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How To Enjoy The Magic of Tomorrowland Without Sacrificing Your Hearing, Loop to the Rescue

Tomorrowland just raised the bar for festival essentials—earplugs are no longer optional and with Loop, they’re officially part of the experience. After three years enhancing Tomorrowland Belgium’s soundscape, Loop becomes the global earplug partner for all Tomorrowland-branded events starting 2025. Whether you’re raving in Brazil, skiing into Tomorrowland Winter, or dancing under the Boom sky, the same high-fidelity hearing protection now follows the music worldwide.
A Global Shift Toward Sound-First Culture
This partnership marks a turning point for live music. Earplugs are no longer a side thought—they’re key to immersive, safe listening. The new Tomorrowland x Loop Experience 2 delivers 17 dB of filtered noise reduction, preserving clarity while reducing damage. Their dance-proof fit keeps them secure in the crowd, letting ravers move freely without compromising sound or safety.
“Going beyond Belgium to events like Tomorrowland Brasil and Tomorrowland Winter is a huge milestone in redefining the role of hearing protection at festivals,” says Loop co-founder Dimitri O. “Tomorrowland shares our vision for a deeper connection to sound. Its blend of music, art, and technology creates the perfect stage to shape this on a global scale.”
Tomorrowland and Loop Makes A Festival Essential an Experience
Design lovers and audiophiles get the best of both worlds. The new Experience 2 earplugs take design cues from Tomorrowland Belgium’s 2025 ‘Orbyz’ theme, echoing an underground crystal-powered universe. Fans can choose between Holographic Ruby or Holographic Black, each with a matching Loop Carry Case. For the first time, the line also introduces the Tomorrowland x Loop Link connector cord, ensuring earplugs stay within reach no matter where your journey leads.
This isn’t just a product—it’s a shift in festival culture. Loop transforms earplugs from something hidden to something proudly worn. With smart design, filtered acoustics, and global accessibility, Tomorrowland and Loop are redefining what it means to be a conscious raver. Music lovers can now dive deep into the moment, knowing their ears are protected for the long run.
Your New Must-Pack Festival Item
Available now, both the Tomorrowland x Loop Experience 2 earplugs ($39.95/€34.95) and the Loop Link connector cord ($29.95/€24.95) will be available:
Online at store.tomorrowland.com and loopearplugs.com Onsite at Tomorrowland Belgium, including the festival grounds and DreamVille At Tomorrowland-branded events worldwide, with more details to come Whether you’re a Tomorrowland mainstage purist or a deep house explorer, Loop ensures you hear every drop and protect every beat.
The post How To Enjoy The Magic of Tomorrowland Without Sacrificing Your Hearing, Loop to the Rescue appeared first on EDMNOMAD.
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Latest Music Industry Hires: TouchTunes, SOCAN, Wasserman, Country Radio Seminar, Dreamliner, More

Matt Blackhouse, ATG Entertainment-operated Swansea Building Society Arena’s new venue director. Photo Credit: ATG
Here’s a recap of recent music industry hires and in-house promotions as of May 30th, 2025.
If you have a job shuffle to share, we’re all ears. Send us a note to [email protected]. If you’d like to post a job on our Job Board, just send us a request to [email protected]. And, keep track of all the latest music industry hires here.
TouchTunes
TouchTunes has hired Brightcove vet Scott Levine as CEO.
SOCAN
SOCAN members have elected and re-elected six board members to three-year terms. On the writer side, that includes Darren Fung, Greg Johnston, and board chair Marc Ouellette.
Meanwhile, Peermusic’s Cheryl Link, Sony Music Publishing’s David Quilico, and YMX Media’s Jean-François Denis are confirmed as publisher members.
Wasserman
Wasserman Music has brought on New York-based Jazmyn Griffin (previously C3 Presents’ marketing manager) as global festivals director.
Additionally, LA-based Tessie Lammle (a 10-year UTA vet) has come aboard as a hip-hop-focused director and agent.
CRS
CRB has revealed the Country Radio Seminar’s 2025-26 Agenda Committee leaders and members. On the leader front, Broken Bow/BMG higher-ups Shelley Hargis (chair) and Krista Hayes-Pruitt (co-vice chair) are returning, with Pamal Broadcasting’s Kevin Callahan joining as co-vice chair.
Members, for their part, include Audacy’s Andrea Burtscher, Sarah Frazier, and Scott Roddy; Cumulus’ Jennipher Miller and Brooks O’Brian; manager Tanner Davenport; Cannon Country 107.9 host Gideon Dean; Leo33 co-founder Katie Dean; Froggy 101.7 host Paisley Dunn-Banks; Red Street regional director Bridget Herrmann; RECORDS Nashville’s Jamice Jennings; iHeart program director Jess Jennings; Megatrax’s Ileana Landon; Super Hi-Fi’s Bo Matthews; Forever Media’s Charlie Maxx; 92.5 XTU host Nicole Michalik; Urban One’s Lauren Sessions-Barker; BMG’s Jennifer Shaffer; Collective Heads partner Jimmy Steal; 97.3 The Dawg host Jude Walker; and Neil Wilson Voiceovers’ namesake founder.
Dreamliner
Entertainer Motorcoach Hall of Fame inductee Mark Larson has rejoined Dreamliner Luxury Coaches as leasing VP. Plus, tour operations VP Damian Holton is “transitioning to a new” business-development role.
Audio Chateau Records
Audio Chateau’s advisory board has welcomed Poo Bear, who’ll “co-write and produce the debut album for Randy Savvy, lead singer of the Compton Cowboys.”
Tickets for Good
Eyeing an international expansion, Tickets for Good has formally added Derek DeVeaux as global COO. And the company’s U.K. team has expanded with Aaron Taylor (new business lead), George Webb (ticketing operations and customer service lead), and Laura Harmer (community partnerships lead).
Swansea Building Society Arena
Formerly YTL Arena’s senior events project manager, Matt Blackhouse is preparing to begin as the Swansea Building Society Arena’s venue director on June 2nd.
AEG Presents
AEG Presents has upped seven-year team member Joe Jaeger to VP of integrated marketing and strategy.
Live Nation
Live Nation has elected Kennedy Center head Richard Grenell to its board.
Frontiers Label Group
Frontiers has named Earache vet Tim Bailey head of label for international.
Universal Music Group
Former Verizon CFO Matt Ellis will begin in the same role at Universal Music on June 9th.
Capitol Music Group
One reorganization later, CMG has enlisted Candice Watkins to serve as president of Capitol Records Nashville; the former Big Loud marketing exec will double as Capitol Christian’s EVP.
Armada Music Group
Priority Lane owner Maarten Steinkamp is now Armada Music’s interim president.
TikTok
TikTok has tasked creative agency Pereira O’Dell with overseeing its global-creative projects.
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Tokyo Machine Unleashes Cybernetic Shockwave in New EP, "FACTORY RESET"

Even cutting-edge technology can benefit from an occasional reboot.
Tokyo Machine is back with a new EP, Factory Reset, which sees the Japanese-inspired producer reclaim his position amongst bass music's elite. Out now via Monstercat, the five-track collection marks a creative turning point for the virtuosic producer, combining his signature chaotic basslines with darker, more brooding soundscapes. 
Thematically, the EP lives up to its name. The accompanying artwork—a half-human, half-cybernetic Tokyo Machine mid-reboot—echoes the sonic evolution inside. This is music for festivals, rave caves and the video game world all at once.
"I wanted Factory Reset to feel like a live show in your headphones,” Tokyo Machine explained in a press release. “It’s a more mature, dark and live-based sound that still keeps the nostalgic and synthetic core of Tokyo Machine."
Opening track “THE FURIOUS” sets the tone with a concoction of digitized dubstep and glitchy bass house, crackling with robotic samples and frenetic vocal chops. Tokyo Machine's love of genre fluidity is on full display here. “MVP” follows, detonating with distorted guitar and laser synths before swerving into a pounding techno finale. It’s intense and cinematic in a way that evokes the feeling of a final boss fight. 
“SCREW UR FACE UP” does exactly what it promises, bringing twisted glitches and moshpit-level bass, while the previously released singles “LOCK N LOAD” and “WATCH OUT!” deliver rave maximalism with nostalgic, arcade-style flair.
Backed by over 300 million streams, a Gold record and syncs across Rocket League, Meta, F1 and more, Tokyo Machine is hardly an underground name. But Factory Reset plays like an origin story reimagined and recharged. In the midst of his debut "CHOMPO" tour, he’s been selling out venues across the US and proving this reset is anything but quiet.
Listen to Factory Reset below.
Follow Tokyo Machine:
X: x.com/tokyomachine
Instagram: instagram.com/tokyomachine
TikTok: tiktok.com/@tokyomachine
Facebook: facebook.com/tokyomachine
Spotify: spoti.fi/2YMOzk9
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Copyright Office Legal Battle Continues — Perlmutter Pushes for Summary Judgement, Trump Admin Opposes ‘Fast-Track Schedule’

Washington, D.C.’s James Madison Memorial Building, which houses the U.S. Copyright Office. Photo Credit: UpstateNYer
The battle for Copyright Office control isn’t letting up: Shira Perlmutter is now seeking a high-speed summary judgement resolution, while the Trump administration is firing back against the sought “fast-track schedule.”  
Those developments might come as a surprise in light of the court’s most recent determination. Upon denying Perlmutter’s restraining order ask, the presiding judge also instructed the parties to “submit a joint proposed briefing schedule” concerning a potential preliminary injunction push on the plaintiff’s end, we reported yesterday.
Instead, Perlmutter’s legal team has opted to entreat the court to green-light an “expedited briefing schedule” on the summary judgement front.
There’s “a pressing need for both the parties and the public to obtain a speedy resolution of this matter,” the former USCO head indicated, “as the leadership of the Library of Congress and the Copyright Office will remain in dispute until the legality of Defendants’ actions is adjudicated on the merits.
“It would best serve judicial economy and the interests of the parties to proceed to final judgment,” the plaintiff summed up.
That refers specifically to a desired June 5th deadline for the actual summary judgement motion, a June 12th cutoff for the defendants’ response, and four days thereafter for Perlmutter’s reply.
However, if “expedited summary judgment is unavailable,” Perlmutter would like “an opportunity” to hammer out the aforementioned preliminary injunction schedule, per the legal document.
As highlighted, the Trump administration isn’t on board with the quick-moving schedule, which it formally opposed in a filing today.
“But there is nothing ‘pressing’ about a legal issue remaining ‘in dispute’ until an adjudication on the merits after a case has run its normal course,” the Justice Department penned.
“That is true of all litigation, but that fact does not give every plaintiff a right to expedited proceedings,” the Trump administration continued. “And it especially should not here, where this Court recognized in denying the motion for a temporary restraining order that Plaintiff has failed to show that any of the purported harms she identified are either irreparable or imminent.”
Besides rejecting the rapid-fire schedule, the court shouldn’t entertain Perlmutter’s above-described request to cement a preliminary injunction timetable, the defendants said in more words.
“This Court gave Plaintiff that opportunity already,” the DOJ wrote, “but rather than propose a schedule for preliminary injunction briefing to Defendants, Plaintiff filed her present motion. That is no doubt because Plaintiff does not believe she could obtain a preliminary injunction given this Court’s holding that she has failed to show the irreparable harm necessary for emergency injunctive relief.”
How, then, should the case proceed? According to the Trump administration, a June 5th “or later” summary judgement cutoff for the plaintiff would be suitable, followed by a three-week window for an opposition response and a cross-motion for summary judgement.
From there, Team Perlmutter would have another three weeks yet to respond, with the defendants’ reply in support of the summary judgement cross-motion due within two more weeks.
At the time of writing, the court hadn’t weighed in on the opposing views. Despite the benefit of frequent updates thus far, though, it’s possible that the case will spin out over weeks (if not months should a full legal proceeding take place).
Among other things, the window could bring with it the appointment of permanent Library and Copyright Office heads – and, in turn, fresh legal questions as well as a variety of considerations for the music space.
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Anyma Closes the Genesys Era with a Groundbreaking Album

So much digital ink has been spilled in the electronic dance music world about the loss of the album in the classic sense of the word. We reminisce on the days when an album was a musical journey, meant to be consumed as a whole. That type of album has largely been lost to the endless singles and cumulative release albums. Yet Anyma‘s The End of Genesys album not only revives this type of album, but takes it to a whole new level, potentially starting a new trend for high-concept albums.
This is because thousands of people had the opportunity to experience this album as live visual and auditory spectacle at Sphere Las Vegas. You see, Anyma has had a very clear vision for what he wants his project to be, and the Sphere shows were the fully realized version of that vision. His tracks often explore concepts surrounding intelligence, consciousness, the fusion of nature and technology, and the applicability of human concepts, such as life & death and love & loss to the world of artificial intelligence. It all sounds a bit excessive for a melodic techno artist, but it all comes together when the intricate visuals are presented alongside the music.
And so it is that almost every track on The End of Genesys instantly transports you back to the mindblowing Sphere, bringing back the moments of wonder you experienced there, and the friends and loved ones you shared those moments with. The goosebumps return with a rush of emotions that is hard to compare to any other album. It’s not crazy to think that The End of Genesys is the beginning of a new era for albums. Basically every track on this album was played during the Sphere shows, so those people will already know them. Even for other people, the tracks have been omnipresent on social media since the Sphere shows began. Anyma is cognizant that this is a new type of album and perhaps it goes beyond the realm of melodic techno or even techno, and Anyma sees this album as a foray into the general music industry.
The Tracks
The tracklist does not mirror the Sphere shows in terms of running order, and the tracklist also includes tracks that were not played at every Sphere show. The biggest and most beloved tracks were released as singles, ‘Angel in the Dark‘, ‘Hypnotized‘, ‘Voices in My Head‘, and ‘Neverland‘. However each of the tracks is bound to elicit an emotional response.
The opening track, ‘Lucente‘, will be familiar to anybody from the Sphere as it was the very first thing that played as the show began. This track goes hand in hand with ‘The End of Genesys’, the operatic track that played outside of the Sphere for months during the Anyma residency. It also included one of the most memorable visuals since it was played on the Exosphere for all to see around Las Vegas and the world.
The end result is that this album feels like an instant classic, a platitude I usually reserve for Rufus du Sol albums. By the time you hear this album you will probably already love at least a few, if not most, of the tracks on it.
My favorite tracks that were not released as singles
Taratata – This dark and foreboding collaboration with Grimes came with such a visual flare in the form of the terrorizing visuals that it can’t be ignored. This one has been out in the ether since even before the Sphere shows and we love it.
Atmosphere – This is another darker and punchier track with Chris Avantgarde. It’s one of the rare instrumentals in the mix and it served as a bit of a bridge between scenes during the Sphere shows. It’s a great dark atmospheric track that you can see being played across the techno spectrum.
In My Mind – Anyma’s collaboration with SCRIPT is such a banger that I am surprised it was not given a single release, but it was pre-released last week as a Beatport exclusive, demonstrating the power of this one as a dancefloor weapon.
Entropy – When we learned that Anyma was collaborating with REZZ, many of us were puzzled at how the two could merge their sounds. This track did not make it into rotation until the final run of Sphere shows, but it was added to great effect. The more you listen to this one the more it grows on you.
Human Now – This was one of the tracks that only got introduced in certain Sphere shows, but it has grown to occupy the emotional closing track moment for Anyma’s shows in recent months. This collaboration with Luke Steele of Empire of the Sun is the perfect closer for Anyma because it is the end result of his Genesys narrative. The story of Genesys is something akin to the creation of artificial life, the artificial life gaining consciousness and the human experience through life, death, love and loss – so that the robot is, in many ways, a human just like all of us. All of this is set against the uplifting feel-good vibes of the track that can’t help but make your heart swell.
Leave a Mark – My favorite of the new tracks is absolutely ‘Leave a Mark’ with MAGNUS, and the gorgeous visuals that go with it. Since we still aren’t getting ‘You Make Me’, this track fills that emotional lovey-dovey slot in the tracklist. It’s nearly impossible to hear this one without feeling that sense of wonder that you felt during the Sphere show as the entire ceiling above you became a gorgeous starry night sky until the two beings come together and it creates a huge wave of energy that rolls across the entire massive screen.
It says quite a lot that, in an album that released its heaviest hitters in advance, there are still 6+ amazing tracks that you need to check out. Do yourself a favor and listen to the entire album, and pull up the track visuals to go along with it on YouTube.
We don’t know what’s next for Anyma, but we will start to get an idea soon. He’s set for a number of headlining shows throughout the Summer, including Afterlife Barcelona, Tomorrowland, Creamfields and more. We’ll get more visual spectacle shows but also some stripped down performances as well. The future is bright for Matteo Milleri. You can listen to the whole album below.
The post Anyma Closes the Genesys Era with a Groundbreaking Album appeared first on EDMTunes.
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Pyro, Stage Designs and Camping for Women: Here Are the Changes Coming to Lost Lands in 2025

After drought-related fire restrictions forced Lost Lands to rely solely on drone displays last year, the prehistoric-themed festival, founded by dubstep superstar Excision, will restore its full pyrotechnic production in 2025 while introducing a spate of updates to both its venue and onsite experience.
The Ohio-based event, which in recent years has established itself as one of the nation's leading EDM festivals, will feature a combination of flames, fireworks and drones in 2025. The revamped programming brings "the full Lost Lands spectacle back to life in dramatic fashion," per a press release shared with EDM.com.
Turk Photos
One of the most significant additions is "Dino Divas," a designated camping area exclusively for female attendees. The specialized campground represents Lost Lands' effort to address safety concerns within the rave community, which often brings about aggressive environments that lead to unwanted physical contact. Last year's festival saw a group of women organize "girls-only mosh pits."
Lost Lands' tunnel system, introduced in 2024 to connect campgrounds with the main festival grounds, will continue operating to manage crowd flow. Organizers are also planning a "significant increase in shuttle service" between the South Parking Lot and the venue to minimize entry wait times.
Elsewhere on Lost Lands' sprawling Legend Valley grounds, its infrastructure continues to evolve with the return of the 360° Crater Stage, a fan-favorite. First introduced in 2024, the circular performance space is now expanding to offer increased viewing capacity and improved sight-lines.
The rest of the festival's beloved themed stages are also returning, but Prehistoric and Wompy Woods are both set to debut new designs.
View the original article to see embedded media.
Dining options will see substantial upgrades, including a dedicated marketplace zone featuring health-conscious alternatives such as vegan, vegetarian and gluten-free offerings alongside non-alcoholic beverages. A guest chef has also been commissioned to curate an onsite dining experience.
A "private high-end food court" will also be available to those who opt for the Lost Lands glamping experience. In addition, the Village Glamping area will feature new air-conditioned bell tents and 24-hour shower facilities.
Lost Lands 2025 is scheduled for September 19-21. Excision is once again set to deliver three unique performances, including a b2b set with fellow dubstep superstar Subtronics. They're joined on the lineup by a slew of influential electronic artists, including REZZ, ILLENIUM, Space Laces, LSZEE (CloZee and LSDREAM), Eptic, PEEKABOO and SVDDEN DEATH's VOYD alias.
You can check out the full lineup below and purchase festival passes via the Lost Lands website.
Lost Lands
Follow Lost Lands:
X: x.com/lost_lands
Instagram: instagram.com/lostlandsfestival
Facebook: facebook.com/lostlandsmusicfestival
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Execs at YouTube Music, WMG, UMG, VEVO, Roc Nation, Recording Academy & More Denounce Anti-Israel Extremism and Antisemitism

Photo Credit: Creative Community for Peace
More than 400 prominent leaders from the music and entertainment industries—including executives from YouTube Music, Warner Music Group (WMG), Universal Music Group (UMG), VEVO, Roc Nation, and the Recording Academy—have signed a powerful open letter denouncing anti-Israel extremism and antisemitism.
The initiative, organized by the Creative Community for Peace (CCFP), marks a significant stand against the rising tide of hate speech and misinformation targeting Israel and Jewish communities since the October 7, 2023 Hamas attack on an Israeli music festival.
The open letter was released on May 28, 2025 and directly addresses the proliferation of extremist rhetoric and antisemitic incitement, which signatories say has been amplified by both ideological actors and unwitting celebrities. The letter states: “Hamas, Iran, and their allies and ideological sympathizers in the West have flooded the world with their hateful lies and antisemitic incitement since October 7—lies designed to demonize Israel, the Jewish people, and their supporters.”
“When public figures accuse Israel of genocide, call for intifada, or claim Jews are colonizers, they may not understand the history they’re invoking—but the people who act on those words do,” says Haim Saban, CEO of Saban Capital Group and the leading voice behind the letter. “This open letter is a plea for truth, for accountability, and for responsibility—especially from those with powerful platforms.”
Executives from major record labels and platforms including YouTube Music, WMG, UMG, VEVO, ROC Nation, and the Recording Academy have all endorsed the open letter. The Recording Academy has reiterated its commitment to the unifying power of music and condemned violence, hate, and antisemitism, particularly referencing the massacre at the Supernova music festival in Israel on October 7.
UMG’s statement highlighted the need for tolerance, empathy, and understanding, while WMG reaffirmed its opposition to all forms of discrimination and racism, expressing solidarity with Israel and the global Jewish community.
“For the past 600 days, the anti-Israel movement has espoused an unrelenting stream of extremist rhetoric to demonize Israel and anyone who supports the country — it’s a toxic mix of distortion, bigotry and incitement. Given the power of social media, it’s incumbent on entertainers and public figures, with their ability to influence millions around the world, to use their platforms responsibly. Without a course correction, we will only see more hate, more violence, and more innocent people targeted simply for being Jewish,” CCFP Chairman/Co-Founder David Renzer and Executive Director Ari Ingel add.
The full open letter and signatories are available here.
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Sony Music, UnitedMasters Face Legal Threats Over ‘Real-Time Royalties’ Rollout

Photo Credit: RTR Distribution
RTR Distribution has issued a formal cease and desist letter to UnitedMasters over the use of the term ‘Real-Time Royalties’ on their website.
RTR Distribution, a platform for real-time royalty payments for content creators, has issued a formal cease and desist letter to UnitedMasters. This legal kerfuffle is over the unauthorized use of the term “Real-Time Royalties” on their website. RTR Distribution holds a pending patent for real-time royalty payment technology and has exclusive rights to the technology in the blockchain-based entertainment monetization space.
The cease and desist letter demands that UnitedMasters immediately remove the term “Real-Time Royalties” from their marketing, promotional materials, and any online references. Those references directly infringes upon RTR Distribution’s intellectual property. The company has given UnitedMasters a 14-day deadline to comply with the request.
“We have developed and have a pending patent on the technology that powers real-time payments for creators,” said Joshua D. Combs, Founder and CEO of RTR Distribution.
“Our platform enables artists, musicians, and content creators to receive instant payouts for their work, and we take great pride in the innovation we’ve brought to the industry. The use of the term ‘real-time royalties’ by UnitedMasters is not only misleading but also an infringement on the intellectual property we’ve worked tirelessly to build. If they do not comply, we will take the necessary legal steps to protect our pending patent and our business.”
The ability to provide real-time royalty payments has become increasingly important in the music and content creation industries. As the entertainment sector moves toward blockchain integration, RTR Distribution is hoping to lead the charge in ensuring that creators receive instant payouts for every stream, view, or download of their content. The patent-pending technology behind RTR Distribution’s platform ensures fair compensation for artists, producers, and content creators worldwide, without the traditional delays of legacy payment systems.
RTR Distribution is a platform built on blockchain technology that provides real-time royalty payments to content creators in the music, film, podcast, and digital media sectors. By using RLT tokens and smart contracts, RTR Distribution ensures that creators are paid immediately every time their content is consumed. RTR Distribution is working to revolutionize the way content creators are compensated, providing fairer, faster, and transparent payment solutions.
UnitedMasters is a digital music distribution company that allows independent artists to distribute their music across various streaming platforms. They offer a variety of tools to help artists manage and monetize their content independently.
Should UnitedMasters fail to comply with the cease and desist request, RTR Distribution is prepared to pursue legal action to protect its intellectual property rights. The company is committed to defending the technology that powers real-time payments and ensuring that creators receive the compensation they deserve, without compromise.
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Adam Beyer Releases ‘Alto’ With Layton Giordani Ahead of Album

Out today is Adam Beyer’s latest single, ‘Alto‘ in collaboration with Layton Giordani, joining last week’s ‘Taking Back Control‘ as the newest single off his forthcoming album.
The excitement surrounding Beyer’s first album in over 20 years is palpable. Following the LP’s eponymous first single, ‘Explorer’ which dropped in March, and the well-received ‘Hypnotic,’ a collaboration with rising producer HNTR feat. Kygo, highlights have been coming thick and fast. They include the 12,000-person Drumcode party at Drumsheds (featuring Adam Beyer b2b Vintage Culture), a wild Drumcode Pop-up event at an off license in London, while Beyer featured on two billboards in Leicester Square and Stratford to celebrate his takeover of Spotify’s Techno State playlist.
Cross-genre fusions continue to inspire Beyer, soaking up inspirations from three decades producing music. ‘Taking Back Control’ is fierce techno that scribbles outside the lines via a scintillating vocal that takes influence from rap and pop, but crafted in the Drumcode boss’s imitable fresh style.
Creative link-ups between Beyer and Layton Giordani are always special. From their memorable b2b’s at events like Awakenings, to studio link ups that highlight the release calendar, the duo share incredible artistic chemistry. ‘Alto’ is divine rave kissed techno made for teary mornings.
Adam’s new album, Explorer Vol.1, is out June 13th via Drumcode, pre-save here.
The post Adam Beyer Releases ‘Alto’ With Layton Giordani Ahead of Album appeared first on EDMTunes.
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Pendulum Announces ‘Inertia,’ First New Album in 15 Years

After a 15-year hiatus from releasing full-length albums, iconic electronic rock band Pendulum has announced their return with a new LP titled Inertia, scheduled to drop on August 22nd. Their last album, Immersion, was released in 2010.
The announcement comes with the release of a blistering lead single, “Save The Cat,” a high-energy fusion of drum & bass and metal, featuring emotionally charged vocals from frontman Rob Swire. According to Swire, the song was penned during a period of self-reflection and frustration following two breakups, and signifies the band, and himself, rediscovering their identity.
Inertia is set to feature 16 tracks, including songs from their 2021 “Elemental” and 2023 “Anima” EPs, alongside new material. The album will also boast collaborations with several artists, including Bullet For My Valentine, Wargasm, AWOLNATION, Scarlxrd, Joey Valence & Brae, and Hybrid Minds.
Swire stated that with this album, they were testing the boundaries of Pendulum’s sound, drawing inspiration from the evolution of acts like The Prodigy. He described Inertia as the sound of Pendulum finding themselves again and considers it their most personal work to date.
The album was co-produced by Swire and Owen Charles in Pendulum’s London studio and will be released August 22nd via Mushroom Music. You can pre-save the album here.
The post Pendulum Announces ‘Inertia,’ First New Album in 15 Years appeared first on EDMTunes.
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Chiropractors, Rejoice: Lost Lands Music Festival's Neck-Snapping 2025 Lineup Is Here

There's a moment every year when electronic music fans collectively remember they need to start stretching their necks in preparation for Lost Lands. For better or worse, some traditions never go extinct, and that moment has arrived with the reveal of the prehistoric-themed festival's 2025 lineup.
For the uninitiated, Lost Lands is the Excision-led dubstep and bass music festival that operates on the principle that if your entire cervico-thoracic region isn't sore by Monday morning, you didn't really even attend. The annual pilgrimage to Ohio's Legend Valley returns September 19-21, promising another weekend where head-banging becomes a legitimate cardiovascular workout.
Excision is once again set to deliver three unique sets, including a b2b with fellow dubstep superstar Subtronics. He's joined on the lineup by REZZ, ILLENIUM, Space Laces, LSZEE (CloZee and LSDREAM), Eptic, PEEKABOO and SVDDEN DEATH's VOYD alias, among many other influential electronic artists.
This year's lineup also features a slew of young producers currently shaping dubstep's future, including a trio of EDM.com Class of 2025 artists: Tape B, Jessica Audiffred and ALLEYCVT.
You can check out the full lineup for Lost Lands 2025 below and purchase festival passes here.
Lost Lands
Follow Lost Lands:
X: x.com/lost_lands
Instagram: instagram.com/lostlandsfestival
Facebook: facebook.com/lostlandsmusicfestival
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Burning Man Woes Continue as Official Ticket Reseller Accidentally Double-Taxes Buyers: Report

Burning Man's misfortunes continue to mount after its endorsed ticket resale platform mistakenly charged buyers an extra 9% tax, The San Francisco Standard reports.
The event's Secure Ticket Exchange Program (STEP), powered by resale platform Tixel, erroneously applied Nevada's 9% "Live Entertainment" tax to secondary market purchases when the program launched in mid-May, per The Standard. This meant buyers were effectively taxed twice—once during the original purchase and again during resale—adding roughly $70 to tickets that originally cost $750 with fees.
Organizers also reportedly implemented a new tiered-pricing system recently that drew criticism for its lack of transparency.
The double-taxation issue represents another stumble for the beleaguered event, which has faced mounting challenges since its disastrous 2023 event, wherein tens of thousands of attendees found themselves stranded in the Nevada desert after a heavy rainstorm walloped the Black Rock City metropolis. Burning Man at the time disseminated a "survival guide" after issuing a shelter-in-place directive.
Last year marked the first time since 2011 that the event failed to sell out, followed by a controversial $20 million budget shortfall that prompted the organization's CEO, Marian Goodell, to solicit community donations to "help secure the long-term of Burning Man."
A Burning Man representative confirmed in a statement that Tixel had "accidentally charged" the duplicate tax and is now working to process refunds.
"This issue is resolved and we anticipate STEP will continue to operate smoothly throughout the season," Burning Man spokesperson Dominique Debucquoy-Dodley told The Standard.
The incident underscores the operational challenges facing Burning Man as it attempts to stabilize its finances while maintaining community trust less than three months before its next gathering. The 2025 event is scheduled for August 24th to September 1st.
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Taylor Swift Buys Back Her Original Masters From Shamrock Capital—’No Strings Attached, No Partnership, with Full Autonomy’

Photo Credit: Taylor Swift
Taylor Swift has bought her masters from Shamrock Capital, reclaiming the rights to her first six albums after Scooter Braun bought them in 2019.
On Friday, Taylor Swift made an announcement on her website that she had bought her masters back from Shamrock Capital. The Los Angeles-based investment firm, which acquired her masters from Scooter Braun in 2019, was founded by Roy E. Disney, a nephew of Walt Disney. Scooter Braun had acquired the masters as part of a larger acquisition of Big Machine Records.
“The best things that have ever been mine… finally actually are,” wrote Swift. “For years I asked, pleaded for a chance to own my work,” she added. “Instead, I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future.”
A note posted to Swift’s social media at the time of the Shamrock sale said she was given the opportunity to be a “partner” with the company. She turned down the offer because Braun’s deal would have enabled him to continue profiting from her work. That was when she decided to re-record her original albums, releasing them as “Taylor’s Versions.”
Swift released a re-recording of her second album, Fearless (Taylor’s Version) in 2021, followed by Taylor’s Versions of Red, Speak Now, and 1989. The release of 1989 (Taylor’s Version) enjoyed a larger opening week than the original album, debuting on the Billboard 200 with over 1.5 million sales in the US—the biggest opening week of her career at that time.
As for the final two re-releases in the project, Swift addressed them in her note to fans on Friday. The re-recorded version of her self-titled debut, she said, has already been completed, “and I really love how it sounds now.” However, her work on a re-released Reputation has hit some snags. The original album “was so specific to that time in my life,” she said, “and I kept hitting a stopping point when I tried to remake it.” Currently, the artist says there are no firm plans to release either record, but that she is leaving the option open.
Swift credited her fans’ enthusiasm for the re-recordings and the success of her record-breaking Eras Tour for enabling her to buy back her masters. Across 149 shows, the tour sold over $2 billion in tickets.
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Musi Says App Store Removal Was Result of Apple’s ‘Backroom Dealings’ with Major Labels

Photo Credit: Flaco2xs / reddit
Apple’s removal of the popular music streaming app Musi from the App Store has sparked a high-profile legal battle. Musi’s creators allege the tech giant engaged in collusion and ‘backroom dealings’ with major labels to force the app offline. Apple has dismissed these claims as ‘unfounded conspiracy theories.’
Musi garnered over 66 million downloads on the App Store before it was removed, serving millions of users across the globe. The app acted as a simple wrapper for YouTube music, playing music videos and enabling features like background play—which is a paid YouTube Music feature. Musi stripped YouTube’s ads and added its own or offered ad-free streaming for a price—in violation of YouTube’s API terms of service.
Following pressure from music industry organizations like the National Music Publishers’ Association (NMPA), Sony Music, and the International Federation of the Phonographic Industry (IFPI) and YouTube itself—Apple removed Musi from the App Store in September 2024.
Musi filed a lawsuit against Apple in the U.S. District Court for the Northern District of California in an attempt to force its way back onto the App Store. Musi claims that Apple’s decision was not merely a response to complaints, but was the result of ‘backroom dealings’ with major labels and YouTube. They allege that the ultimate goal it to eliminate Musi as a competitor. Musi points to internal Apple emails and meetings with music industry executives as evidence of this alleged conspiracy.
Apple has categorically denied those allegations, however. In court filings, the company argues that its developer agreement allows the company unilateral authority to remove an app at any time—with or without cause. Apple says the decision to remove the app came after numerous credible complaints of copyright infringement and violation of YouTube’s terms of service.
Apple even accused Musi of fabricating an email from a Universal Music executive in an earlier attempt to avoid removal, calling Musi’s accusations “baseless conspiracy theory.” Now Apple is seeking sanctions against the app’s creators for attempting to mislead the court. The court has denied Musi’s request for a preliminary injunction to force Apple to restore the app—finding no evidence that Apple acted in bad faith for the removal.
For now, Musi remains unavailable on the App Store. Meanwhile, hundreds of users who previously used the app flood the Musi subreddit seeking alternatives and ways to sideload the app on to their iPhones.
View the full article
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Mia Moretti Debuts On Legendary Shaboom Records With Latest Hit ‘My House’

We’ve got one banger of a tune for you to kick off the weekend.
Well hey there! We’ve got some rather exciting news from the world of House music today. And I mean real, proper House music. Mia Moretti has just landed her first signing to the iconic British label Shaboom Records. The track is called ‘My House‘, and although it’s been out for a little while already, we felt it needed to be heard by our dear audience — it would be a crime not to share it.
And not only is this Mia’s first release on Shaboom, but it’s also her first-ever song published outside her own imprint Spaghetti Moretti. This only goes to show that Mia is not slowing down anytime soon, in fact, her momentum only picks up pace with time. We’re looking forward to seeing where that rocket-powered momentum takes her.
Featuring the vocal talents of spiritual guide Shaman Durek, ‘My House’ is all about letting loose and hitting the dancefloor — you know, as you should on a Friday. The core message is crystal clear, you can peep at the lyrics: “There are no chairs in my house, no tables in my house, no beds in my house“. No it’s not a poor house: you’re there to groove. No place for obstacles in the way.
By joining forces with Shaboom, Moretti is now part of a catalogue that boasts some serious heavyweights like Doc Martin, Marshall Jefferson, and Dave Morales. It’s no easy task to belong to a roster of that calibre, but she’s managed to look — and be — the part quite well.
For three decades, Shaboom Records, founded in 1995 in Blackpool, has been a powerhouse of innovative House music. Started by the likes of Mark Bell and Dick Johnson, the label has consistently pushed boundaries, blending jazzy sounds, vocal bangers, and deep floor-fillers. Their roster reads like a who’s who of House, including DJ Sneak (you might have heard him in Mia’s second-most recent release) and Joeski & Onionz.
Listen to Mia Moretti‘s brand-new ‘My House’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
The post Mia Moretti Debuts On Legendary Shaboom Records With Latest Hit ‘My House’ appeared first on EDMTunes.
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Loop Becomes Exclusive Worldwide Earplug Partner for Tomorrowland

After three years at Tomorrowland Belgium, the partnership with Loop is going global. In 2025, Loop becomes the exclusive earplug partner for all Tomorrowland events worldwide, raising the bar for festival sound experiences.
This year introduces the new Tomorrowland x Loop Experience™ 2 earplugs, designed to help you enjoy the music longer. They offer 17 dB (SNR) noise reduction while keeping the sound clear and stay put while you dance.
Expanding to Tomorrowland events globally is a huge step in making hearing protection essential at festivals,” says Loop co-founder Dimitri O. “Tomorrowland shares our vision for a deeper connection to sound.”
Inspired by Tomorrowland Belgium’s 2025 ‘Orbyz’ theme, the limited-edition earplugs come in Holographic Ruby or Holographic Black, each with a case. The collection also features the Tomorrowland x Loop Link™ connector cord to keep your earplugs secure.
This global partnership highlights a shift in festival culture: hearing protection is now a key part of enjoying the experience. Loop and Tomorrowland are working to ensure music lovers can enjoy today and protect their ears for tomorrow.
The Tomorrowland x Loop Experience 2 earplugs ($39.95/€34.95) and Tomorrowland x Loop Link connector cord ($29.95/€24.95) will be available from May 27, 2025:
Online: loopearplugs.com, tomorrowland.com, and amazon.com Onsite: Tomorrowland Belgium and other Tomorrowland events worldwide.

Get ready to experience Tomorrowland with great sound and protected ears!
The post Loop Becomes Exclusive Worldwide Earplug Partner for Tomorrowland appeared first on EDMTunes.
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Festival Report Card: EDC Las Vegas 2025

Every year, a migration of ravers, dreamers, and electronic music lovers makes its way to Las Vegas for Electric Daisy Carnival (EDC). Known as the crown jewel of North American EDM festivals, EDC Las Vegas is more than a party—it’s a massive celebration of sound, community, and creativity. With a reputation built on its commitment to Peace, Love, Unity, and Respect, the festival has earned a global following and continues to raise expectations.
EDC is also widely known for the immersive music environment it builds at the Las Vegas Motor Speedway each year, featuring carnival rides, interactive art installations, secret stages, and a culture that emphasizes radical self-expression and inclusivity. It’s not just an event—it’s a pilgrimage for electronic music lovers around the world.
EDC Las Vegas 2025 brought unforgettable moments and endless energy to a huge venue filled with sights, sounds, and stories. But while the magic was real, the weekend also revealed some challenges. Here’s how this year’s edition stacked up.
Vibes: ★★★★☆
The spirit of EDC was alive and thriving in 2025. Crowd energy was overwhelmingly positive, with hundreds of thousands of strangers forming new friendships in real-time. Kandi exchanges, shared snacks, spontaneous hugs, and mutual encouragement were everywhere. Whether in GA, VIP, or backstage areas, the environment felt inclusive, respectful, and open.
We didn’t see any major fights, hostility, or aggression. People danced with strangers, lifted each other up (literally and metaphorically), and created the shared feeling that makes EDC more than just a collection of stages. This was a people-powered success. Security was professional yet relaxed, helping keep the peace without an overbearing presence.
Ground Control was especially commendable this year. Multiple attendees shared stories of witnessing Ground Control help individuals in distress, administer Narcan, and save lives without judgment. They moved through the venue like guardians—supportive, alert, and genuinely caring. Even interactions with artists felt personal. A few DJs were spotted chatting with fans and taking photos, which added to the sense that everyone—famous or not—was part of the same shared experience.
The Marquee Skydeck at Kinetic Field and Circuit Grounds also brought great vibes. VIP attendees were dancing and making friends, and the energy was incredible all weekend. The elevated perspective of the Skydecks is also a sight to behold, offering unobstructed views of the stage and the crowd.
Compared to other major festivals, EDC continues to foster one of the most genuine and unified atmospheres out there. It truly feels like you are in another world. The emotional safety, openness, and good intentions of the crowd played a massive role in making the weekend so memorable.
Production: ★★★☆☆
EDC is synonymous with jaw-dropping visuals and cutting-edge stage design, and much of that held true in 2025. Kinetic Field stood out with a massive owl-inspired build, complete with moving wings, a glowing LED backdrop, and pyro synced to the music. The sheer size and grandeur of the stage made it the weekend’s visual centerpiece.
Circuit Grounds offered a futuristic layout with an expansive perimeter and plenty of open space, making it one of the best stages for crowd movement and immersion. Fireworks lit up the sky every night in EDC’s famous nightly display, while drones formed complex animations above the crowd, adding another layer of wonder to headline performances.
However, a major issue across multiple stages was the lack of large screens or monitors that would allow the audience to actually see the performing DJs. Unless you were in the front row or inside VIP areas, it was difficult to visually connect with the artists. This lack of visibility undercut the emotional energy of the performances and left many in GA feeling disconnected.
At Cosmic Meadow, audio issues plagued the stage all weekend, including blown subwoofers and low volume levels. For a festival known as the biggest in North America, the sound inconsistency was noticeable. The smaller details, such as performers on stilts and walk-through light installations, helped sustain EDC’s immersive atmosphere, but the fundamentals—clear sound and artist visibility—could use additional refinement to match the festival’s reputation.
Food & Beverage: ★★★☆☆
Food at EDC 2025 was solid overall, with vendors offering options that ranged from greasy comfort food to lighter fusion fare. The most popular options included Asian fusion bowls and poke-style meals, which we found to be a refreshing alternative to the usual fried offerings. These booths consistently drew long lines. In GA+, there were some added selections, but the real jump in quality came in VIP.
VIP zones offered air-conditioned dining areas, shorter lines, and more curated options, including gourmet sliders, artisan flatbreads, and a dessert bar, featuring frozen treats made on the spot. These premium perks elevated the experience for those who opted in, and the difference in both comfort and food quality was clear.
Beverage variety could use improvement. Alcoholic options were abundant, ranging from daiquiris to tequila-based cocktails, but non-alcoholic options were lacking. Beyond water refill stations, there were very few wellness beverages, such as cold-pressed juices or smoothies. Given the physical toll of dancing and walking for hours in the desert, more accessible and functional drink options would be a valuable addition.
Venue: ★★★★☆
The Las Vegas Motor Speedway remains one of the best-designed venues for a festival of this scale. Its expansive layout allowed for countless activities without ever feeling overwhelming. There were areas to dance, areas to explore, and places to rest, including shaded bleachers, grassy patches in the Bamboo Forest, and lounge zones hidden throughout Downtown EDC. The venue design encouraged flow, and although a lot of walking was unavoidable, navigating through crowds was generally smooth.
Speakeasy-style pop-ups and side quests gave the space even more personality. There were interactive booths, performance art stations, hidden bars, and art cars that felt like their own mini parties. Every corner of the venue felt intentional, with something to discover around every turn. That said, there were a few logistical pinch-points.
Certain walkways near Downtown EDC and the tunnels leading into VIP areas became heavily congested and could benefit from widening or rerouting in the future. Additionally, signage in areas like Kinetic Field was occasionally unclear, causing confusion between GA and VIP paths.
One of the unexpected gems was Neon Garden. The high-tempo beats and consistently energized crowds made it one of the most enjoyable places to be all weekend. The VIP SkyDecks at Kinetic Field and Circuit Grounds were also highlights. With elevated viewing platforms, private bars, air-conditioned restrooms, and ample space to truly enjoy the show, they offered some of the best comfort-to-view ratios of any VIP festival experience out there.
Safety presence throughout the festival was also handled with balance. Police and security were visible but not overbearing, allowing attendees to feel secure without dampening the vibe.
Music: ★★★★☆
With hundreds of artists across every electronic subgenre, the music at EDC Las Vegas 2025 was both expansive and eclectic. From trance and house to dubstep, techno, hardstyle, and experimental bass, there was no shortage of variety. This year, many attendees found themselves diving into sets they hadn’t planned on seeing, discovering new artists and sounds at every turn.
Among the weekend’s highlights was an anticipated B2B from ILLENIUM and SLANDER, which delivered a perfect blend of melodic emotion and huge drops, all enhanced by a stunning drone and fireworks show. Tiësto performed two very different yet equally impactful sets that reminded the crowd why he’s been a global headliner for over a decade. Kaskade also stood out, delivering a well-curated set that moved through deep house and progressive vibes, with beautiful visual synchronization.
At Camp EDC, lesser-known acts held their own with intimate and high-energy sets that felt more like secret parties than festival filler. For the smaller stages, such as the Beatbox Art Car, artists like Water Spirit and Myles O’Neal took advantage of the opportunity to showcase their talent and curate amazing performances.
While names like Levity left it all on stage, for others, it at times felt like something was missing. For example, some fans were disappointed by VOYD’s highly anticipated performance, noting a lack of his signature theatrics and even a premature ending.
A recurring concern from attendees was the lack of originality in some performances. Several DJs played sets that felt a bit recycled or too similar to their club appearances. As other festivals begin to raise the bar by asking artists to debut exclusive sets or visuals, some EDC sets felt like missed opportunities for uniqueness. Still, the genre-specific layout of the stages and the overall musical range allowed attendees to tailor their weekend to their taste, which remains one of EDC’s biggest strengths.
Overall: ★★★★☆
EDC VLas egas 2025 was a massive, multilayered experience that delivered on many of its promises. The vibes were nearly flawless, the crowd was welcoming, and the venue remained a playground of music and discovery. The diversity of music, the creativity of the environment, and high-quality VIP experiences made the festival feel alive.
Still, there’s room for growth. Sound consistency, visibility of performers, and more original sets from artists could further elevate the event. Better non-alcoholic beverage options and minor improvements to venue flow would also go a long way in enhancing the attendee experience.
But despite these critiques, the heart of EDC remains as strong as ever. It’s a place where the world comes together under the electric sky, united by sound, light, and the shared desire to feel something unforgettable. Whether you danced for three days straight or took breaks between sets to soak it all in, EDC delivered a weekend that won’t soon be forgotten.
Featured Image Courtesy: Insomniac Events.
The post Festival Report Card: EDC Las Vegas 2025 appeared first on EDM Maniac.
View the full article
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Festival Report Card: EDC Las Vegas 2025

Every year, a migration of ravers, dreamers, and electronic music lovers makes its way to Las Vegas for Electric Daisy Carnival (EDC). Known as the crown jewel of North American EDM festivals, EDC Las Vegas is more than a party—it’s a massive celebration of sound, community, and creativity. With a reputation built on its commitment to Peace, Love, Unity, and Respect, the festival has earned a global following and continues to raise expectations.
EDC is also widely known for the immersive music environment it builds at the Las Vegas Motor Speedway each year, featuring carnival rides, interactive art installations, secret stages, and a culture that emphasizes radical self-expression and inclusivity. It’s not just an event—it’s a pilgrimage for electronic music lovers around the world.
EDC Las Vegas 2025 brought unforgettable moments and endless energy to a huge venue filled with sights, sounds, and stories. But while the magic was real, the weekend also revealed some challenges. Here’s how this year’s edition stacked up.
Vibes: ★★★★☆
The spirit of EDC was alive and thriving in 2025. Crowd energy was overwhelmingly positive, with hundreds of thousands of strangers forming new friendships in real-time. Kandi exchanges, shared snacks, spontaneous hugs, and mutual encouragement were everywhere. Whether in GA, VIP, or backstage areas, the environment felt inclusive, respectful, and open.
We didn’t see any major fights, hostility, or aggression. People danced with strangers, lifted each other up (literally and metaphorically), and created the shared feeling that makes EDC more than just a collection of stages. This was a people-powered success. Security was professional yet relaxed, helping keep the peace without an overbearing presence.
Ground Control was especially commendable this year. Multiple attendees shared stories of witnessing Ground Control help individuals in distress, administer Narcan, and save lives without judgment. They moved through the venue like guardians—supportive, alert, and genuinely caring. Even interactions with artists felt personal. A few DJs were spotted chatting with fans and taking photos, which added to the sense that everyone—famous or not—was part of the same shared experience.
The Marquee Skydeck at Kinetic Field and Circuit Grounds also brought great vibes. VIP attendees were dancing and making friends, and the energy was incredible all weekend. The elevated perspective of the Skydecks is also a sight to behold, offering unobstructed views of the stage and the crowd.
Compared to other major festivals, EDC continues to foster one of the most genuine and unified atmospheres out there. It truly feels like you are in another world. The emotional safety, openness, and good intentions of the crowd played a massive role in making the weekend so memorable.
Production: ★★★☆☆
EDC is synonymous with jaw-dropping visuals and cutting-edge stage design, and much of that held true in 2025. Kinetic Field stood out with a massive owl-inspired build, complete with moving wings, a glowing LED backdrop, and pyro synced to the music. The sheer size and grandeur of the stage made it the weekend’s visual centerpiece.
Circuit Grounds offered a futuristic layout with an expansive perimeter and plenty of open space, making it one of the best stages for crowd movement and immersion. Fireworks lit up the sky every night in EDC’s famous nightly display, while drones formed complex animations above the crowd, adding another layer of wonder to headline performances.
However, a major issue across multiple stages was the lack of large screens or monitors that would allow the audience to actually see the performing DJs. Unless you were in the front row or inside VIP areas, it was difficult to visually connect with the artists. This lack of visibility undercut the emotional energy of the performances and left many in GA feeling disconnected.
At Cosmic Meadow, audio issues plagued the stage all weekend, including blown subwoofers and low volume levels. For a festival known as the biggest in North America, the sound inconsistency was noticeable. The smaller details, such as performers on stilts and walk-through light installations, helped sustain EDC’s immersive atmosphere, but the fundamentals—clear sound and artist visibility—could use additional refinement to match the festival’s reputation.
Food & Beverage: ★★★☆☆
Food at EDC 2025 was solid overall, with vendors offering options that ranged from greasy comfort food to lighter fusion fare. The most popular options included Asian fusion bowls and poke-style meals, which we found to be a refreshing alternative to the usual fried offerings. These booths consistently drew long lines. In GA+, there were some added selections, but the real jump in quality came in VIP.
VIP zones offered air-conditioned dining areas, shorter lines, and more curated options, including gourmet sliders, artisan flatbreads, and a dessert bar, featuring frozen treats made on the spot. These premium perks elevated the experience for those who opted in, and the difference in both comfort and food quality was clear.
Beverage variety could use improvement. Alcoholic options were abundant, ranging from daiquiris to tequila-based cocktails, but non-alcoholic options were lacking. Beyond water refill stations, there were very few wellness beverages, such as cold-pressed juices or smoothies. Given the physical toll of dancing and walking for hours in the desert, more accessible and functional drink options would be a valuable addition.
Venue: ★★★★☆
The Las Vegas Motor Speedway remains one of the best-designed venues for a festival of this scale. Its expansive layout allowed for countless activities without ever feeling overwhelming. There were areas to dance, areas to explore, and places to rest, including shaded bleachers, grassy patches in the Bamboo Forest, and lounge zones hidden throughout Downtown EDC. The venue design encouraged flow, and although a lot of walking was unavoidable, navigating through crowds was generally smooth.
Speakeasy-style pop-ups and side quests gave the space even more personality. There were interactive booths, performance art stations, hidden bars, and art cars that felt like their own mini parties. Every corner of the venue felt intentional, with something to discover around every turn. That said, there were a few logistical pinch-points.
Certain walkways near Downtown EDC and the tunnels leading into VIP areas became heavily congested and could benefit from widening or rerouting in the future. Additionally, signage in areas like Kinetic Field was occasionally unclear, causing confusion between GA and VIP paths.
One of the unexpected gems was Neon Garden. The high-tempo beats and consistently energized crowds made it one of the most enjoyable places to be all weekend. The VIP SkyDecks at Kinetic Field and Circuit Grounds were also highlights. With elevated viewing platforms, private bars, air-conditioned restrooms, and ample space to truly enjoy the show, they offered some of the best comfort-to-view ratios of any VIP festival experience out there.
Safety presence throughout the festival was also handled with balance. Police and security were visible but not overbearing, allowing attendees to feel secure without dampening the vibe.
Music: ★★★★☆
With hundreds of artists across every electronic subgenre, the music at EDC Las Vegas 2025 was both expansive and eclectic. From trance and house to dubstep, techno, hardstyle, and experimental bass, there was no shortage of variety. This year, many attendees found themselves diving into sets they hadn’t planned on seeing, discovering new artists and sounds at every turn.
Among the weekend’s highlights was an anticipated B2B from ILLENIUM and SLANDER, which delivered a perfect blend of melodic emotion and huge drops, all enhanced by a stunning drone and fireworks show. Tiësto performed two very different yet equally impactful sets that reminded the crowd why he’s been a global headliner for over a decade. Kaskade also stood out, delivering a well-curated set that moved through deep house and progressive vibes, with beautiful visual synchronization.
At Camp EDC, lesser-known acts held their own with intimate and high-energy sets that felt more like secret parties than festival filler. For the smaller stages, such as the Beatbox Art Car, artists like Water Spirit and Myles O’Neal took advantage of the opportunity to showcase their talent and curate amazing performances.
While names like Levity left it all on stage, for others, it at times felt like something was missing. For example, some fans were disappointed by VOYD’s highly anticipated performance, noting a lack of his signature theatrics and even a premature ending.
A recurring concern from attendees was the lack of originality in some performances. Several DJs played sets that felt a bit recycled or too similar to their club appearances. As other festivals begin to raise the bar by asking artists to debut exclusive sets or visuals, some EDC sets felt like missed opportunities for uniqueness. Still, the genre-specific layout of the stages and the overall musical range allowed attendees to tailor their weekend to their taste, which remains one of EDC’s biggest strengths.
Overall: ★★★★☆
EDC VLas egas 2025 was a massive, multilayered experience that delivered on many of its promises. The vibes were nearly flawless, the crowd was welcoming, and the venue remained a playground of music and discovery. The diversity of music, the creativity of the environment, and high-quality VIP experiences made the festival feel alive.
Still, there’s room for growth. Sound consistency, visibility of performers, and more original sets from artists could further elevate the event. Better non-alcoholic beverage options and minor improvements to venue flow would also go a long way in enhancing the attendee experience.
But despite these critiques, the heart of EDC remains as strong as ever. It’s a place where the world comes together under the electric sky, united by sound, light, and the shared desire to feel something unforgettable. Whether you danced for three days straight or took breaks between sets to soak it all in, EDC delivered a weekend that won’t soon be forgotten.
Featured Image Courtesy: Insomniac Events.
The post Festival Report Card: EDC Las Vegas 2025 appeared first on EDM Maniac.
View the full article
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PhaseOne releases new concept-driven album, TERRANOVA

PhaseOne returns with his sophomore album, TERRANOVA—a concept-driven project that redefines the fusion of metal and dubstep. The Australian producer pushes genre boundaries and opens an exciting new chapter in his artistic evolution.
TERRANOVA took over a year to complete according to PhaseOne himself. “I didn’t want to make a collection of club bangers,” says PhaseOne. “I wanted to tell a story and create something cohesive that flows from beginning to end.” He elaborated further saying that there were “personal challenges and creative hurdles along the way, but I’m incredibly proud of the result. It’s more melodic than I expected, but still unmistakably a PhaseOne record.”
A true concept album, TERRANOVA has a deeper meaning inside the music. Both sonically and visually, PhaseOne uses the LP as a platform to shed light on themes of growth, hope, environmental awareness and the darker side of human’s impact on earth. The high-octane list of collaborators includes Flowidus and MC Dread, Future Static, HVDES and SCRO among others.
PhaseOne’s TERRANOVA album tour commences in June with a staggering 36 dates through the rest of 2025 and more to-be-announced at a later date. Tickets can be purchased here. Listen to the new album in full below.
Featured image: Tessa Paisan
The post PhaseOne releases new concept-driven album, TERRANOVA appeared first on Dancing Astronaut.
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Authorities Reportedly Raid Hybe HQ Amid Intensifying IPO Fraud and Insider Trading Investigations

The Financial Supervisory Service (FSS) headquarters in Seoul. Photo Credit: Wikiwater2020
The trading-focused investigations into Hybe founder Bang Si-hyuk and other execs look to be intensifying. According to regional reports, authorities have conducted a raid of the K-pop giant’s Seoul headquarters.
As things stand, we don’t know the precise extent of these investigations. However, it’s been nearly six months since local media first linked Bang to scrutiny concerning alleged private-equity side deals executed ahead of his company’s 2020 IPO.
Evidently, this scrutiny isn’t letting up. Yesterday, we broke down the status of the reported allegations – and explored the situation’s possible impact on BTS’ full-group comeback.
Long story short, the Financial Supervisory Service is reportedly considering an expedited referral of the Bang case to prosecutors. And a separate police investigation into the same matter is said to be ongoing as well.
(Regarding all the “reportedly” and “is said to be” usages: Technically, Bang and the appropriate authorities have yet to comment publicly on the subject. Related details are trickling out through anonymous sources via South Korean outlets.)
Not coincidentally, information about the initially mentioned Hybe HQ raid emerged on the heels of the media-fueled update on Bang’s case.
According to the Korea Times, Seoul Southern District prosecutors searched Hybe’s office in connection with insider-trading allegations against a different exec.
The higher-up, whose name remains undisclosed, is reportedly accused of pocketing roughly $175,000 in profits by capitalizing on knowledge of Hybe’s YG Plus investment plans in 2021. Unsurprisingly, the latter entity’s shares (KRX: 037270) spiked in value after Hybe purchased almost 18% of the business.
Back to the allegations against Bang, per the Korea Herald, the Seoul Metropolitan Police Agency has submitted a distinct search-warrant request to prosecutors over the IPO-fraud claims.
And while it probably doesn’t need saying, it’ll be worth keeping an eye out for this comparatively important raid and any adjacent revelations. Also more or less implied is that Hybe is cooperating with the investigations, regional outlets summed up.
In the bigger picture, though the situation appears serious, it certainly isn’t without precedent. During 2024 alone, authorities arrested Kakao’s billionaire founder on stock-manipulation charges stemming from the SM Entertainment takeover battle – after raiding the main offices of both SM and Kakao in 2023.
Meanwhile, YG founder and exec Yang Hyun-suk was indicted last year for allegedly failing to declare a pair of high-end wristwatches upon returning to Korea a decade prior.
Bearing all that in mind, Hybe investors don’t seem too bothered at present. Shares (KRX: 352820) dipped about 2% during today’s trading but, at $193/₩266,000 a pop, are still up approximately 36% since 2025’s start.
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Oliver Heldens and Julia Church Release Captivating New Single ‘Ruins’

Oliver Heldens has joined forces with the vocal talent of Julia Church to deliver their mesmerizing new track, ‘Ruins.’ Released today via the iconic Ministry of Sound imprint under Sony, the single is a masterclass in emotive electronic music, seamlessly blending Heldens’ signature sonic energy with Church’s soul-stirring vocal prowess.
In ‘Ruins’, Heldens’ meticulously crafted production lays a foundation of melodic richness and irresistible groove, perfectly cradling Church’s evocative vocals. The result is a summer-infused anthem that possesses a rare depth, equally suited for euphoric festival crowds and introspective solo listening. The track delves into themes of finding beauty amidst vulnerability and the transformative power of growth after heartbreak, adding this into Oliver’s already extensive discography.
“When I got the first demo version of this song from the brilliant Julia Church, it hit me right away, and I became determined to turn it into a massive dance anthem. Big pianos, big trancy lead synths, a big bassline, and even bigger vocals from Julia with deeply meaningful lyrics. It’s been amazing working with Julia and the other super-talented writers, Ollie Green and Franklin, and I’m thrilled how this turned into a modern dance smash, while we still kept such a timeless feel to it” Heldens says.
Oliver Heldens’ influence on the electronic music landscape continues to be put on display. With over a decade of shaping the genre, he boasts an astounding 4 billion global streams and a reputation for electrifying performances at the world’s most prestigious festivals, including Coachella, EDC, Glastonbury, Lollapalooza, Tomorrowland, and Ultra. His consistent innovation and versatility have solidified his position as a leading figure, marked by high-profile collaborations with music icons like Nile Rodgers, Kylie Minogue, Tiesto, and David Guetta.
Find Oliver’s full touring schedule down below:

May 30: KüçükÇiftlik Park – İstanbul, Turkey
May 31: Nameless Festival: Lake Como, Italy
Jun 11: Ushuaïa – Ibiza, Spain
Jun 22: City Sounds Festival – Luxembourg, Luxembourg
Jun 28: Brooklyn Mirage – Brooklyn, NY
Jun 28: The Edge: NY, NY
July 03: Ushuaïa – Ibiza, Spain
July 10: Airbeat One Festival – Neustadt-Glewe, Germany
July 18: Tomorrowland – Boom, Belgium
July 19: Parookaville – Weeze, Germany
July 20: Ushuaïa – Ibiza, Spain
July 26: Tomorrowland – Belgium, Belgium
Aug 02: Sunrise Festival – Kołobrzeg, Poland
Aug 10: ÎleSoniq – Montréal, QC
Aug 12: BBC Radio 1 at Cafe del Mar: Malta
Aug 15: Ambra Nights: San Teodoro, Sassari, Italy
Aug 18: Ushuaia – Ibiza, Spain
Aug 23: Mysteryland – Amsterdam, Netherlands
Aug 24: Creamfields – Daresbury, United Kingdom
Aug 26: Ushuaïa: Ibiza, Spain
Aug 30: F1 Dutch Grand Prix – Zandvoort, Netherlands
Sep 07: Ushuaïa: Ibiza, Spain
*More TBA

The post Oliver Heldens and Julia Church Release Captivating New Single ‘Ruins’ appeared first on EDMTunes.
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Dancing Astronaut’s New Music Friday: Y do I & Anyma, Aaron Hibell, ARTBAT, Michael Bibi, and more (May 30, 2025)

Words by Alex Lambeau, Zach Salafia, and Ross Goldenberg.
New music highlights from Dancing Astronaut’s Artists to Watch in 2025:
Will Clarke – Burn This City (DREYA V Remix)
After formally announcing her rebrand as DREYA V — previously MISS DRE — she’s back to remix what she described as one of her favorite tracks off of Will Clarke’s album, Midnight Mass. Released via Armada, DREYA V’s “Burn This City” remix comes as her first release under the new moniker and follows her original single, and debut release on MEDUZA’s AETERNA record label from earlier this year, “Light The Fire.”
Y do I & Anyma – The End Of Genesys
Y do I had yet to appear on 2025’s release scoreboard but their first time doing so could not have been more impactful release. Serving as the title track to Anyma’s The End Of Genesys album — which is also out in full as of May 30 — Y do I and Anyma’s collaboration soundtracked the opening moments of the latter’s historic run at Sphere Las Vegas at the end of 2024. And five months later, “The End Of Genesys” has arrived in all of its glory, with Y do I wholly reconfirming their Artist to Watch demonination.
Aaron Hibell – S.O.S.
A record over a year in the making, “S.O.S.” had originally debuted during Aaron Hibell‘s Selected Sessions set in Iceland, and it now arrives as his newest album single. Inspired by Radiohead’s “Everything In Its Right Place,” “S.O.S.” arrives on the heels of his Cercle Odyssey cut, “Odyssey,” which Hibell created as the soundtrack to the show of the same name. As for Hibell’s upcoming plans beyond music, he’s set to open for Ben Böhmer during Cercle’s stop in Paris.
Riordan – Straight From The Underground
Riordan is continuing a stellar release run in 2025 with his fourth delivery in the past five months, “Straight From The Underground.” Fresh off a date at EDC Las Vegas — where he played in primetime hours just a year after securing one of the opening slots of the festival — Riordan has undeniably built a case to be one of the most promising acts in the current house music landscape.
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ARTBAT & MORTEN – Culture
Following the massive success of their first collaboration with Bonn — which garnered over 20 million streams and became an instant festival staple — ARTBAT and Morten have reunited for a powerful “Hollow” sequel, “Culture.” Out now on Insomniac Records, the reunion continues a high-impact partnership between two global forces in dance music, with MORTEN bringing his signature mainstage-ready energy and ARTBAT delivering their unmistakable melodic edge. “Culture” has been a fixture in ARTBAT’s sets providing fan-favorite moments at Ultra Miami, Ultra Buenos Aires, EDC Las Vegas, and more.
Discip – Raw Control
To claim that Discip has been on a hot streak this past year would be a disservice to him. After delivering “Mind Games” back in April, Discip has returned with another undeniable live weapon, turning to Chris Lake’s Black Book Records for the delivery of “Raw Control.” And it’s easy to see why Discip’s latest caught Lake’s eye to become the latest label signing, with the aptly named release furthering his unmistakable production level.
Mesto & Vluarr – At Night / Gemini
Mesto and Vluarr are no collaborative strangers, with the two having already delivered a pair of crossovers dating back to 2022 with “Where Do We Go” and last year’s “Over Soon.” And in 2025, Mesto has reunited once more with the Dancing Astronaut Artist to Watch alumni to add to their musical lineage, returning to STMPD RECORDS for not one but two offerings. On the release’s A-Side, “At Night” — a live staple for both artists over the past few months — takes a grittier, hard-hitting approach while the B-Side “Gemini” opts for a lighthearted, melodic. touch
Michael Bibi – Lil Freaky
To celebrate a milestone 100 releases for Solid Grooves — and celebrating a decade since he and PAWSA co-founded the label — Michael Bibi has returned with “Lil Freaky,” his second release of 2025 and the lead single from the Solid Grooves Summer Sampler VA. Arriving just ahead of the crew’s summer takeover at DC10 Ibiza, the compilation brings together Solid Grooves’ core family, spanning from early contributors like Dennis Cruz and Reelow to rising stars shaping the label’s next chapter. With “Lil Freaky,” Bibi sets the tone for a project that honors a decade of dancefloor dominance while pushing full steam into the future. 

Featured image: Sphere Las Vegas
The post Dancing Astronaut’s New Music Friday: Y do I & Anyma, Aaron Hibell, ARTBAT, Michael Bibi, and more (May 30, 2025) appeared first on Dancing Astronaut.
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Bakermat: “I love keeping imperfections in a track — it’s nice for people to hear that the music is made by another human”

To most electronic music fans, Dutch producer Lodewijk Fluttert AKA Bakermat needs no introduction. His 2012 EP, Vandaag, sky-rocketed to the top of the charts across Europe and eventually went Platinum, consisting of an integrated sample of the I Have a Dream speech by Martin Luther King Jr. As for his 2020 single, Bainia, it currently holds a staggering half a billion streams on Spotify.
READ MORE: “You don’t always need to mix a song — hear me out…”: Grace Davies on DIY production, breaking studio rules, and trusting your ears Combining his love of gospel, jazz, house and pop, Fluttert often collaborates with adept instrumentalists to bring an organic touch to electronic music and elevate his DJ sets. In 2014 he introduced the Bakermat live band, which included saxophonists and guitarists, and toured across Europe in partnership with Live Nation. He then went on to launch the Bakermat’s Circus in 2015, a live event which took Bakermat and artists from the likes of Robin Schulz to Don Diablo all over the world.
In this Studio Files interview, MusicTech sits down with this DJ juggernaut to discuss everything from his latest studio set up in the Holland countryside, to the plugins that were essential to the making of his new album, Grace Note.
Congratulations on the releaseGrace Note! It celebrates the two genres close to your heart, house and gospel – how do you feel like the two genres compliment each other as a producer?
Both are about achieving euphoria through music. It’s a lot of major chords, pianos, strings, choirs and it’s all about build ups. So there’s lots to play with as a producer to try to achieve this feeling. I guess house music is almost the electronic equivalent of gospel in a way.
How did going viral with the song Baiana make you shift your approach to releases? Did you find yourself wanting to follow the same formula?
Definitely not. I think the good thing about ‘going viral’ is that you can never really control it or prepare for it. It just happens to stuff. All you can do is make the best music you possibly can and if you’re lucky someone will pick it up and put it in a video that will speak to more people. If that doesn’t happen, it’s not a disaster because you still made music to the best of your ability, and you can be proud of that.
Tell us a bit about your studio.
I’ve just moved my studio from the centre of Amsterdam to the countryside. I noticed that I was getting distracted quickly in an urban environment with a lot of noise and people walking in and out. When I work on music, I need to be able to focus completely on that and get into ‘my zone’. Now that I have a studio in the middle of a field I can really get there and my productivity is way higher. I use it mainly to come up with new ideas, sounds, loops and projects that can spark something in a later stage when I start writing and producing full songs.
What’s your latest gear or plugin purchase?
I’m all about virtual gear, so I barely have any outboard equipment. My latest buy is KClip because I discovered the advantages of clipping before limiting. Right now, I’m also really into Omnisphere, a synthesizer that I’ve owned for ages but never really did a deep dive into. The possibilities are endless with this thing. You can basically do anything with it, so I’m currently obsessed.
What’s the best free plugin you own?
I just upgraded Serum to Serum 2 for free and I’m very happy with it. The new presets are amazing and the possibilities are also pretty huge just like Omnisphere. I think this synth really comes close to Omnisphere with this new upgrade. I also like the stock plugins that you get for free when you buy Ableton. I use them for like 90% of the jobs.
What’s been the biggest investment in your career/studio?
My MacBook for sure. As it is the main hub now that drives everything, it’s worth going for the absolute best and latest one. I also don’t like working with external drives so I ordered the Pro with an 8TB internal hard drive. Not worrying about space and power is a luxury when making music and it won’t hold you back from using very awesome but extensive libraries like the spitfire ones. It’s worth every penny, and I think modern producers should never hold back on buying the most advanced and spacious computers to do their thing.
I also have a fiberglass internet connection in my studio, even though it’s in a field. It’s a big investment but internet speed is a really big thing that you should never have to worry about when you’re in the zone.
Sampling tracks has become a big part of your work – is there a process in choosing which songs you’d like to emulate? Where do you source many of these tracks?
I have massive Spotify playlists that I play on shuffle. They are filled with old catalogues from legendary labels. It’s a mix of all world music, old soul and funk, gospel recordings and acapellas. I’m always searching for new samples. It’s like an automatic thing for me. Also YouTube is a great source of unreleased stuff — and Discogs.
You’ve said that your music isn’t something built by machines. As a producer how have you struck the balance of the record coming from an organic, human-made place, but still using the technology needed to produce an album?
Making music on a computer doesn’t mean it has to sound like it was made on a computer. I love keeping imperfections in or even adding them on purpose. In the end music is communication from human to human. So it’s nice for someone to hear that the music is made by another human, and humans are imperfect, not like computers.
How do you see your sound and studio evolving in the next two years?
I would love to work more out of the box (my laptop) and record more instruments with microphones; just to get that natural sound and imperfection in there a bit more. I always work hard to make my laptop-made stuff sound human but it could save me a lot of work if I just recorded a human, [laughs].
I’d love to sample more from vinyl, also. I feel like there’s a massive collection of unused samples still in the vinyl world. You just gotta find some, order them on Discogs and sample them from the player into your laptop. With everyone using Splice right now and sounding the same, this could be a huge winner.
Do you have a dream piece of gear?
I’d like to one day have an entire orchestra play parts that I can use it in my music. Obviously it’s a very big investment because a lot of people are needed to achieve something like that. Also a big choir would be really cool to work with, and a studio and engineers that know how to deal with recording such a thing. Apart from that, I have everything that makes me happy in my studio right now.

What’s a music production myth you think needs debunking?
Just in general that there are certain ‘ways’ and ‘rules’ in making music. If I see a video with the title “This is not how to use a compressor” I’m like: ‘Who are you to decide?’. I can use the compressor however I like if it creates an outcome that I like the sound of. There are no rules in music.
Who gave you the biggest lesson in your career? Can you tell us about how it impacted you?
My mother. I always show her my new music and her biggest lesson is that your music should always be surprising and remain interesting throughout. So don’t just repeat verse, chorus, verse, chorus but try to build in a bridge, prechorus or do something surprising to keep the listener entertained and interested. I love this because it just challenges you to not make a lazy record.
Read more Studio Files interviews on MusicTech
The post Bakermat: “I love keeping imperfections in a track — it’s nice for people to hear that the music is made by another human” appeared first on MusicTech.
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Deborah de Luca Drops HARD Summer Over Name Size On Flyer

Amidst a bustling festival season, electronic music fans are gearing up for live performances worldwide. However, those hoping to see Deborah de Luca at this year’s HARD Summer in Los Angeles will be disappointed. The acclaimed DJ has withdrawn from the popular event, citing concerns over the prominence of her name on the official lineup flyer.
HARD Summer is known for its vibrant visuals and diverse font usage on promotional materials. This year’s flyer, however, became a point of contention for de Luca. Initially announced as a performer, her name was noticeably absent from a recently released update to the lineup. Social media quickly lit up with fans inquiring about her disappearance, particularly those who had already secured tickets with her performance in mind.
Deborah de Luca addressed the situation directly via Instagram, stating, “…I’m very sorry Guys! But they put my name smaller than others, it was not dignified for my career… I asked to change it and they told me no. not it was my choice. I’m very sad but I’m sure it will be a crazy festival and you will have a lot of fun“.
To mixed opinions, Deborah’s fans have blamed the festival for not listening to her requirements, while others poke fun at her behavior, citing it as “childish” and “unprofessional“. While socials continue to be on fire, the fact remains: de Luca will no longer be performing at the festival. HARD Summer is still scheduled for August 2nd and 3rd, featuring artists such as Crankdat, Dom Dolla, and Sara Landry.
[H/T] We Rave You
The post Deborah de Luca Drops HARD Summer Over Name Size On Flyer appeared first on EDMTunes.
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MORTEN and ARTBAT Provide Melodic Rhythms in ‘Culture’

MORTEN and ARTBAT are reuniting to present their exciting new collaboration, ‘Culture’, which has arrived on May 30, 2025 under the prominent Insomniac Records label. This dynamic track builds on the success of their previous hit single, ‘Hollow’, featuring the soulful vocals of Bonn, which made waves in the electronic music scene last year. ‘Culture’ delves into the realms of melodic house and techno, showcasing a focus on vibrant, dancefloor-ready energy that captures the essence of club culture.
Listeners will become fans of the track by enjoying the intricate layers of sound, especially layers that feature undulating synth leads that ebb and flow. Furthermore, the track also has driving basslines that pulse with life, which complement those outstanding melodies. The growling lower frequencies add depth and intensity, while moody atmospherics envelop the track, creating an immersive experience. At the core of ‘Culture’ is an electrifying vocal hook that resonates powerfully, paying homage to the lively spirit of rave culture and ensuring it remains firmly in the minds of listeners as they move to its infectious rhythm. Click ‘Play’ on the Spotify link to stream ‘Culture by MORTEN and ARTBAT, a track that brings out euphoric bass that meshes really amazingly well with pulse-pounding synths that get people going to play the track addictively this coming summer.
The post MORTEN and ARTBAT Provide Melodic Rhythms in ‘Culture’ appeared first on EDMTunes.
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