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Anna Lunoe's Debut Album "Pearl" Is an Exploration of Growth and Renewal

Prolific DJ and producer Anna Lunoe has released her debut album, Pearl,
Out now on NLV Records, Pearl marks a turning point in the career of Lunoe, who lays bare her artistry after years of prioritizing club-driven tracks. The album reflects her fascination with movement across genres and flexes her extensive production palette, which spans techno, garage, bass, rave and indie-dance.
The album offers a dynamic mix: tracks that make you dance, others that invite introspection, some that feel ecstatic and others that mesmerize. True to her forward-thinking approach to dance music, the production is cohesive, crisp and vibrant.
In a heartfelt post, Lunoe shared that creating an album once felt "completely unattainable." She described feeling like an outsider throughout her youth, finding solace in music and, eventually, a community of like-minded friends at the club.
View the original article to see embedded media.
Pearl features collaborations with Jamaican singer-songwriter Shanique Marie on "Polite," renowned British producer Totally Enormous Extinct Dinosaurs on "Right Here," UK duo Y U QT on "Only Love," Iglew on "Keeping Secrets" and J.O.S.H.U.A on "Body Heat."
Accompanying the album’s release is the music video for "The Seed." Lunoe dances against a backdrop of colorful, geometric shapes in the 90s-inspired video, perfectly capturing her album's vibrant sound.
Listen to Pearl below and find the new album on streaming platforms here.
Follow Anna Lunoe:
X: x.com/annalunoe
TikTok: tiktok.com/@annalunoe
Instagram: instagram.com/annalunoe
Facebook: facebook.com/annalunoe
Spotify: spoti.fi/2Vrs9mC
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OGUZ ANNOUNCES HIS SECOND FULL LENGTH RELEASE WITH MIXTAPE, ‘DAM SQUARE DANCE TRAX LV.1’

Amsterdam, Netherlands, October 25th, 2024 – OGUZ is releasing the second full length release of his career. Following hot on the heels of his debut album in August and his very own solo show at Amsterdam Dance Event 2024 he’s reached an all-time career high with no stopping in sight. After an epic summer, OGUZ is poised to elevate the energy even further with his upcoming mixtape, DAM SQUARE DANCE TRAX LV.1. This 11 track full length mixtape is set to be yet another major milestone in OGUZ’s flourishing career. 
Released from his very own label, 808 STUDIOS, DAM SQUARE DANCE TRAX LV.1 continues OGUZ’s rare form and everflowing creative outlet that has seen him release numerous EP’s and his debut album all in the last 18 months.
With ‘DAM SQUARE DANCE TRAX LV.1’, OGUZ ventures into new musical realms, delving more into the hard groove sound that has become all the more dominant in his sets as of late. Focusing on funky, rolling basslines and percussion. Featuring a combination of solo productions and collaborations with some of the biggest names in Techno today, including Marcel Fengler, Deborah De Luca, 6EJOU and many more.
Opening up the record is ‘DAM SQUARE DANCE ANTHEM’, a high tempo, upbeat techno pumper with an explosive melody that champions the young talent’s new sonic direction. A relentless pace and weighted drums are present as a vocal sample welcomes you into his simulation. ‘TOXIC VS MAD DOG’ follows next, a more dancefloor focused composition with darker tones from the outset. With crunching kick drums and euphoric melodic tones providing an entrancing juxtaposition. ‘808 STUDIO TOOL VS DANCER’ comes out of the blocks at a blistering pace. Doing exactly what the name suggests, this stripped back DJ tool is a mid-set, heads down roller with immense energy. With very few frills and decorative melodies, this no nonsense track sees OGUZ collaborate with close friend Dancer for the first time.
‘SIMULATION LV.5 VS MAD DOG’ is the second collaborative track with the talented Italian DJ and producer. Their second effort brings with ethereal synth keys that dance effortlessly around the heaving kick drum. ‘DEVIL NEVER LEAVES VS AIDA ARKO’ is a pounding, skittish techno driver. Fearless and unapologetic, the song gives brief moments of respite before returning to the powerhouse sounds. ‘KING OF TOMORROW VS MARCEL FENGLER VS STEYA’, featuring a sample of the 2002 classic, Love Story by Layo & Bushwacka! This collaboration has a definitive classic Techno style to it. A far cry from the enormous drums and sonic elements. Understated but effective.
‘COMPRESS2DRUMRACK3 VS RUIZ OSC1 VS DANCER’ is next up with an eardrum bursting collaboration that sees Dancer return along with Colombian born but Italian based RUIZ OSC1. Highly dynamic and fully formed, this is a hectic, high energy contribution for this full length release. ‘POSESSED VS DEBORAH DE LUCA’ an entrancing melody of rave stabs is overtaken by an overwhelming breakdown of kick drums and chaos.
‘PARAMOGUZ VS PARAMOD’. Joining forces with Rotterdam’s Paramod for their first collaborative release. High energy, dancefloor focussed sounds with powerful percussion. A powerful duo that we will no doubt see again in the future. ‘VAMPIRE EMPIRE VS 6EJOU’ longtime friend and collaborator, 6EJOU has long been a member of the 808 STUDIOS family. Vampire Empire is raw and unbridled with intense energy that is present from the outset. ‘M3SS VS SPILO VS NOBODY94’ closes out the record and brings this mixtape to a close. Ecstasy filled, an angelic vocal sample rambles throughout as the rapid synth tones sound around it.
Tracklist
DAM SQUARE DANCE ANTHEM TOXIC VS MAD DOG 808 STUDIO TOOL VS DANCER SIMULATION LV.5 VS MAD DOG DEVIL NEVER LEAVES VS AIDA ARKO KING OF TOMORROW VS MARCEL FENGLER VS STEYA COMPRESS2DRUMRACK3 VS RUIZ OSC1 VS DANCER POSESSED VS DEBORAH DE LUCA OGUZ, PARAMOD – OGUZ vs PARAMOD – PARAMOGUZ VAMPIRE EMPIRE VS 6EJOU M3SS VS SPILO VS NOBODY94 Order the digital album via this link
About OGUZ
Born and raised in the Netherlands with his roots firmly planted in Turkey, OGUZ has been forging a path in the electronic music scene for almost a decade. OGUZ has amassed a dedicated community that fuels his creative journey. His first encounters with electronic music came in 2016 when attending illegal raves and parties around Amsterdam. OGUZ was instantly drawn to the energy and excitement of electronic music. Inspired by these formative experiences, he embarked on a personal quest to carve out his own sonic path, delving into the intricacies of music production and honing his skills to perfection.
About 808 STUDIOS
Born out of the mind of the Dutch/ Turkish artist OGUZ, 808 STUDIOS is more than just a record label, It is a community for those without one and a platform for OGUZ to push his artistic expression in all of its forms. With a focus on quality and artistic expression over big names and hype. 808 STUDIOS aims to become a standard bearer in the world of art and music. Powered by OGUZ’s unbridled artistic spirit and passion for a multitude of artistic mediums, anything is possible at 808 STUDIOS.
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Gianluca Vacchi turns Valka’s single ‘VEO’ into an unstoppable remix  

Italian lifestyle icon and world-renowned DJ Gianluca Vacchi is keeping the summer alive with his latest dark mix of Colombian singer Valka’s hit single ‘VEO’. Infusing the original track with his signature Latin-flavored club sound, Vacchi brings his rhythmic expertise to create a remix that will light up dance floors worldwide. With infectious Afro-house sounds and percussions, this release is the perfect anthem for those late-night parties, leaving listeners longing for endless summer nights.
Vacchi’s dark remix elevates Valka’s soulful and passionate vocals and wraps them in seductive sub-bass and intricate percussion, creating a deep, immersive club track. The song’s lyrics, centered around the message of unconditional love, are given new life in this high-energy remix. Valka’s poignant declaration of devotion—“Una, dos y tres veces volvería a elegirte. Si volviera a nacer, vuelvo a decidirte”—is elevated by Vacchi’s production, transforming it into an electrifying celebration of love on the dance floor. The artistic vision of the remix is elevated further by the accompanying music video, which weaves a narrative centered around love while embracing the darker undertones of the mix.
With a seamless blend of heartfelt emotion and danceable rhythms, Vacchi speeds up the track, building to a powerful drop that makes the remix a true dance anthem. This is the quintessential Gianluca Vacchi sound: His remix of ‘VEO’ is sure to ignite the club scene, taking listeners on an exhilarating musical journey.
About Gianluca Vacchi
Artist, entrepreneur, and social media mogul Gianluca Vacchi is the true incarnation of how far passion and dedication can take you. After a very successful career in the business world, he took his life into another direction around his late forties, kicking off a DJ career and a widely popular role as social media influencer. While enjoying the jet set life and sharing the most outrageous snapshots of his life, Vacchi also managed to release various tracks, reaching critical acclaim by many DJ’s and dance connoisseurs. Characteristic for his style are the warm latin influences, embedded in sturdy deep melodic and Afro-house grooves, displayed from his massively supported 2017 debut single “Viento” torecent release “Cucaracha,” a collab with Alterboy and Thorn. In the meantime, Vacchi also dropped a series of pop hits, including his biggest smash “LOVE” in 2018, together with Colombian star Sebastian Yatra, and 2020 favorite “Para” with Caribbean singer Ir Sais-all racking up tens of millions of streams.
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We Need To Talk About Venjent

Whether you’ve laughed at one of his videos, thrown your body around vigorously at one of his amazing live shows or smiled when you saw his teeny-tiny glasses, Venjent has been there for us when we’ve needed him the most.
But his now-famous drum and bass memes and videos didn’t happen by accident. After years of making music and honing his production skills, he has developed a keen eye for creating captivating content; striking a tasteful formula that pulls in a crowd, whilst allowing him to flex his creativity in a real and authentic way.
After hitting 2 million followers across his channels, Venjent has taken time to reflect on the importance of his art and the reason why he wanted followers in the first place. His new album Did I Forget Something? is a reminder to himself that he started his videos on social media to promote his music, not the other way around.
He has a strong message of self-love and authenticity, and with a history of working with artists like The Prodigy and Metrik under his belt, it is clear to see that he is building something rather beautiful and exceptionally exciting for us all to be a part of.
With the new album unleashed into the wild, it felt like the perfect time to dig a little deeper into both the project, and the man behind the tiny glasses.
Venjent! How are you this week?
I’m buzzin’! My album has just come out, it’s been so well received. I’ve been working on this album for about two years so I’m so gassed to have it out now and into the world. Feeling good, feeling energised!
You’ve got 23 tracks on Did I Forget Something?. Is there a reason why there are so many?
I set myself a challenge and a goal to have an album released every year since I started doing the Venjent project, but I missed one last year because I released a meme album. So, this is basically a double album. Loads of people were like ‘You should release two albums!’ but I’ve done it how I want to do it and I’m really glad that I have. It’s a body of work from the last two years, why not put it all together?
Absolutely. Is there a particular message you’re trying to send with this project?
The title track is called ‘Did I Forget Something?’ and it’s about getting so lost in the infinite complications and stresses of life that you forget why you started doing something in the first place. That sums up the whole album for me because I’ve worked so, so hard to try and promote myself with all the memes, socials and YouTube channel that I sort of forgot why I started doing it in the first place, and that reason was to promote my music. ‘Did I Forget Something?’ is a nice message for me and hopefully a message that will resonate with other people too.
As an artist first and foremost – what else comes with having such a huge social media following?
When I started putting a lot of time and effort into my socials, I made sure it was fun so that I could carry on doing it. I didn’t want to burn out. When I used to be in bands before the Venjent project, the social media aspect of it was so draining. It was a chore. It was such hard work and felt like a lie. It didn’t feel real or authentic, it felt like I was posing. I can see this in lots of artists now and they’re getting really frustrated with it because all the labels and managers want people with social media followings. And I know why, because it’s free marketing, it’s a powerful tool. I got lucky in creating a little TV channel – that’s how I see it – a channel that’s fun and engaging, and related to my music in a way because they’re all drum and bass remixes. I guess now, I’m still having fun with it but the pressure is trying to find the balance between making memes and making music. How much do I lean into the memes, and how much do I lean back into my music and songs? It’s getting that good balance of the two. It’s kind of like I have to be a YouTuber and an artist all at the same time.
That’s a lot of work for you. How does having to do both affect your creativity?
The magic is, with the meme stuff, there’s no pressure at all. It’s like my playground. I can really play with it, get really experimental, and then when I go back to writing songs, it’s like the other side of me that can be a little more serious. The balance of the two sort of helps each other creatively. If you’re trying to create one thing too many times, over and over again, your creativity can go a bit stale. It’s really helpful for me to have both.
I feel like a lot of artists don’t put out funny content because it’s quite a revealing and scary thing to do. How did you feel when you first started posting?
Oh yeah, self-conscious! Everyone is self-conscious, really. I just sort of pushed through that and kept going, and started having more and more fun with it. I was quite fortunate that I didn’t have anything to lose. I had just quit my band and had this fresh slate. I was already making the drum and bass tunes and had some Venjent tunes there but I was like “OK, how am I going to promote these? There was no pretence there. I could just do what I wanted. I didn’t have a manager or a label telling me what to do. I was just making silly videos and being as silly and as goofy as I wanted. The more videos I did, I found a formula that worked where I enjoyed creating and other people connected with. Then that formula helped shape my brand, it sort of created itself. I’ve got to be honest though, it’s all about the little glasses! I wouldn’t be here talking to you without the little glasses.
Ha! Big up the little glasses… Your fans love how authentic you are, and how much fun you have. We are very used to years of the typically cool DJ persona. It’s refreshing that we’ve started to break away from that now.
I know what you mean, there have always been a lot of mysterious and cool DJs out there so I wanted to break down that barrier a little bit. I wanted to give people something real to believe in. Something that isn’t perfect, it’s goofy and rough around the edges, it’s just me being myself times a hundred.
Most of us are little weirdos really… Especially when we’re with our friends. So when we see other people being expressive and a bit fruity, we like it. You have an interesting history in music, working with Prodigy and Metrik, talk to us about your journey so far.
I’ve always been in bands as a drummer, that’s my history. It was my dream as a kid, to be the next big drummer. I managed to get signed to SONY with my band which was called Black Futures at the time, then it changed to Never Not Nothing. Whilst I was in that project I did some really amazing things. I did my first gig in China when I was 19. I travelled to Japan and the US. We did a full film score for a film called The Others with Maisie Williams in it. It was all very dramatic the stuff that we did, it was all really creative and I absolutely loved it. We did a couple of tracks with The Prodigy too. ‘Rok-Weiler’ was the track that I named personally. My guitarist was like ‘That’s such a sh*t name, mate.’ Then Liam liked it and they kept it. Which was pretty sweet. Then during COVID, I fell out of love with being in a band, I felt like I was pretending to be someone I wasn’t, so we decided to split, which was like getting a divorce. After that, I thought, well what do I love doing? I make drum and bass all the time so I might as well try this Venjent thing out and have a bit of fun with it, and then that ended up kicking off! I did some ghostwriting with Metrik on the track ‘Immortal’ too, and wrote the topline and lyrics which was pretty cool. I’ve got to thank my history for Venjent taking off how it did, for giving me the tools to make the videos and the music, to produce content and memes. I’m really grateful for my journey. I have so much creative freedom now, I’m not signed, I release all my tracks through my mate’s label Chilli Tribe and we have such an amazing, supportive culture. Now I’m playing loads of countries and playing in places I never thought I would. It’s crazy. 
Sounds like quite a whirlwind few years. Do you have any goals you’re working towards with the Venjent project?
It has been a whirlwind, and also within that whirlwind, I did a live band show in London at Village Underground which was awesome. We sold it out. We had a full band, full visual show and it was amazing but it was so much work to get it done that I haven’t done another since. But, that is my future goal, to take it into a live band setting again because I do miss it from my younger days. I love The Prodigy and Pendulum, they’re some of my favourite bands growing up. I want to bring back that energy and live band crossover. So that is one of my goals, to start touring more as a band in the future.
You have a constant thread of positivity, self-love and authenticity throughout your music and branding. Why is this messaging so important to you?
Because it’s the only thing that really matters to me, to be honest. If you live by some simple philosophies your life can be so much more manageable. The philosophy of “Love Is The Answer”, I can’t fault in any area of life, personally. My music will always have that as an underlying message. That feeling helps me create in a way that is positive, and people can then receive it in a way which is positive too. It’s quite a powerful thing to have that message. I was inspired by a podcast when I first started out called ‘Create Art, Not Content’, which is a really cool podcast. The main thing I got from it was: know what your message is and everything will fall into place from there. It really helped me. It also helped me with the socials too. I thought, OK, I’m not creating content, I’m creating art. Even if it’s a joke, it’s still art, it still has a deeper underlying message.
It’s all about the mindset…
It really is. Everyone has problems, everyone needs a bit of help to try and make their lives that little bit easier and music, I think, is the most powerful tool to do that.
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Murphy and Rad Mils' "Wake Up" Is a Dancefloor Dream You Can't Shake Off

Canadian dance music artist Murphy and Moroccan producer Rad Mils have dropped a new collaboration, "Wake Up," a house track that's as fierce as it is fragile.
Wrapped in haunting production, "Wake Up" is both an open wound and an invitation to dance. Mils delivers propulsive four-on-the-floor beats while Murphy's lyricism conjures the hollow, too-familiar echo of morning-after loneliness.
Exploring disconnection and detachment, Murphy's anguished vocals float like cigarette smoke in strobe lights, mirroring the cyclical nature of both dance music and grief. Together with Mils, she's spun a delicate web where euphoria and melancholy coexist, making it a perfect track for losing yourself and, paradoxically, finding something deep.
To that end, "Wake Up" is dance music for the comedown, when the bass still reverberates in your bones but your mind's already drifting toward someone who isn't there. Wrapped in haunting production, it's the sound of glitter mixing with the salt of tears on a sweaty cheekbone—beautiful, messy and undeniably human.
Listen to "Wake Up" below and find the new single on streaming platforms here.
Follow Murphy:
Instagram: instagram.com/heyimmurphy
TikTok: tiktok.com/@heyimmurphy
Spotify: tinyurl.com/fe49ssvh
Follow Rad Mils:
X: x.com/radmilsmusic
Instagram: instagram.com/radmilsmusic
Facebook: facebook.com/radmilsmusic
Spotify: tinyurl.com/bdf5k76m
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Celebrating a Decade of “Are You With Me” – Lost Frequencies

Today marks the 10th anniversary of “Are You With Me,” the breakout hit from Belgian DJ and producer Lost Frequencies, released on October 24, 2014. This track catapulted him to international fame, blending elements of tropical house with catchy pop melodies.
Originally written and recorded by American country artist Easton Corbin, “Are You With Me” started as a country ballad featured on his album. Lost Frequencies’ remix transformed the song into an infectious dance anthem that resonated with a wider audience. Its uplifting beat, characterized by a smooth, laid-back melody and rhythmic claps, created an ideal backdrop for summer parties and festivals.
The song’s popularity skyrocketed, earning achievements like the Echo Award for Song of the Year and International Dance . It achieved gold and platinum certifications in multiple countries, reflecting its massive appeal. The catchy chorus and vibrant production style helped solidify “Are You With Me” as a timeless classic in electronic music, still celebrated a decade later.
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BHM: Who Say Reload

As we wrap up our Black History Month series, we’re looking back on what’s been an incredible journey through the roots of bass music. Partnering with Velocity Press has been eye-opening, and we’ve loved every second of diving into the rich, powerful history behind the sounds that move us. Huge thanks to Velocity Press.
This week’s extract is from Who Say Reload by Paul Terzulli, an epic oral history that puts you right in the studio with the legends of jungle and drum and bass. Through the voices of Goldie, DJ Hype, Roni Size, Andy C, 4 Hero, and more, Who Say Reload explores the sounds, samples, machines, and creative energy that fueled some of the most iconic records in jungle and drum and bass. It’s the ultimate insight into the influences, environment, and happy accidents behind each classic.
An Extract From Who Say Reload by Paul Terzulli
Ragga Twins – Spliffhead (Shut Up & Dance Records, 1990)
Much is made of the influence of reggae sound systems in the history of drum n bass. The Ragga Twins are where that crossover begins. Performing for various sounds around London during the 80s, Flinty Badman and Deman Rocker linked up with Shut Up & Dance and the turn of the decade and 1990 saw the release of the ground-breaking Spliffhead, a fusion of uptempo breaks and reggae that gave birth to a whole new era in British music…
Flinty: We had been part of a reggae sound system called Unity but in 1989 we decided that would be our last year on the sound as we weren’t releasing enough records and we wanted to do more in the studio. We didn’t think we’d end up doing acid house music though. That was when Smiley from Shut Up & Dance came to see us as he had sampled Deman’s voice from a tape of the sound system for their track Lamborghini. He asked us what he could do in return for using the sample. 
We already knew them as we went to primary school with PJ, and Smiley had a sound system that played against us when we were teenagers. When they met Deman, he said he was going to bring me in with him and we went into it wanting to be solo artists: Deman Rocker and Flinty Badman each doing our own tunes. It was their idea for us to come together as a joint act. They had been in the game for a couple of years and had some big tunes, so we went with it and came up with the name Ragga Twins.
We weren’t into their music to begin with. We had heard about acid house, and it was in the news at the time but all we knew was that there were people taking ecstasy and having a good time! A few of our mates were going out and didn’t know about our tunes with Shut Up & Dance so they’d be telling us they heard our voices in the raves. We didn’t even know they were being played at that point. When we first started doing PAs we would leave straight after and end up at a reggae dance or just go home. We weren’t sticking around to hear the music, but one day there was a show at the Essex County Show Ground with us and The Prodigy headlining. It was an outdoor event and a nice sunny day so we decided to stay and see what it was all about. We ended up staying until the end; no Es, just smoked weed and danced the night away. I think it finished at 6am. From then on we didn’t look back, I think we were going raving every weekend.
PJ and Smiley would do all the tracks. They had already done 5, 6, 7, 8 and Dance Before The Police Come before we got there so as far as we were concerned they knew what they were doing, and we didn’t get involved with any of the music side, we just came in as vocalists. We had a mix of new lyrics and some stuff from when we were chatting on the sound. As reggae MCs we wrote lyrics and would chat them live over a certain riddim; then what would happen is you would get that riddim and release it on vinyl because people are feeling it when they hear it in the dance every week. So that was how we worked when we came over to Shut Up & Dance; we had lyrics people knew from the raves when we were freestyling, so then we can put it on a record. For Ragga Trip, Deman already had the lyrics about acid raves and ecstasy tablets so that fit in well with what we were doing. 
It opened up a whole new audience for us, and it also opened up a whole new audience for reggae music. People wanted to know where the samples were coming from. They started to feel reggae music which was predominantly black people’s music. The kids in the suburbs didn’t have sound systems where they lived so when they started to hear us it was like a blessing for them and something different. We didn’t even realise how big it was and then the album [Reggae Owes Me Money] got to number 26 in the national charts. At the time we were fresh into learning how the music industry works. Back in the 80s when we were doing reggae you would release the tune and wouldn’t see the producer again, you didn’t get no royalty statement, nothing!
When PJ and Smiley ran into problems with Raving I’m Raving [the duo were subject to legal action by US singer Marc Cohn for sampling his song Walking In Memphis without permission] they got hit hard in the pocket and that put a stop to our second album. They told us they couldn’t afford to release it so we parted ways and signed to Positiva/EMI in 1994. There was a group called US3 who had a big hit with a track called Cantaloop, and they started doing some production for us. We did a few demos and Positiva liked what they heard. It wasn’t their usual thing but they said they could work it, but in the end, they couldn’t! It was a good album, people loved it and the build-up to releasing it was on point but for some reason, they held it back and then by the time they put it out, the hype had died down. That was another learning experience for us and we decided once that contract had run out we wouldn’t stay with them.
Through that time we were still going to jungle raves and performing as MCs. The label didn’t like it and told us we shouldn’t do it. We tried to tell them we had a big fan base in that scene and that’s what we should use but they had different ideas. They did some remixes but we should’ve had an original jungle track at that time. With EMI’s backing, it could’ve been big but they had other ideas. Nick Halkes [Positiva label manager] is a good guy though and we still talk. Later on, they ended up putting out some jungle tunes. We were always ahead of our time.
In the early days, around 1992, MCs would mostly just host and be behind the DJ. Me and my brother would go to Roast and would just grab the mic and go to the front of the stage like we would in reggae, and that started the evolution of the MC being a frontman. We did Kool FM which was owned by Eastman who had a sound system back in the day, so that connection was there already. We went up to the station with Navigator and started chatting over the beats and people that knew us from reggae would start locking in to Kool. A good jungle scene started developing and there were more black people coming to the raves and more producers were using reggae samples. We were bringing the wheel-ups and reggae slang. We definitely had a big influence in building the scene on the MC side of things.
I had no idea those early tunes would do that type of damage and still be doing damage now, thirty years on, and people still love that album. When we first came out, we had no idea it would have an impact like that. Respect goes to Shut Up & Dance.
PJ from Shut Up & Dance: We were listening to hip hop like early Marley Marl, LL Cool J, Whodini, Run DMC, Kool G Rap, Big Daddy Kane and a lot of Public Enemy. We were really into the Bomb Squad’s production. We had a sound system called Heatwave at the time and we played all different kinds of music. We played reggae and rare groove, and then when hip hop took the UK by storm, we went out and bought some Technics. We had DJ Hype on the decks cutting it up with me and Smiley rapping over the top and Smiley’s brother Daddy Earl is a reggae MC so he’d be up there too. We had love for all types of music and when we moved into production we carried on with that and experimented and put it all in the mix.
We had a few studio sessions where we tried out some engineers but none of them were really any good. One day we worked with a guy called Alex, and he went on to be our engineer for years. He showed us the ropes on the technical side but as far as how to put tunes together, we just learned as we went along. This was in the late 80s and we weren’t getting any love from the UK hip hop scene. There were stations like LWR and Dave Pearce had his rap show, and there was Westwood. We’d send in our demos, but they wouldn’t play it, so we got fed up and decided to put out a tune out ourselves, which was 5, 6, 7, 8. We pressed up 500 copies and drove around the West End and left a box in each record shop.
Smiley had a younger brother who was a raver, which we weren’t into at the time, and he told us that 5, 6, 7, 8 was getting caned in some club. That club turned out to be Dungeons on Lea Bridge Road in East London, so we went down there and the tune got played and it smashed it. It just tore the place down and we realised that we had something. 
That went well and once we had that heat DJs would come to us asking for an exclusive on our next tune, or trying to get it upfront before it hit the shops. Obviously, Hype got a lot of our stuff before anyone else. Really it was the pirate stations that made us; we were lucky we got a lot of love there as they were very important in getting the music out to the people. Back in the day, you could tune across the FM dial and with every turn you’d find another station. There must have been 20 to 30 pirate stations and they’d all be playing our stuff.
After our first couple of singles, we started hearing what people like 4 Hero and Rebel MC were doing. As we’d been so influenced by hip hop, we had this whole breakbeat sound and we wanted it to be danceable so we started speeding the breaks up. We didn’t just want slow b-boy rap because we’d been into body popping and breaking. We wanted something a bit faster.
We didn’t really like the piano stuff. We liked the odd tune but on the whole, we kind of hated it. We decided we’d do our thing with raw breaks and very reggae-influenced basslines and melodies. That’s how we came to sign the Ragga Twins. We knew them from the sound system days and as our production went more in that reggae direction we thought we should try to use some reggae MCs. At the time it was just an experiment as no one was doing anything like that. The records we made with Ragga Twins are definitely the first things we made that had a direct influence on what would become jungle music. We were the first to fuse sped up breakbeats with reggae vocals, and when our sound became big people started to copy that.
As we got more successful money was coming in, and we had a licence to be more experimental with the music, so we ended up signing Nicolette which was more jazz-influenced. We held an audition at our studio one day and she came down. She was from Cardiff but happened to be in London. She sang Summertime by Billie Holiday over a raw breakbeat production and we realised we had something. We would experiment with each artist and try and show a different side of us. The soulful side, the jazzy side, the reggae side. That’s what it was all about.
We made the decision to stay working in the studio producing music rather than trying to DJ at the same time. That kind of helped the Ragga Twins get big as when people wanted to book us we’d send them out instead, and it meant people could put a face to the music.
We’d go along to the raves with Hype. As a producer, you have to go out and see what your tune is doing and what the vibe is. As we moved into that jungle era, we set up a sister label called Red Light which was initially just to give Hype dubplates. If he was playing at Fever or wherever that weekend we’d have a dubplate ready for him to collect on the Friday. Then people started coming to us asking what the tunes were so we started putting them out but it was very limited edition and very low key. 
Obviously, at the time we were aware people were beginning to copy our sound, but then we really noticed our influence years later when DJs and producers tell us they got into this because of Shut Up & Dance. Some of these people are big names now but the first record they bought was one of ours. When we look back we realise we were part of something and we were literally there at the start, and that it was something unique that came out of the UK.

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Carl Cox Announces Final Tour Dates of 2024

Carl Cox is set to grace the decks in several major cities across the US and Mexico, closing out 2024 with a series of shows that promise both festival-scale spectacle and intimate club experiences alike. 
The techno icon's performances will primarily highlight his pioneering "Hybrid Live" format, a boundary-pushing blend of live performance elements and tried-and-true DJing that has become a fan-favorite since 2022's Electronic Generations album. Fans can anticipate a powerful setlist weaving together the inventive energy of Cox's latest work with the nostalgia of his established classics.
In Los Angeles, Cox will debut his "in-the-round" set at Shrine Expo Hall, inviting fans into an all-encompassing 360° experience. Incorporating his "Hybrid Live" setup into the format, he's positioned to deliver a show that brings his North American fans closer to the action in ways they've not seen previously.
Other notable stops on the tour include a rare appearance in Las Vegas at Zouk Nightclub, which was named EDM.com's best club of 2023. Cox's Miami date at the iconic Club Space promises an unforgettable experience on its newly renovated dancefloor, a venue that has been a historical touchpoint for some of his most memorable sets.
You can find Cox's final tour dates of 2024 below and purchase tickets here.
November 8: EDC Orlando b2b with Vintage Culture [DJ Set] November 9: Shrine Expo Hall, Los Angeles [Hybrid Set 360° in-the-round] November 15: Club Space, Miami, [DJ Set] November 16: Seismic Festival, Austin, [Hybrid Set] November 17: Dreamfields Festival, Mexico, [Hybrid Set] November 22: Better Together Festival, Phoenix, [DJ Set] November 24: Zouk Nightclub, Las Vegas, [DJ Set] Follow Carl Cox:
Facebook: facebook.com/carlcox247
Twitter: twitter.com/Carl_Cox
Instagram: instagram.com/carlcoxofficial
Spotify: spoti.fi/3oJKvw8
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Alesso's "Lonely Heart" Lures Listeners Into a Hypnotic Groove With a Tech House Twist

Alesso's latest single, "Lonely Heart," emerges with more than just a beat to move to—it’s a journey into a deeper, tech house dimension under his new Body Hi alias.
The track is a reimagined take on Yes' 1983 hit, "Owner of a Lonely Heart," and marks a transformative shift for the Swedish dance music superstar, incorporating a sleek, minimalistic rhythm that draws us into its groove-inducing orbit. Body Hi was introduced live to fans with a special DJ set at this year's Do LaB stage at Coachella.
The new single embodies themes of connection and authenticity, inviting listeners to live their truth on the dancefloor. With John Alto lending his vocals, Alesso reshapes the familiar tune, breathing into it a longing that echoes through layers of atmospheric production. Psychedelic risers elevate Alto’s voice to the rafters, layered over a tight house groove laced with magnetic synth stabs. 
The track's mantra "move yourself" echoes the call to dive headfirst into rhythm and collective dance. With minimal vocal chops and stadium reverb, the track's arrangement reflects Alesso's love for four-on-the-floor beats. Body Hi serves as his outlet for this house-heavy, introspective production, offering a stark contrast to the anthemic and expansive crescendos that have made him a mainstay on the world’s biggest stages for over a decade.
Listen to "Lonely Heart" below and find the new collaboration on streaming services here.
Follow Alesso:
X: x.com/alesso
Instagram: instagram.com/alesso
TikTok: tiktok.com/@alesso
Facebook: facebook.com/alessoofficial
Spotify: spoti.fi/3kHFy5c
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San Holo, Daniel Allan and Evalyn Craft Dreamy Ode to the Present With "It's All Happening"

Sometimes life just has a way of reminding you that "it’s all happening." San Holo, Daniel Allan and Evalyn have transformed that feeling into a shimmering dance track. 
The trio's new collaboration fuses dreamy house production with a surge of euphoric energy, embracing the joy of living in the moment and delivering a heady anthem. With its playful vocal delivery and floating melody, the song captures the magic of those blink-and-you’ll-miss-it moments when life seems too good to be true.
The song carries a unique personal meaning for both producers. To Allan, it's a reflection of a life in rapid bloom; for Holo, it resonates with the endless joy of collaboration. Allan recalls meeting the influential bitbird founder back in 2022, a pivotal moment when the two artists connected deeply over their shared love of electronic music.
"San was one of my first real friends in LA, and he came up to me after a show saying he was a fan. That was huge for me," Allan says. The song itself became a reflection of that friendship, capturing a sense of awe and inspiration both in its lyrics and production.
Recorded over the past year, "it’s all happening" is embedded with personal memories. Allan says part of the track’s charm even comes from an old piano he found on Facebook Marketplace, one that clattered dramatically on his driveway during delivery. The seemingly unfixable piano, he explains, brought a raw and organic feel to the arrangement.
Listen to "it’s all happening" below and find the new single on streaming services here.  
Follow San Holo:
X: x.com/sanholobeats
TikTok: tiktok.com/@sanholobeats
Instagram: instagram.com/sanholobeats
Facebook: facebook.com/sanholobeats
Spotify: spoti.fi/3e4wyEG
Follow Danial Allan:
X: x.com/imdanielallan
TikTok: tiktok.com/@danielallanmusic
Instagram: instagram.com/danielallanmusic
Facebook: facebook.com/danielallanmusic
Spotify: spoti.fi/3f26NWR
Follow Evalyn:
X: x.com/thisisevalyn
Instagram: instagram.com/thisisevalyn
Facebook: facebook.com/thisisevalyn
Spotify: tinyurl.com/ewm9b5tp
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Listen to Low Mileage's Emotive bitbird Debut, "Feel This Way"

Low Mileage's new single, "Feel This Way," captures the sense of wild freedom that only dance music can conjure.
The producer's debut on bitbird lives up to his unique brand of emotive electronica while at the same time identifying new inroads in his creative direction. Anchored by spritely, invigorating rhythms that feel almost wind-borne, the track is built to propel listeners forward. From its opening bars, a heart-racing beat lays the foundation, pulling you into a world where time stands still and the rush of the present moment takes over.
With playful, pitched vocals leading the charge, Mileage shapes an atmosphere that’s both whimsical and intense. There's a high-speed spark in his production, an ecstatic liveliness enhanced by fluttering synths that ripple like beams of sunlight hitting water. These sounds twist and fold over the track's bassline, creating a sense of euphoria that feels both grounding and liberating – a call to embrace freedom without hesitation.
Whether you’re on the dancefloor or in your headphones, "Feel This Way" is a visceral experience that invites you to embrace freedom without hesitation. Listen to the new single below and find it on streaming services here.

Follow Low Mileage:
Instagram: instagram.com/lowmileagemusic
TikTok: tiktok.com/@lowmileagemusic
X: x.com/lowmileagemusic
Facebook: facebook.com/lowmileagemusic
Spotify: tinyurl.com/mr2e3jvx

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Listen to "The End" of RL Grime's Annual Halloween Mixes

At this point, we might as well cancel the holiday entirely.
What started as a simple mix RL Grime uploaded to SoundCloud in 2012 has since spawned arena events and become the official start of the Halloween season for electronic fans all around the world. It's been a great 13 years, but the producer revealed that today's release, "Halloween XIII: The End," will be the series' final entry.
"13 years of terror," Grime said. "What a ride it's been."
Like previous iterations, the mix features originals from his haunted library of trap classics, remixes, unreleased collaborations and even spooky surprises. Alongside the music, each mix also contains a special guest appearance from a celebrity. 
In the past, we've seen Tony Hawk, Guy Fieri, Shaquille O'Neal, Bruce Buffer, Neil deGrasse Tyson, Hannibal Buress, T-Pain and many more. Keeping with tradition, the 13th and final celebrity guest to join RL Grime is none other than Jack Black.
"I listened to your Halloween mixtape on my drive here. Dude, it's insane," Black says in the intro. "I f***ing love it. Is it really true this is your last one? That must be why it goes so hard."
Listen to RL Grime's final Halloween mix, "XIII: The End," below.
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UNDERMOON & Beat Inside Reimagine “White Horse” for the Techno Generation

With their unique take on “White Horse,” Ukrainian electronic powerhouses UNDERMOON and Beat Inside have turned the 1983 Laid Back anthem into a booming melodic techno statement.
Four decades after the Danish pair Laid Back first brought the world those legendary vocals, and years after Wonderland Avenue’s electro rebirth in the 2000s, this fresh rendition slices through the shroud of nostalgia with razor-sharp clarity. The production team has created something honoring the original while firmly laying its flag in modern techno land.
The track opens with an angry, growling bassline that instantly sets this apart from your parents’ “White Horse.” The masterclass in tension-building that follows is modular analog synth work that recreates the familiar melody via a dystopian perspective. The creators show amazing patience in their arrangement, allowing the pressure to grow through well-produced breaks that feel like deep breaths before the plunge.
The way Undermoon and Beat Inside handle the track’s development is maybe most remarkable. The synth patterns quicken with mechanical accuracy, generating an urgency not seen in the laid-back groove of the original. When the drop at last comes, it delivers in spades—sharp, cutting synthesizers mix with those eerie vocal fragments to produce a peak-time moment that seems both nostalgic and yet modern.
This rereading not only changes the sonic palette but also essentially recognizes what made the original piece successful while many classics-gone-techno fall short. The hypnotic quality stays the same even as the speed and intensity leap ahead. This partnership confidently treads the fine line between respecting a classic and producing something fresh.
For those who recall dancing to the Wonderland Avenue rendition in the 2000s, this fresh take provides an interesting window on the evolution of electronic music. This version is ideal for younger viewers learning “White Horse” for the first time since it reflects the eternal appeal of a real classic while speaking the language of modern techno.
More than just a basic update, Undermoon and Beat Inside have done—they have bridged the past and present of electronic music to show certain horses never cease running.

The post UNDERMOON & Beat Inside Reimagine “White Horse” for the Techno Generation appeared first on The Groove Cartel.
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Darude’s Sandstorm Turns 25: Celebrating the Timeless Anthem that Defined Trance Music

In the world of electronic dance music, few tracks have achieved the iconic status and enduring influence of Darude’s ‘Sandstorm’. Released 25 years ago, this trance classic has transcended generations, captivating listeners and dancefloors alike with its electrifying beats and unmistakable melody. ‘Sandstorm’ remains one of the most recognizable tracks in EDM history, boasting over 500 million streams and earning gold certification in the US.
‘Sandstorm’ isn’t just a track; it’s a cultural phenomenon that has cemented Darude’s place in the electronic music hall of fame. Its pulsing rhythm and infectious energy quickly propelled it to global fame, earning it a permanent spot in DJ sets, festivals, and even meme culture. However, Darude’s career is far from limited to this single anthem. With 15 other singles, four albums, and over 35 remixes, Darude’s contributions to electronic music extend well beyond ‘Sandstorm’. Known for his dynamic DJ sets, he has performed in over 70 countries, blending progressive and uplifting trance, house, techno, and even occasional dubstep elements to energize audiences worldwide.
As we mark the 25th anniversary of ‘Sandstorm’, we celebrate not only a timeless track but also Darude’s lasting influence on the EDM landscape. This anthem is more than a song; it’s a testament to the power of electronic music to transcend time and inspire new generations.
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Calvin Harris’ ’18 Months’ Turns 12 Years Old

Timeless hits, underrated tracks and crazy collaborations, the perfect way to describe Calvin Harris‘ third album, ’18 Months.’ Turning twelve years old today, the album and its songs have toured all over the world making it to the biggest stages such as EDC, Ultra Miami, and Creamfields. Besides being played at some of the biggest festivals out there, his music has also done well on radio and streaming platforms. ‘We Found Love’ together with Rihanna is now Calvin’s third most streamed song with over 1,830 billion streams, while ‘Feel So Close’ sits at number eight with over 1,125 billion streams.
’18 Months’ and its featured artists
Calvin Harris has united powers with some big names in the music world to create one of the greatest albums ever released. Artists like Nicky Romero, Ellie Goulding, Tinie Tempah and Dillon Francis are featured on the ’18 Months’ album, but the most significant collaboration remains ‘We Found Love’ with Rihanna, an all-time classic that has opened new doors for the Scottish superstar DJ. “When I first started, it was difficult to get people on a track, and then, as soon as the Rihanna thing came out, everything was blown wide open. I think everyone that I wanted to work with said yes,” mentioned Calvin in an interview with Fuse TV where he spoke about the difficulty of getting artists to collaborate with him.
Calvin Harris as a singer
As a teenager, he began his musical career by writing and recording songs in his bedroom. Before ’18 Months,’ Calvin released two other albums in which he was also the lead singer. For his third album, Harris preferred focusing on producing records rather than doing the singing part too. The only track on the ’18 Months’ album in which Calvin Harris is also performing vocally is ‘Feel So Close,’ a song that the DJ plays in his shows to this date.
What does ’18 Months’ stand for
’18 Months’ represents Calvin’s shift from a singer and producer to a superstar DJ who in 2015 was named the 30th richest British music millionaire by The Sunday Times Rich List. The release is named ’18 Months’ as according to Harris, “it was roughly 18 months since the first song on the album came out.” The song is known as ‘Bounce’ and is featuring the vocals of American singer, Kelis.
Celebrate the 12th anniversary of ’18 Months’ by Calvin Harris by streaming the album below.
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Highly Anticipated ‘Leap 96’ EP by Sam Silver & ALRT Finally Released

Sam Silver and ALRT, collectively known as Leap 96, have just dropped their eagerly awaited collaborative, eponymous EP ‘Leap 96’ via the LA-based label, TH3RD BRAIN Records. The EP features four standout tracks, including the already successful singles ‘Back It Up’, ‘Again’, ‘Downtime’, and the EP’s focus single ‘1999’.
Leap 96 takes listeners on a nostalgic yet fresh journey, drawing inspiration from the late 90s and early 2000s, when genres like Garage and Drum and Bass began dominating the rave scene. The project fuses vocal-driven dance music with both uptempo and downtempo settings, blending old-school rave vibes with contemporary electronic sounds.
The EP’s title ‘Leap 96’ is deeply personal, signifying the leap year that falls between Sam Silver and ALRT’s birth years. As the two artists explain, this symbolism extends into the project’s sonic direction, melding ALRT’s background in the old-school rave scene with Sam Silver’s influences from new-age garage, rap, and ethereal house. Together, they’ve crafted a sound that spans garage, rap, DnB, and vocals with an indie pop twist.
What began as a casual studio session in Hollywood, California, where ALRT is a co-founder alongside renowned artist and producer JOYRYDE, quickly evolved into a two-month co-production endeavor. The creative synergy between Sam Silver and ALRT produced not only the four tracks on the EP but also several works-in-progress, setting the stage for future releases.
The EP’s final track, ‘1999’, is ready for prime time play. Inspired by French house and infused with 90s nostalgia, the production merges house, garage, and grime elements to deliver a unique and modern twist on the familiar.
Sam Silver shares: “‘Leap 96’ is a fresh chapter in my musical journey, a vibrant exploration that redefines how I approach sound and creativity. It’s about embracing the fun and breaking the mold, inviting listeners into a dynamic, playful experience.”
ALRT adds: “‘1999’ is an all-around banger. It combines a mixture of French house, UK garage, and deep dubstep, it has it all! At first, we weren’t sure if it would make the EP, but once it was finished, we knew it had to be a part of ‘Leap 96’. This one has something for everyone, and I’m already playing it live. It’s going to rock the dance floors for sure.”
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We picked 10 of the most influential and strangest music videos of all time

We decided last week in the Decoded office to have a Youtube day of the best, most influential and strangest music videos we could find…which got us thinking. So here are 10 of those choices from a truly inspired day of musical awakening for all of us.
1. Mr Oizo – Flat Eric
Frenchman Mr Oizo or Quentin Dupieux to his friends released Flat Beat around 1999 amid the mighty Dutch Trance era of underground dance. Its success we feel was mainly down to this brilliant video featuring the larger-than-life Flat Eric puppet. The track was later used in a series of Levi jeans adverts and was for Quentin and the French techno scene a huge crossover hit, it even reached number 1 in the UK charts that year. To date, over 3 million copies of the track have been sold.
2. Fatboy Slim – Weapon of Choice
The one where Christopher Walken flies through the lobby of a hotel and dances on the walls! Directed by Spike Jonze this video won 6 awards at the 2001 MTV Video Music Awards show and Walken, a trained dancer in musical theatre won Best Choreography. VH1 ranked it as the ‘most watched’ clip in 2002. It peaked at Number 37 in the UK Charts. The other A side track Star 69 also did rather well. But mostly because it had swearing in it!
3. Beastie Boys – Sabotage
Another Spike Jonze masterpiece. This one a homage to classic cop films of the ’70s Hawaii Five-O, The Streets of San Francisco and Starsky & Hutch. It just a really fun, tongue in cheek video where 3 guys get to dress up and act stupid on camera. Who wouldn’t want that job? Also have a look out for an ‘uncut’ version featuring a mock interview by Jonzes’ then wife Sofia Coppola.
4. UNKLE feat. Thom Yorke – Rabbit in you Headlights
Its no secret that Radiohead frontman Thom Yorke wanted to be in a band like Bristol trip hoppers Massive Attack, just look at the musical direction Radiohead have taken in the past 10 years. (Idioteque was sublime btw Thom) Here his moribund vocal delivery is used to great effect amidst the samples and hip hop beats. Taken from their debut album Psyence Fiction, this video directed by Jonathan Glazer won critical acclaim in 1998. In 1999, it won Best International video of the Year at the MVPA awards and in 2006 Stylus Magazine ranked it as Number one in a poll of all time best music videos. The video uses a technique which Glazer would later use for Richard Ashcrofts track ‘Song for the Lovers’ video, being shot in real time and allowing the narrative sounds produced by objects and characters to be audible above the music.
5. Aphex Twin – Come to Daddy
Time for something really weird – Chris Cunningham and Aphex Twin. The Come to Daddy EP was released in 1997 and peaked in the UK charts at number 36. Richard D. James says of the single “Come to Daddy came about while I was just hanging around my house, getting pissed and doing this crappy death metal jingle. Then it got marketed and a video was made, and this little idea that I had, which was a joke, turned into something huge. It wasn’t right at all”
Video director Chris Cunningham shot this on the same council estate as Stanley Kubricks seminal ‘A Clockwork Orange’ much of which is now demolished. It is the only video voted by Channel 4 viewers in the UK for the program ‘100 Greatest Scary Moments’ and Pitchfork named it as Number One Video of the 1990’s.
6. The Avalanches – Frontier Psychiatrist
Staying with the weirdness, Australian electronic music band The Avalanches. The second single taken from the album ‘Since I Left You’ reached number 18 in the UK charts and 49 in the band’s native Australia. A real triumph of sampling and scratching, the song won plaudits from all quarters, not least Mathew Horton, who in his book ‘1001 Songs You Must Hear Before You Die describes the whole album as “…busy, daft, composed of countless unconnected parts, yet somehow entirely natural as a whole.” And that pretty much surmises the video as well, just don’t watch it if you’ve taken a load of acid (not that we condone that kinda of behaviour!)
7. Dirty Vegas – Days Go By
One for the break dancers among you. The performance occurs in front of Chroni’s Famous Sandwich Shop in East LA and tells the story of a dancer who shows up once a year and dances all day from sunrise to sunset. He dances in hopes of bringing back a lost love, who left him because he couldn’t stop dancing. Grammy award-winning Dirty Vegas peaked at Number 16 in 2002 with this homage to long-lost love and was a huge crossover hit for the band. It was also later used for a Mitsubishi car advert and famously parodied by Dave Chapelle in a skit on his comedy show.
8. Squarepusher – Come On My Selector
Squarepusher, real name Tom Jenkinson many argue created the sub genre Breakcore. This track taken from the 1997 Warp Records album ‘Big Loada’ Originally a 3.26 track on the album, director Chris Cunningham in an homage to Japanese film noir stretches things out to over 7 minutes of twisted beat mashery. Come on my Selector has unsurprisingly become one of Squarepushers best know tracks.
9. Daft Punk – Da Funk
In an interview with Fredrik Strage for Swedish magazine Pop #23, Bangalter revealed that “Da Funk” was made after listening to United States west coast G-Funk for weeks.
“It was around the time Warren G – Regulate was released and we wanted to make some sort of gangsta-rap and tried to murk our sounds as much as possible. However no one has ever compared it to hip-hop. We’ve heard that the drums sounds like Queen or The Clash, the melody is reminiscent of Giorgio Moroder and the synthesizers sound like electro and thousand of other comparisons. No one agree with us that it sounds like hip-hop“
Another Spike Jonze video features a walking talking dog with a ghetto blaster on the street s of New York city. Of the video Bangalter says, “There’s no story. It is just a man-dog walking with a ghetto-blaster in New York. The rest is not meant to say anything. People are trying to explain it: Is it about human tolerance? Integration? Urbanism? There’s really no message. There will be a sequel someday.”
10. M83 – Lower Your Eyelids To Die With The Sun
M83 are a French shoe gaze band formed in 2001 by Anthony Gonzalez and Nicolas Fromageau. The band is named after the galaxy of the same name, and its musical aesthetic is characterised by extensive use of reverb effects and lyrics spoken softly over loud instruments. Taken from their sublime album ‘Before the Dawn Heals Us’ this track has been used by Adam Freeland on his amazing ‘Back To Mine’ album. M83 has gone on to write 5 studio albums, tour the world and are now getting into soundtracks, most notably the 2013 film Oblivion starring Tom Cruise. This is a beautiful, emotion-filled visual feast which perfectly encapsulates the melancholy of the music.

The post We picked 10 of the most influential and strangest music videos of all time appeared first on Decoded Magazine.
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SIDEPIECE Brings Their Signature Heat to Toolroom with ‘Sex Sells’

Toolroom Records especially welcomes SIDEPIECE to their esteemed list with a new single Sex Sells. Since its founding five years ago, the amazing US house music team has been nothing less than a revelation, regularly producing high-octane works that have landed them among the top in electronic music.
Working with club music icon Diplo on “On My Mind,” the pair’s explosive ascent to popularity was sparked. One of the most exciting talents in electronic music, this breakthrough tune has attracted an amazing 300 million+ listens on Spotify alone and guaranteed a sought-after GRAMMY award for “Best Dance Recording” in 2021.
Renowned for their self-described “party-starting club tracks with serious sex appeal,” SIDEPIECE keeps to form with their Toolroom debut. Appropriately titled “Sex Sells,” the release comes with a sold-out tour under the same name, proving the pair’s increasing worldwide dance music industry impact.
The song itself is evidence of their mastery of production; enormous scorching synthesizers cut through a relentless, tech-driven groove, and humorous, tongue-in-cheek vocals have an appealing charm destined to generate grins across dance floors globally. This is the ideal marriage of pure, unadulterated joy with great musical skill.
‘Sex Sells’ marks not only SIDEPIECE’s first on Toolroom but also an exciting new step for the pair and the label. This release shows that SIDEPIECE’s capacity to create addictive, dancefloor-ready explosives is still unparalleled as they keep their soaring course in the dance music scene. Tie yourself in; this is one ride you really shouldn’t miss.

The post SIDEPIECE Brings Their Signature Heat to Toolroom with ‘Sex Sells’ appeared first on The Groove Cartel.
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