EDM.com] Five Hours of Skrillex: Dubstep Icon Returning to Red Rocks for Marathon DJ Set

As if yesterday's release of a 34-track album wasn't enough, Skrillex has announced a five-hour performance at Colorado's Red Rocks Amphitheatre.
The marathon DJ set follows his first-ever five hour performance at the legendary open-air venue, a scintillating show he called "one of the best nights in my entire 35 years on planet Earth" back on April 29th, 2023. He's now poised to make lightning strike twice on May 13th, returning to Red Rocks after releasing his long-awaited fourth album, F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3.
The set promises another retrospective, unfiltered journey through Skrillex's ageless sound, weaving threads of dubstep, trap, house and other genres he has long bent to his will. He's sculpting a moment, proving once again why he's the Warhol of wubs—whether the graffiti agrees or not.
Skrillex is set to perform from 6:30pm to 11:30pm. Tickets will go on sale Friday, April 4th at 1pm MT and you can register for updates here.
Follow Skrillex:
X: x.com/skrillex
Instagram: instagram.com/skrillex
TikTok: tiktok.com/@skrillex
Facebook: facebook.com/skrillex
Spotify: tinyurl.com/naka2dyv
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Alan Walker To Play Open-Air “Walkerworld” Tour Finale In Central Park

Alan Walker is taking over Central Park for an exclusive concert this spring.
The masked EDM chart-topper is set to perform at the iconic NYC park on May 31, bringing the grand finale of his “Walkerworld” North American tour to City Parks’ seasonal SummerStage concert venue.
While SummerStage hosts all kinds of musical performances across each of NYC’s five boroughs, the upcoming all-ages event will mark its premier electronic show in Central Park this year, as Walker showcases his immersive live show, dancey beats and emotional melodies beneath the Manhattan skyline—a tour-ending celebration that’s fittingly been dubbed “The Last Ride.”
The Norwegian producer-DJ, whose colossal hits like “Faded” and “Alone” helped define an oft-referred-to “golden era” of mid-2010s EDM, is also sure to showcase plenty of new tunes from his latest album, Walkerworld 2.0, following its release in January.
Have a listen to Walker’s Walkerworld 2.0 below and grab your tickets to Alan Walker presents “Walkerworld: The Last Ride” at Central Park SummerStage here via Ticketmaster.


Featured image courtesy: Alan Walker.
The post Alan Walker To Play Open-Air “Walkerworld” Tour Finale In Central Park appeared first on EDM Maniac.
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