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Dancing Astronaut’s five can’t-miss shows during Amsterdam Dance Event

In 2023, over 500,000 people flocked to Amsterdam Dance Event — also known as ADE — the epicenter of the global dance music industry. This renowned music conference and festival brings together dance music fans, artists, and industry professionals from across the globe, filling the Dutch capital with unforgettable sounds and must-attend experiences. 2024 is set to be the most impressive edition to date, with over 1,000 events spanning across 200 venues. And while ADE can feel overwhelming, Dancing Astronaut has picked five must-attend events that will elevate the week of those attending.
DGTL ADE: Colyn, Jan Blomqvist, Mathame, and more
DGTL never disappoints, and its ADE edition promises to be a standout. With a melodic techno focused lineup that features artists such as Afterlife veteran Colyn, a live set from Jan Blomqvist, and Italian brother-duo Mathame, this event offers a journey deep and progressive electronic beats. Expect cutting-edge visuals and an eco-conscious atmosphere that DGTL is known for.
Tickets
Audio Obscura ADE x Innervisions [24 hrs] w/ Âme, Dixon & more
Audio Obscura’s collaborations with Innervisions are always iconic, and its 24-hour takeover at ADE is unlike any other. Featuring the label bosses Âme and Dixon, this marathon event promises immersive soundscapes that will keep attendees dancing all day and night.
Tickets
No Art ADE Weekender
ANOTR has taken the scene by storm with their vocal house anthems and their No Art showcases are set to be some of the most anticipated events of the week. Their ADE Weekender offers a creative playground for house music fans and only a few tickets remain for Sunday. With surprise guests and an immersive atmosphere, No Art is perfect for those looking to nonstop dance.
Tickets
Dockyard and Mystic Garden Festival ADE
Known for its industrial vibes and hard-hitting techno, Dockyard Festival offers an intense ADE experience. Teaming up with Mystic Garden for a two-in-one experience, this event provides the most stages out of any event during ADE week. Set in a raw, industrial setting, this festival delivers both underground sounds and a fierce energy.
Tickets
Featured image: Enrique Meesters
The post Dancing Astronaut’s five can’t-miss shows during Amsterdam Dance Event appeared first on Dancing Astronaut.
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The Martinez Brothers present 10 years of Cuttin’ Headz at Drumsheds

Celebrating 10 years of their underground record label, Cuttin’ Headz, The Martinez Brothers will headline he 15,000-capacity venue known as Drumsheds London. An evening featuring their signature underground style, Cuttin’ Headz’ showcase will prove to be a must-see event during London’s fall calendar. As the UK club scene continues to struggle, Drumsheds London has remained consistent in providing a top-notch experience of visuals, sound, and world-class talent.
Taking over the new venue created by Broadwick Live — the team responsible for Printworks, which is set for re-opening in 2026 — The Martinez Brothers will bring a special lineup of established veterans and up-and-coming artists within minimal tech house. AJ Christou, Jaden Thompson, Jesse Calosso back-to-back Jean Pierre, and Mason Collective will warm up the decks while the highly anticipated back-to-back set of The Martinez Brothers and PAWSA rounds out an incredible night. Tickets are still available for the event and can be purchased here.
Featured image: Drumsheds/Instagram
The post The Martinez Brothers present 10 years of Cuttin’ Headz at Drumsheds appeared first on Dancing Astronaut.
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EDC Thailand 2025: The Lineup You’ve Been Waiting For is Finally Here!

Get ready to witness history in the making at Thailand’s first edition of one of the world’s top festivals, Electric Daisy Carnival. Set to take place from January 17th to 20th, 2024, at Boat Avenue in Phuket, this festival promises to be talked about for years to come. With the full lineup just announced, excitement is at an all-time high!
The excitement is amplified with three days of non-stop music across kineticFIELD, circuitGROUNDS, and stereoBLOOM. The kineticFIELD is the main stage, offering a larger-than-life experience with stunning visuals and high-energy performances. CircuitGROUNDS creates an intimate atmosphere, celebrating the connection between the crowd and the music. Meanwhile, stereoBLOOM, hosted by Dreamstate and Factory 93, showcases a variety of electronic sounds from both established artists and up-and-coming talents.
This year’s lineup features an incredible selection of acts, including Afrojack, Alesso, Illenium, Skrillex, and The Chainsmokers. Fans can also look forward to electrifying sets from Fisher, Nicky Romero, Marlo, Subtronics, and Crank Dat. Other notable acts include R3HAB, Rezz, Saymyname, Da Tweekaz, Dimension, Wooli, Vini Vici, Tiësto, and Cosmic Gate. Additionally, Eli Brown, Gordo, Showtek, and Wildstylez will be lighting up the stages​.
Notably, the Indo Warehouse showcase adds a unique cultural dimension to the lineup, marking its first appearance in Thailand and diversifying the musical experience for attendees with acts like Kahani and Kunal Merchant. Local acts such as 22 Bullets with Marvinzar, Pixzy, and Karty Party further enhance the festival’s vibrant atmosphere, representing the growing talent within the Thai electronic music scene.
Staying true to Insomniac‘s signature style, the most important headliner of all is you—the dedicated fans who bring the energy and spirit to the event.
All are welcome here under the electric sky in Phuket, where unforgettable memories and a sense of community await!
See you all at Electric Daisy Carnival Thailand in 2025! 
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How to Support the Music Community Impacted by Catastrophic Impact of Hurricane Helene

As Hurricane Helene continues its pernicious path through the Southeastern United States, scores of beleaguered music venues and professionals are seeking a lifeline.
Helene has mutated into one of the largest and most harmful storms to develop in the Gulf of Mexico in the last century after making landfall as a Category 4 hurricane September 26th in Florida, according to NASA's Jet Propulsion Laboratory.
The death toll today climbed over 215, making the storm the deadliest since 2005's Hurricane Katrina, according to Axios. Emergency shelters are now opening en masse in the aftermath of the historic flooding, which left hundreds of thousands of people without water, power and cell service.
The eye of Hurricane Helene in the Gulf of Mexico.NASA Jet Propulsion Laboratory
Helene hit North Carolina especially hard last weekend, causing widespread devastation across coastal and inland communities. Emergency services were reportedly overwhelmed by calls for help as heavy rains triggered flash floods across the region, sweeping away entire homes and venues.
North Carolina Governor Roy Cooper has called the storm "catastrophic" and recently received approval from the federal government to declare a Major Disaster, per a press release issued by his office. The edict allowed the state to secure access to a "significant funding commitment."
"The people in western North Carolina are hurting from this devastating storm and we are all working to get resources to people as fast as we can," Cooper said. "We have deployed rescue teams, transportation crews, water, mobile kitchens and more. This is going to be a long-term recovery and this federal declaration will help us respond."
Read on to find out how to support independent music venues and people during the ongoing crisis caused by Helene.
How to support the music community impacted by Hurricane Helene
The National Independent Venue Foundation Emergency Relief Fund is providing essential financial aid to help keep venues and festivals afloat. The organization is accepting donations here. MusiCares, a nonprofit providing health, financial and rehabilitation resources to music industry professionals in times of need, offers an Emergency Financial Assistance Program providing financial grants. Salvage Station, a beloved music venue located in Asheville's historic River Arts District, was completely destroyed. The venue's owners have launched a campaign to raise funds, which will be "strictly given to our employees to survive during this devastating time." You can donate here. Another popular independent venue in the River Arts District, The Grey Eagle, has cancelled or postponed all of its concerts until the city of Asheville gets running water back. Its owners are accepting in-kind donations to support staff members. Heist Brewery and Barrel Arts, an independent venue in Charlotte, is now moonlighting as a drop-off location for essential supplies like batteries, flashlights, water purification tablets, blankets and baby formula. Its owners have ensured they will deliver items to a slew of impacted venues. Heist Brewery and Barrel Arts is also hosting a benefit concert on October 11th to help fund the efforts of Beloved Asheville, a local nonprofit providing aid to those in need across western North Carolina. A portion of the night's sales as well as all donations received at the door will be directed to the organization. You can purchase tickets here. Over in Tennessee, Nashville's The Basement club has organized a benefit concert on October 7th to help raise funds for victims in the eastern part of the state as well as western North Carolina. You can purchase tickets here. A group of venues launched the "NC Indie Music Venues United for Western NC" initiative to direct a portion of ticket sales throughout the month of October to relief efforts. They will be splitting the proceeds between the NIVA's Emergency Relief Fund and NC Arts Disaster Relief Fund, among other organizations. Editor's Note: If you have information regarding access to resources for members of the music community affected by Hurricane Helene, please reach out to [email protected].
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Oliver Heldens & RoRo: ‘Shine’

Following Oliver Heldens’ latest release, ‘Chills’ (with David Guetta and Fast Boy), which has now surpassed 12 million streams, the superstar returns with his newest single, ‘SHINE.’ It was produced in collaboration with Bajan/UK singer RoRo, who is best known for her Top 10 hit with Hannah Laing, ‘Good Love,’ and has recently released with A-lister dance artists, including Riton. ”Shine’ is a groovy high energy track that emphasizes the brightness of RoRo’s voice and Oliver Helden’s recent pivot to quicker and more minimal production style. Listen here.
A staple in his festival sets this past summer, Oliver Heldens included “SHINE” during his mainstage at Tomorrowland (watch here) and at his hometown festival, Mysteryland in Amsterdam, where RoRo joined the Dutch icon onstage for a live performance of the song. 
The post Oliver Heldens & RoRo: ‘Shine’ appeared first on EDMTunes.
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SNAILS Unleashes Mayhem with NITTI and Metal Band Stained With Silver on ‘BASS FACE’

SNAILS has teamed up with the legendary metal band Stained With Silver and the talented NITTI for an explosive new collaboration, ‘BASS FACE‘. This bass banger comes after Fred’s last metal bass track ‘BODIES.’
This mayhem inducing track seamlessly blends the aggressive guitar riffs and powerful vocals of metal with the heavy basslines and intricate rhythms of dubstep, and is immediately felt from the first 30 seconds. The male vocalist’s belting vocals bolster the track with a heavy dose of adrenaline, combined with the thunderous drumline and explosive bass, making this a certified banger on the dancefloor or festival circuit.
SNAILS had a massive 2024, with him touring all across North America and is gearing up for an even bigger 2025. ‘BASS FACE’ is just his first collab of many to come.
The post SNAILS Unleashes Mayhem with NITTI and Metal Band Stained With Silver on ‘BASS FACE’ appeared first on EDMTunes.
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MUST DIE! Drops Another Heavy Banger with ‘Kick Back’

MUST DIE! is back with another banger, showing he’s one of the most consistent bass producers in the game today. His latest single, ‘Kick Back’, is the third installment of his highly anticipated EP on Kannibalen Records.
‘Kick Back’ is a masterclass in genre-bending, effortlessly fusing elements of trap and dubstep into a cohesive and explosive sound. MUST DIE! pays homage to the golden era of hybrid music while simultaneously pushing the boundaries of the genre with his innovative production techniques and intricate rhythms. From the infectious melody to the earth-shattering bassline, ‘Kick Back’ is a sonic assault that will leave you breathless. MUST DIE!’s signature style shines through in this one, showcasing the sound that has made him so unique.
MUST DIE! is a renowned bass music producer and DJ known for his heavy-hitting sound and energetic performances. With his signature blend of trap and dubstep, he has quickly risen to become one of the most sought-after artists in the electronic music scene. MUST DIE! first gained recognition for his remixes of popular tracks, but it was his original productions that truly showcased his talent. His music is characterized by its aggressive basslines, intricate rhythms, and infectious melodies. MUST DIE! is also known for his innovative use of sound design, often incorporating unexpected elements into his tracks.
The post MUST DIE! Drops Another Heavy Banger with ‘Kick Back’ appeared first on EDMTunes.
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Amelie Lens Teases New Single – ‘Falling for You’

Amelie Lens just announced the release of her brand new single ‘Falling For You’, out on October 11. It bears all the unmistakable hallmarks of the sonic production styles Lens is so respected for. ‘Falling For You’ is also coupled with a breathtaking, cinematic vocal – a signal that Amelie Lens is continually pushing forward, driving her music in new, unexplored directions. Amelie has already teased the track in her sets recently, and it has been met with an instantly rapturous reception among crowds so far.
Amelie had previously confirmed a trio of B2B sets with Charlotte de Witte for their fans in Belgium. 2025 is set to witness the Techno stalwarts unite in their homeland on January 31st, February 1st and February 8th at Ghent’s Flanders Expo. ‘Falling For You’ has been regularly used by Lens to close her sets.
Sharing a live snippet of the track on Instagram, Lens reiterated that she has been closing many of her recent sets with it. 11th of October will be the date that will oversee the release of the single.
Pre-saves and pre-orders are available here.
The post Amelie Lens Teases New Single – ‘Falling for You’ appeared first on EDMTunes.
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Kasablanca Releases Side A Of Debut Studio Album, Higher Resolution

Kasablanca delivers the first half of their debut album Higher Resolution. It brings fans an 11-track Side A complete with seven new tracks. They have quickly risen through the ranks of dance music must-see acts over the past four years. This was attained after hitting through multiple milestones. Launching into the scene with their first singles in 2020, they struck gold with their hit collaboration with Lane 8. Titled ‘Run’, it has been streamed over 40M times post which they haven’t looked back.
Beginnings
The duo’s journey has been explosive over the years since their first Human Learning EP in 2020. Most widely known for their enthralling live performances, the duo has played some of the world’s most well-known venues & festivals. This includes the likes of Printworks, Coachella, Red Rocks, and The Gorge, alongside shows across four continents. Kasablanca’s songs have also been heard worldwide on the radio including features on BBC Radio 1 and SiriusXM. The latter brought in a number 1 hit on BPM with ‘Run.’
Hurdles & Return
The duo sold out their first-ever headline tour in 2023 focusing on legendary rock venues around North America. Their final shows were cut short towards the end of the year after revealing that frontman “Mickey” had been diagnosed with cancer. A short hiatus from touring and music followed at the start of this year. The release of their next collaboration with Lane 8, ‘Remission’ marked the official return of Kasablanca. This was after the pair debuted the track during their live sets at Ultra Music Festivals in Miami, Chile, and Peru.
‘Remission & After’
Following ‘Remission,’ Kasablanca has been on a blistering pace over this past summer with three more lead-up singles and a run of over 20 tour dates this year. Another 20 are still to come before the end of the year. Singles ‘Terminal Feeling’ and ‘Daydream’ with anamē gave fans differing sonic styles from the Melodic Techno duo. Their viral anthem ‘Breathe’ also landed in August. The official cover of the 1996 hit by The Prodigy started with a viral video in 2023. 10M views later has seen support worldwide from streaming platforms and radio stations alike.

With the Side A release of their debut album, Higher Resolution, Kasablanca now takes the next step on their meteoric rise. The album brings fans on an epic journey from start to finish led by the title track. Four new original mixes take center stage on the body of work. ‘Clarity’ is a familiar anthem to fans who have seen Kasablanca live over the past six months. It is the one that tore up dance floors from Bonnaroo to Fabric. Multiple videos of the track on social media garnered millions of views.
Kasablanca heads out on their Higher Resolution Album Tour on October 12th across North American markets. Fans can get tickets and more information here.
The post Kasablanca Releases Side A Of Debut Studio Album, Higher Resolution appeared first on EDMTunes.
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Spotify’s Global Head Of Music Is Leaving

Spotify sees another major re-shuffle! Spotify‘s Global Head of Music, Jeremy Erlich, is departing the music streaming giant. He will be transitioning to an advisory role through February 2025 as reported by Hits. Erlich is likely to commence an entrepreneurial journey after his exit February end which is yet to be announced.

The now soon-to-be former Head of Music’s tenure of 5 years was laced with growth and expansions for Spotify over the years. Jeremy’s stint saw the streaming platform double more than in size. The executive is reputed to carve strong teams and boosting alliances spanning global businesses. His departure was announced through an internal journal to the employees.
“This version of ‘What’s on my mind’ will be different from all others… as it will be my last one in my role“, he revealed. “In the past few months, I’ve been reflecting on what we’ve achieved as a team and as a company and the challenges that lay ahead. Through this reflection, I’ve decided that it’s time for me to turn a page on this chapter after 5.5 incredible years. As I thought about the future, I found myself more and more excited about embarking on my own entrepreneurial journey. It’s been a goal of mine for a long time and now feels like the right time to pursue it“.
He continues by saying leaving “was a very difficult decision but, as I’ve said many times before, you are the best team in the industry and I know you’ll be in good hands going forward. So what now? You’ll still see me around for a while as I step into an advisory role. While change can feel hard, I’m confident that this will only result in great things for the team and I’ll be here to help you all navigate through it“.
Erlich joined Spotify from Interscope Records as Head of Music Strategy in 2019. His tenure at Interscope as CFO and EVP Business Development saw him sign K-Pop megastars Blackpink. Prior to that, he was previously responsible for running corporate development for Universal Music Group since 2011. Erlich’s subsequent involvement was instrumental in the acquisition of EMI Records by Universal.

July 2021 saw Erlich’s promotion to the Global Head of Music role at Spotify.
The post Spotify’s Global Head Of Music Is Leaving appeared first on EDMTunes.
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Armin van Buuren And Vini Vici Bring New Energy To ‘Sarabande’

Now, time for some Trance. Armin van Buuren and Vini Vici drop another audial slam dunk in the form of ‘Sarabande’. Drawing Georg Friedrich Händel’s classical piece of the same name and featured exclusively on A State of Trance, Ibiza 2024, this inspirited trance banger will go off on major stages worldwide. The track follows earlier releases from this partnership, on hyper-successful cuts such as ‘Great Spirit’ and ‘We Come Alive’.
‘Sarabande’
With the incredible vocals from Anna Timofei, ‘Sarabande’ mixes van Buuren’s and Vini Vici’s styles skillfully. With angelical synths, and nasty drops, the song is a tribal delight. Moreover, the heavy bass accompanies acid flows, into fluid breaks and euphoria.
Summer saw the best of Armin with a Residency at Ushuaïa Ibiza that just finalized last week. Besides, the A State of Trance head announced that the event will return to the Ahoy in Rotterdam in 2025, with two nights showcasing the full spectrum of Trance music and incredible world-class acts. Meanwhile Vini Vici enjoyed performing on incredible stages at Mysteryland and Tomorrowland. Up next, the Israeli Psy-trance duo will return to the US for EDC Orlando and Dreamstate SoCal, both festivals being Insomniac events.
Channel the ancient spirit of dance, and lay it out on the dancefloor, here is ‘Sarabande’:

The post Armin van Buuren And Vini Vici Bring New Energy To ‘Sarabande’ appeared first on EDMTunes.
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Tiesto’s Iconic In Search Of Sunrise Mix Of ‘Silence’ Has Turned 24 Years Old

Twenty-four years ago, in 1999, Canadian electronic group Delerium teamed up with singer-songwriter Sarah McLachlan to create ‘Silence’, a track that has become one of the most iconic trance anthems of all time. However, it was Tiësto’s transformative “In Search of Sunrise” remix, released on October 4, 2000, that propelled the track to legendary status. This remix not only earned ‘Silence’ a permanent place in dance music history but also helped define Tiësto’s career as one of the world’s leading DJs.
While ‘Silence’ had several remixes, Tiësto’s version stood out for its masterful balance of ethereal beauty and high-energy trance elements. The remix’s vibrant synths and innovative basslines elevated the original, creating a euphoric experience that resonated with fans across the globe. Tiësto’s remix became a defining moment, securing the track a spot at #12 on Mixmag‘s list of the greatest dance records of all time.
Even today, Tiësto’s “In Search of Sunrise” remix of ‘Silence’ continues to captivate new and old listeners alike, ensuring its place as one of the most influential trance tracks ever. It’s a timeless reminder of how music can transcend decades and genres, uniting generations on dance floors around the world.
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Mau P Wins Gold And Platinum Certifications, Dedicates Them To Late Father

One of the most prominent figures in the Electronic music scene, Mau P, has achieved significant success this year. He recently earned five gold and one platinum certification for his music. He dedicated these achievements to his late father, sharing an emotional message on social.
Mau P, formerly Maurice West, has been working in the music industry for many years. He has collaborated with renowned artists like Hardwell and W&W. But despite this, he struggled to achieve proper recognition. In a turning point, he adopted the stage name Mau
P and released the hit single ‘Drugs From Amsterdam’ in 2022. The song quickly gained popularity, amassing nearly 200 million streams on Spotify.
On his recent post, he honors his father’s memory by remembering him. “Before my father passed away, I told him one day I would get a gold certification plaque to hang next to his“, he says. “Never did I think I would bring home 5 and one platinum… Thank you so much for listening to what I create and taking me in at a time when I needed it most… You have no idea how much you mean to me… Love, Mau“.
See the post below:
Congratulations, Mau!
*Cover image credit: Tommy Reerink
[H/T] We Rave You
The post Mau P Wins Gold And Platinum Certifications, Dedicates Them To Late Father appeared first on EDMTunes.
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DJ Greyhound & Trance Tyler Drop An ‘Earthquake’ Via HIGHER WAVEZ RECORDS

The sound of future rave and big room house can always be described as powerful, and that is exactly what we can describe the brand new single from DJ Greyhound and Trance Tyler titled ‘Earthquake.’
Released via the HIGHER WAVEZ RECORDS imprint, ‘Earthquake’ causes quite the shake as it brings thumping future rave vibes with a big room energy and power. Not only bringing the power and energy, this single is also quite catchy, as the two artists use male vocals that add even more memorability to it. The driving basslines and electrifying synths create an exhilarating atmosphere, making it a perfect anthem for festivals and club nights alike.
Listeners will find themselves swept away by the infectious rhythms and dynamic drops, inviting them to dance and lose themselves in the music. The track expertly combines elements of both genres, showcasing the artists’ talent for crafting a sound that is both contemporary and timeless. As the pulsating beat resonates through speakers, ‘Earthquake’ stands out as a testament to DJ Greyhound and Trance Tyler’s ability to push the boundaries of electronic music while delivering a thrilling auditory experience.
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Factory Town Announces Opening and Closing Parties for Art Basel Miami 2024

Factory Town is one of Miami's most beloved destinations for sunset-to-sunrise grooves, especially during Art Basel. The outdoor, multi-stage campus completely transforms for its Factory Basel series, which annually features star-studded lineups for multiple days of marathon raves.
As 2024 Art Basel announcements slowing start to arrive, Factory Town has revealed their massive opening and closing parties.
Mayan Warrior will kick things off Thursday, December 5th in the venue's Infinity Room. This year, the brand is back and stronger than ever after debuting its brand-new, rebuilt art car, Galaxyer. Mayan Warrior's beloved original art car was a longtime staple of Burning Man before catching fire and tragically burning beyond repair in April 2023.
The revamped Galaxyer stage hosted DJ sets from Carl Cox, Adan Ten, RÜFÜS DU SOL and more at this year's gathering in Black Rock City. The lineup for the Factory Town Art Basel date has not yet been announced at the time of this writing.
Alongside Mayan Warrior's appearance at Factory Town are scheduled events featuring GOLFOS and Eastenderz. GOLFOS, the duo of PAWSA and Dennis Cruz, are slated for a special, extended set at the Park Stage for their highly anticipated Factory Town debut.
The venue is known for concluding their multi-day events in spectacular fashion, with stacked lineups taking place on Sunday night into Monday morning. 2024 is no different, with Elrow wrapping up Art Basel weekend at Factory Town's Park stage. The famed Spanish party brand will flesh out their latest theme, "Hallucinarium," which presents art by the iconic psychedelic artist, Alex Gray. Elrow's lineup will be announced in the weeks ahead.
As if that wasn't enough to keep Miami ravers grooving all night long, Sunday will also include a spellbinding "Adriatique X" performance in the Infinity Room.
Tickets for Factory Basel 2024 events are available here.
Follow Factory Town:
Instagram: instagram.com/factorytown_
X: x.com/factorytown_
Facebook: facebook.com/factorytownmiami
Website: factorytown.com
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Sara Landry's Debut Album Wields Techno as a Spiritual Weapon

Sara Landry, notorious for short-circuiting minds and incinerating dancefloors, has released her debut album, posing life's greatest questions at blistering BPMs.
Spiritual Driveby is searing techno that asks big questions, not with words, but with hyperkinetic rhythms that jolt us into dancing and connecting in ways words fail to capture. Landry says the album was inspired by the idea that our bonds derive from somatic happenstances that we can't quite perceive, but should embrace.
"This sonic offering was motivated and inspired by the notion that none of us are alone because we are all energetically linked," she explains. "Everything we do is interwoven and collaborative, whether we realize it or not. Every musical experience we’ve ever had, every show we’ve been to, every euphoric moment that echoes across time has been a collaborative experience and a stacking of energies."
The release is a big moment for the self-anointed "High Priestess of Hard Techno," effectively crystallizing one of the most explosive electronic music breakouts in recent memory. Landry has built a large and devoted following, fearlessly pushing the tempo to the bleeding edge on the stages of the world's biggest festivals.
Landry channels that energy through Spiritual Driveby, which doesn't just push the envelope—it feeds it through a paper shredder and snorts the remains. Just like her unbridled DJ sets, she drags us into a vortex of brutal euphoria with her uncompromising approach to techno production.
Sara Landry performing at Tomorrowland in Belgium, where she became the first hard techno artist to perform on the iconic festival's main stage.Tomorrowland
The EDM.com Class of 2024 superstar says she toiled through a 15-month period of writer's block while recording the album. Once she found her groove, however, Landry "took the sound design to the place [she] really always wanted it to be," she gushed.
Out now on Landry's own HEKATE label, Spiritual Driveby kicks off by virtue of a prelude featuring a haunting soliloquy from her personal hypnotist. "Nothing can take this moment from us," he says. "So let this music move through you freely. Let it change you."
From there, Landry plunges her fans into a wormhole of vocal-driven techno designed for reckless abandon. Awash in distortion you can feel in your bones, "Because They Want Our Seat" is a surefire highlight, a masterclass in tension and release produced alongside French techno breakout Nico Moreno.
Another standout is the hedonistic "Play With Me," a collaboration with Shlømo that captures the electric thrill of a night that never ends. Here, Landry's vocals slice through ruthless four-on-the-floor beats and transport us to a dark warehouse where pleasure and danger dance in perfect, reckless harmony: "I'm the one, I know you see / Life is short, do what you please."
Listen to Spiritual Driveby below and find the new album on streaming platforms here.
Follow Sara Landry:
X: x.com/saralandrydj
Instagram: instagram.com/saralandrydj
TikTok: tiktok.com/@saralandrydj
Facebook: facebook.com/saralandrydj
Spotify: spoti.fi/3RKgqwu
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BHM: The Birth Of British Bass Music

Last year, for Black History Month, we had the privilege of speaking with some incredible artists about how bass music brands can step up and truly celebrate the genre’s deep roots in Black culture. One message stood out loud and clear: education is key. Brands should embrace the opportunity to educate new fans on the rich history of bass music and its intrinsic connection to Black culture. This year, we’re taking that advice.
We’ve teamed up with the legends at Velocity Press to bring you something special. Over the next four weeks, we’ll be presenting exclusive extracts from books that dive into this historic connection between bass music and Black culture.
Kicking things off, this week we’re exploring Join The Future: Bleep Techno and the Birth of British Bass Music by Matt Anniss. Why this book? Because it sets the scene perfectly. Anniss argues that Bleep Techno, born in 1990, was the first distinctly British form of electronic dance music—and it was powered by bass that drew directly from Black sound system culture. Ready to explore the origins of UK bass? Let’s dive in!
An Extract From Join The Future: Bleep Techno and the Birth of British Bass Music by Matt Anniss.
Chapter Three
Riddim Is Full Of Culture
Soundsystems, battles and the “blues”
“The fruits of those [interlocking social] networks are evident amongst a whole generation of young black and white people who have grown up alongside one another and shared the same streets, classrooms and youth clubs. They are visible everywhere in cross-cultural affiliations and shared leisure spaces, on the streets, around the games machine at the local chip shop, in the playgrounds and parks, through to the mixed rock and reggae groups. As a result of these, nothing is quite as “black and white” as it seems.”
Simon Jones, ‘Black Culture, White Youth’, 1988
Under overcast skies, people of all ages and ethnicities are streaming into Potternewton Park in Chapeltown. As they’ve done on each August Bank Holiday Monday since 1967, the people of Leeds are gathering to celebrate Caribbean culture at one of Britain’s oldest West Indian carnivals.
It’s early afternoon at the 2018 edition and things have yet to really get going. The sweet and sticky smell of char-grilled Jerk Chicken rises from oil barrel barbecues dotted around the park’s winding paths, while the sounds of 21st century soca, dancehall and reggae drifts over from the flatbed trucks parked up on nearby Harehills Avenue. DJs and dancers, many of whom have headed to this corner of Leeds from as far afield as Birmingham, Leicester, Manchester and Bristol, idly stand around the trucks impatiently waiting for the costumed “masquerade” parade – an annual tradition for 51 years – to finally get underway.
They’ll need to wait a little longer. Before they can take to the streets, the troupes of costumed dancers will be presented to the crowds – a mixture of stoned students, veteran ravers, proud parents pushing prams, wise old West Indian sages and crews of excitable teenagers – in front of the festival-sized main stage recently erected within the park’s natural amphitheatre.
To the untrained eye, the dancers’ dazzling, kaleidoscopic outfits are a sight to behold. Designed to be representative of aspects of Caribbean life – think birds, butterflies, animals, coral reefs and mythological characters – these colourful costumes can trace their roots back to the earliest days of Trinidadian carnival culture in the 19th century. Yet prior to Trinidad and Tobago gaining independence from Britain in 1962, carnival celebrations were condemned or outlawed in the island nation; they were, after all, anti-establishment in nature, with the associated drinking and musical merriment laced with a heavy dose of satire at the expense of the colonial authorities.
When the first wave of post-war Caribbean immigrants stepped off the HMT Empire Windrush at Tilbury Docks on June 21st 1948, they brought with them music and cultural traditions that were initially alien to their new British neighbours. With suspicion and racism rife, it would take several years before they felt comfortable enough to parade these traditions before the public, despite the presence on the passenger manifest of several leading calypso musicians (most famously Lord Kitchener, Lord Woodbine, Lord Beginner and Mona Baptiste) and Sam Beaver King, a future Mayor of Southwark who was an early enthusiast for carnival-style celebrations in London.
Over a decade would pass before these “Windrush Generation” pioneers, now settled with more friends, family and fellow islanders by their side, felt confident enough to organise community celebrations that mirrored Trinidad and Tobago’s “mas” bands and parades. There were small-scale indoor events in London from 1959 onwards, but it would take a while longer before Notting Hill’s annual outdoor carnival would be established. In fact, the first serious celebration took place in 1966, though it was a fete celebrating not just Caribbean culture but the whole of the community.
It was actually Caribbean residents of Leeds who hosted Britain’s first dedicated “West Indian Carnival” – an event organised by, and for, the city’s British Afro-Caribbean community. The groundwork was laid in 1966 when two students – Trinidadian Frankie Davis and Jamaican Tony Lewis – joined forces to put on a “West Indian Fete” at Kitson College. Twelve months later, the Leeds West Indian Carnival was born, complete with a celebratory costume parade that danced down the hill from Chapeltown to the city centre. 
That first carnival was a modest affair, but by the 1980s, it had grown into a vibrant annual celebration that draws in participants – particularly dancers, steel pan bands and calypso performers – from Yorkshire, the Midlands and North West. Musical satire at the expense of the British authorities still featured, but it would be the organising committee’s 1983 decision to involve local Jamaican-style soundsystems – complete with selectors and MCs – that would shape the future of the event and better reflect the nature of the music scene within Yorkshire’s sizable West Indian community.
Today, the off-route street corner soundsystems manned by local crews attract more partygoers than the traditional parade, steel pan bands and costume competitions. You’ll find these impressive looking “sounds” rising from the overgrown front gardens of Victorian terraced houses, sitting resplendent in the middle of blocked-off side streets and – as one ingenious crew did during the 2018 edition – nestling beneath bus shelters on Chapeltown Road, the main thoroughfare that heads from Leeds City Centre up towards Hyde Park, Woodhouse and the leafy suburb of Roundhay.
The selectors and soundmen skulking behind sizable speaker stacks don’t always stick to the script passed on by their forefathers. These days, their musical selections don’t just reflect the sub-bass heavy pulse of Jamaican music but also later British styles of dance music that owe their existence to the wide-ranging cultural impact of soundsystem culture. As darkness falls, you’re just as likely to hear jungle, drum & bass, trap and grime as dub, roots reggae and lovers rock. While the rhythms and exact musical make-up differ, each of these varying expressions of soundsystem culture has one defining feature: the richness, warmth and heaviness of the bass.
• • •
The story of how soundsystem culture took root in Britain is one that’s been told many times before, with focus falling mostly on the London-based pioneers who introduced it to the UK. Yet while they provided the foundation, the culture’s spread and long-lasting influence was as much the product of those outside the capital city as within it.
According to British reggae historians, the first man to fire up a Jamaican style soundsystem – albeit a rudimentary one – in the UK was “Duke” Vincent Forbes. It was 1954 when he began playing calypso and ska records using one turntable and custom-built valve amplifiers and speaker boxes. His simple but popular system would become the blueprint for bigger, louder and more prominent sounds operated by mic-sporting reggae, rocksteady and later dub “selectors” such as Lloyd Coxsone (who began building his rig in 1962) and Jah Shaka.
London was naturally the hub of soundsystem culture in the UK during the 1950s, ’60s and ’70s, but by the time the 1980s rolled around, the city’s dominance was being rivalled by similarly strong scenes elsewhere. There were notable outposts in Birmingham (clustered around the Handsworth and Aston neighbourhoods), Bristol (St Pauls and Easton), Manchester (Hulme and Moss Side), Nottingham (St Ann’s) and Liverpool (Toxteth). In fact, any town or city that boasted a significant British Afro-Caribbean community had its own soundsystems and associated events, with once mighty industrial cities, where work had been plentiful for immigrants in the first three decades after the Second World War, playing host to the most vibrant scenes.
Yorkshire’s scene was particularly strong during the ’70s and ’80s. While Chapeltown in Leeds arguably led the way, there were similarly significant communities of soundmen and selectors in Bradford (mostly in the West Bowling, Manningham and Heaton suburbs), Sheffield (Pitsmoor and Burngreave) and, most surprisingly of all for those outside the region, Huddersfield. 
There, the number of custom-built sounds was, for a town of its size, surprisingly high; at its height, the town boasted over 30 systems, an astonishing figure fleshed out in delightful detail in Paul Huxtable and Mandeep Singh’s 2014 book Sound System Culture: Celebrating Huddersfield’s Soundsystems. These sounds would regularly battle against regional rivals from Sheffield, Bradford and Leeds at the local West Indian club, known as Venn Street due to its location, and at the lesser-known Aravark Club . These “sound clashes” were replicated in many other towns and cities throughout the country, with rival “soundmen”, selectors and vocalists taking it in turns to try and get the best response from the crowd.
This kind of competition was an ingrained part of soundsystem culture – a tradition that had made its way over from Jamaica, where sound clashes and battles between record-playing soundsystem operators were far more popular than concerts. It was a tradition that expressed itself in hip-hop culture in New York (thanks, in part, due to scene founder DJ Kool Herc being a Caribbean immigrant who owned his own soundsystem) and would later play a vital role in the development of numerous styles of British dance music.
Rivalry was not confined to the soundmen, either. Like the soul and electro all-dayer scenes, where dedicated dancers would battle for supremacy using jazz-dance moves, soundsystem-powered events in community centres and local Caribbean clubs also attracted competitive dancers. They didn’t breakdance or showcase their footwork moves, of course, instead choosing to style out their own take on “skanking” – a Jamaican pioneered dance that had become more widely recognised thanks to the popularity of the 2-Tone ska revival that swept Britain in the early 1980s. 
Like the contemporaneous post-punk movement, this revival was the inevitable result of societal changes, most specifically, a generation of black and white teenagers who had grown up living side by side in British towns and cities. The Midlands was the birthplace of 2-Tone Records, the label that did most to popularise the sound, but there were plenty of young musical fusionists to be found elsewhere. To them, there were no boundaries and joining the dots between punk, dub reggae and American dance music made perfect sonic sense.
• • •
It would be a little longer before Bradford, Leeds and Sheffield would give birth to a futuristic new spin on soundsystem culture, though the seeds were being sown from the late 1970s onwards.
Chapeltown in Leeds may not have been able to claim the same number of soundsystems as Huddersfield, but its scene was arguably even more vibrant in the ’70s and ’80s.  There, soundsystem dances and sound clashes took place in a handful of venues within the neighbourhood. “We had to do our own thing within the community,” says Mark Millington of Leeds’ leading soundsystem crew, Iration Steppas. “You couldn’t have a black dance in town, so that’s why we had the community centres to do them in, as well as certain warehouses that allowed us to do our thing with soundsystems in the ’70s and ’80s.”
DJ on the right is Mark Millington from Ital Rockers/Iration Steppas PHOTO CREDIT: Homer Harriot
Within Chapeltown, action revolved around the Community Centre on Reginald Terrace, the West Indian Centre on Laycock Place, a former synagogue on Francis Street that was variously called the International Club and the Phoenix Club, and the Trades Hall on Chapeltown Road. Soundsystem sessions also took place in the backroom of the Hayfield Hotel off Chapeltown Road, a historic pub that was eventually demolished in the early 2000s after becoming a magnet for gang-related violence. 
“There were soundsystem sessions every week at the Community Centre,” Millington explains. “We had our own local sounds who would play regularly, but there were also big events that included Jah Shaka, Tubby, Saxon and even Coxsone – many sounds from out of town that people might know played there. When they got bigger, Saxon would play the Community Centre on their own without someone like Shaka also being on the bill. Those sessions were roadblock!”
In the Jamaican tradition, each soundsystem would have its own specific musical niche. Some would be light and soulful, showcasing roots reggae or lovers rock (Kooler Ruler, one of the first sounds to play at Leeds West Indian Carnival in 1983, led the way locally in this regard), while others would prioritise the bass-weight and heavy dancefloor rhythms of dub. Key Leeds sounds at the time included Chapeltown-based Ambassador, Genesis, Magnum 45, Ras Claart, Emperor and Jungle Warrior, as well as Mess-I and Messiah from Hyde Park (an area better known for its student population but also host to British Afro-Caribbeans thanks to its proximity to Chapeltown and Harehills).
“The North was quite strong in the ’70s and ’80s for dub,” Millington remembers. “Leeds was mainly a dub town at that time. The Community Centre in Chapeltown was the big thing at the time, but Venn Street in Huddersfield and Palm Cove in Bradford were also important. It was like a circuit – something would be happening every weekend at one of those places and you went there to support the dances. We were very entertained and that’s where we got our inspirations from.”
The circuit, as Millington describes it, also included Bensons and Checkpoint in Bradford, where he’d later DJ on Sundays, occasionally with his cousin’s local sound, Conquering Lion. Like a lot of local soundsystem DJs, Millington got his records from what has become a Leeds institution: Sir Yank’s record shop on Gathorne Road. A tiny, ramshackle place run out of a tiny building at the back of a row of back-to-back terraced houses, Sir Yank’s has somehow survived to this day.
“It was the main Jamaican import place at the time,” Millington explains. “Sir Yank had a garage and used to sell out of that, or his house. I’d go to Sir Yank’s straight from school and stand outside hearing music play. If you liked a certain record he put on, you’d stick your hand up and be like, ‘Yeah! I want one of these!’ Sometimes he’d have ten copies of something, sometimes one, so you had to be there to grab one or they’d all be gone. It was a great place to meet and listen to music.”
• • •
Sir Yank’s customers were not only the soundmen and selectors who lugged their heavy equipment down to local community centres for evening dances, but also those whose sounds resided in the ‘blues’ – unlicensed, all-night social clubs located in the backrooms and basements of residential houses within Chapeltown and Hyde Park. 
“There were so many blues – I think Leeds had more than London at that time,” Mark Millington says. “They were all around the streets of Chapeltown. They had local sounds and DJs, but some also brought in sounds from out of town on Fridays, Saturdays and Sundays.”
Blues, or ‘shebeens’ as they’d previously been called, first emerged within the Caribbean communities of major British cities in the 1950s. They were much-needed safe social spaces where community members could gather, listen to music, dance and play cards or dominoes. In an era where regular pubs and clubs could be no-go areas, they provided an essential service for the communities they served.
“I think that was one of the reasons it was allowed to go on,” says George Evelyn, then a Hyde Park teenager who maintained an interest in dub and reggae music despite his devotion to breakdancing. “As long as the Blues were there, the police knew where everybody was. If it’s self-contained in a few places in one neighbourhood, it’s easier to control. It kept things under wraps to an extent because there was somewhere for people to go. People were occupied and entertained.”
Due to their illicit, word-of-mouth nature, blues came and went on a regular basis. “It was an open thing – anyone could do a blues,” Mark Millington says. “Once you had drinks, music and the authority of the property owner to run that Blues, it was no big thing. Anyone could run them and lots of people did.”
More often than not, blues were named after their proprietor, a member of the local community with an interest in soundsystem culture and an entrepreneurial spirit. In Chapeltown, that meant Blues with names like Duke’s, Cliff’s, Maxi’s, Sonny’s and Streeger’s; in Sheffield, it was CJ’s, Pinky’s, Mandeville’s, Brace’s, Chatoo’s (held in a prefab building in the back garden of a terraced house off Chesterfield Road) and the most famous of all, Donkey Man’s. 
These infamous owners would often work the door, leaving hosting and bar duties to a strong female member of their family. Each blues would boast a soundsystem, which had either been built specifically for the space or was carried in for each all-night session. There would usually be a small homemade bar selling a limited range of drinks (think rum, Red Stripe beer and Coca-Cola) and occasionally a kitchen dishing up traditional Jamaican food. Entrance was at the discretion of the owner and was usually via a side door or backdoor. Crucially, the Blues often opened at 2am, around the time when city centre clubs were closing and went on through the night.
“Some of the blues, like Darkies near Sir Yank’s, would take up most of a house, while others were just the ground floor or cellar,” remembers Gip Dammone, then an aspiring promoter of jazz-dance clubs (he would later go on to be a successful restaurateur and club owner). “There were lots of blues in Chapeltown around that time [in the mid-1980s] and it was mostly reggae music you’d hear. You’d see lovely, incongruous things, like all these dreads hanging out and then two little women sat to the side drinking Babycham at six in the morning. There would be all sorts of people in there – they were like social clubs.”
Dammone, a white Yorkshireman of Italian heritage, regularly visited blues alongside other workers from the restaurant, club and pub trade. “In the 1970s and ‘80s the whole Leeds restaurant trade would go to Chapeltown after work because it was safer,” he says. “We were a bit scared of going into town after work – there was a lot of violence. For the most part, I found it friendly in Chapeltown in those days. It had quite a vibrant scene.”
Aside from Dammone and his colleagues, the blues were also a draw for members of the music community. “When I lived in Wakefield, I’d travel over to Chapeltown or Bradford to the blues quite a lot,” says Leeds promoter Dave Beer, one of the key figures behind the city’s long-running Back To Basics club night. “The Blues were the only place you could buy weed. It could be dangerous territory sometimes and you had to have big balls as a skinny white kid to go down there.”
It was a similar story down the M1 in Sheffield, whose post-punk “industrial funk” musicians regularly headed to the Blues after gigs or studio sessions. “Some members of the band were constantly at Donkey Man’s blues,” says producer and former Moloko member Mark Brydon who, at that point in the 1980s, was riding high as a member of Steel City band Chakk. “I always found it very friendly. We used to knock on the door and ask whether we could come in. I used to spend evenings with my head in the bassbins of their big soundsystem listening to proper roots rock dub reggae. There was no bother – nobody hassled us, and we could have a draw and listen to music.”
Brydon and his Chakk bandmates shared a house close to another notorious blues, CJ’s in Broomhall. “It wasn’t somewhere you’d go regularly,” Brydon says with a smile. “It was somewhere you felt privileged to be allowed in. It was probably the fact that our faces were seen so much around the neighbourhood that got us in. I think going to Donkey Man’s and CJ’s definitely informed the way that our records sounded because we learned so much about good bass and bad bass from those Blues. It’s true that the blues really influenced the way records were being made.”
The outlaw nature of the blues, which often switched location from one house to another on the rare occasions that the police decided to take an interest in their activities, did scare off some potential attendees, though not Brydon or Leeds’ Gip Damone and his friend DJ Lubi. 
“I remember one night I was in Darkie’s with my brother Simone and we got into some trouble for roaching up this fag packet that we thought someone had discarded on the pool table,” Dammone says. “So, we’re smoking this joint and a guy appears – he looked like a general, with square shoulders on his jacket. He was carrying a cane. He was giving us the evil eye and started talking to us aggressively because it turned out we’d ripped up his cigarette packet. We knew the cook, so he took him into the kitchen and had a word. When he came back out again, he was all smiles, but we passed him the spliff and scarpered.”
That was not the only occasion that Dammone had to flee a blues in a hurry. “Another time, a guy came into the blues that Simone and I were in wielding a cutlass,” he laughs. “I got out of there pretty quickly and ran like fuck!”
• • •
By the mid-1980s, the musical purity of the blues as a haven for roots, dub and reggae was beginning to be challenged by a new generation of DJs and dancers. While some loved reggae, others were more excited by the potential of jazz-funk and emerging styles of American dance music, such as electro, hip-hop and house. 
“I remember one time at Darkie’s, where a jazz dancer called Doville had arranged for Manchester DJ Hewan Clarke to play,” DJ Lubi remembers. “Hewan was already there when we walked into the basement, which was lit by red lights at either end of the room. Hewan was standing there in the DJ booth, which was encased in wire mesh. They must have got two turntables in for that one because they normally had one. Hewan played everything – soul, rare groove, electro, jazz-funk and reggae. We were meant to play but just got some beers and stood next to him in the DJ booth. A few looked at us suspiciously, but it was fine because we were with the DJ.”
Events like this were still a rarity, though, and it would take the efforts of a young DJ with ambitions to build his own soundsystem to really change things. This was Mark Millington, who along with his friend Sam Mason was well known for wandering around the neighbourhood with a “sound” made out of two connected ghetto blasters. 
“Everybody knew me as Music Man,” Millington says with a chuckle. “Me and Sam would always be walking around with our ghetto blasters. People said to me, ‘why don’t you build your own sound?’ I’d say, ‘I can’t be arsed because it costs money and I’m on the dole’. Eventually, I was persuaded to do it and that turned out all right.”
Ital Rockers PHOTO CREDIT: Homer Harriot
It would take a while before that sound, Ital Rockers, would be built. By that time Millington was a respected DJ with a Sunday residency at Checkpoint in Bradford – assisted by an older local reggae musician and wannabe producer Homer Harriott. “When we played at Checkpoint, I used to play soul mainly,” Harriott says. “When house came in from Chicago, Mark started buying those records. Before we played as Ital Rockers at the community centre, it had always just been reggae on those Sunday sessions, but we changed that.”
By early 1987, Millington had started building what would become the Ital Rockers soundsystem. “It was never a major sound,” Harriott says. “It was a cross between a home hi-fi and a soundsystem. It had big [speaker] boxes, but they weren’t as big as a regular soundsystem’s boxes. Musically Mark was talented and could compete on the strength of his selections, but at that time not on the strength of his sound.”
The Ital Rockers soundsystem soon became a regular sight in venues around Chapeltown, particularly the Hayfield Hotel, the Trades Club and the community centre on Reginald Terrace. While Millington would stick to reggae – and dub specifically – at some gigs, he was just as excited by the possibilities offered by the new American styles of house and techno, which he saw as some futuristic form of dub.
“Ital Rockers was a party sound – I played everything,” Millington asserts. “That meant lovers, house, garage, soul, hip-hop, reggae, dancehall and dub. I did this thing once a month at the Hayfield Hotel with my little soundsystem. I’d be playing dub and dancehall, then get on the mic and say, ‘We’re switching’. I’d then play house and stuff like that.”
Not all of the drinkers at the Hayfield Hotel were that keen on Millington’s desire to mix up the sounds they were hearing. “I took a lot of flak,” he says. “Man would say: ‘take that shit off’ and ‘keep to rub-a-dub!’ There was a sound at the time called Jungle Warrior and their soundmen and DJs were often at the Hayfield when I was playing. As soon as I started playing house they’d leave or go outside, then the dancers who wanted to hear that sound would come in. The Jungle Warrior guys hated house and hip-hop, but later down the line they embraced it. It took a lot of people years to realise that to be a DJ you had to be versatile in what you played.”
Millington was a trailblazer in Leeds, but he was not alone. There were others across Yorkshire committed to mixing up styles, though they were more often found DJing in regular clubs than in community centres and blues. “For some reason, I didn’t give a fuck,” Millington says. “I believed in what I was doing.  A lot of people tried to drag me back to just playing reggae but I stuck to my guns. I’m proud of myself when I look back on it. I can say that I created a pathway for a lot of people. The dub scene has now had evolutions through the introduction of house and hip-hop influences.”
To the west in Bradford, another DJ crew – one without a soundsystem of their own – was making waves. Formed by Ian Park and cousins Patrick Cargill and Kevin ‘Boy Wonder’ Harper during their time in breakdance crew Solar City Rockers, Unique Three were renowned for mixing up hip-hop, electro, jazz-funk, reggae, dub and house. They played regularly at local community venues such as Checkpoint and Benson’s, building a decent following among dedicated dancers and regular punters.
“Unique Three was a big name coming out of Bradford at the time,” Millington remembers. “They played really good music. People were saying things to us like, ‘Unique Three think that they can kill Ital Rockers!’ It was this big Bradford and Leeds rivalry I suppose.”
The rivalry was such that Unique Three decided to challenge Millington and the Ital Rockers crew to a sound clash, an old-fashioned soundsystem style battle for supremacy, at a club on Manningham Lane in Bradford. “It wasn’t a big deal at first, but the closer it got, the bigger it became,” Millington grins. “We took it really seriously.”
So seriously, in fact, that Millington enlisted the help of Homer Harriott to create some “specials” – exclusive tunes that would never leave his collection, like the dubplates cut for leading soundsystem DJs in Jamaica – to try and best their Bradford rivals.
“I’d just started putting a little studio together with a TEAC four-track, a Yamaha drum machine, a Juno 106 synthesiser and some other little bits of gear,” Harriott remembers. “Mark, our mate Maz and me could all sing so we’d get on the mic as well. We started making little dub versions of tracks like you would for a reggae dance, but in a house style.”
These ‘specials’ were largely covers of popular house tracks, with new lyrics and vocals making fun of their West Yorkshire rivals. “One of them was a cover of Hercules’ ‘Seven Ways To Jack’,” Harriott says. “We included us singing lyrics that said what we were going to do to Unique Three. So, ‘Seven Ways to Jack’ became ‘Seven Ways to Destroy Unique Three’. Like, ‘Number one, go in the studio. Number two, create some dubplates’. Near the end of the dance, we’d always want to end with a bang, so we’d have a few “specials” to drop. That’s where I started to get more interested in making dance music.”
When it came to the overhyped sound clash in Bradford, those ‘specials’ did the business. The set-up of the clash, which took place in the autumn of 1987, featured Unique Three at one end of the room using the house system, with Millington and Harriott on the Ital Rockers soundsystem at the other.
“We killed them at that clash,” Millington laughs. “I remember that ‘Seven Ways To Kill Unique Three’ kicked up the place – it went crazy! There was another one we did called ‘Ital Rockers In The House’ and that went down really well. People still ask me for that tune to this day. The thing is, Unique Three didn’t prepare for that clash like we did. I was the soundman in them days so I knew about dubplates and clashes. We went there as if it was a real soundsystem clash and they turned up with just their latest tunes from Chicago or whatever. Having stuff from Chicago didn’t mean jack shit when we had dubplates!”
It was a sign of things to come. Twelve months later, Unique Three would respond in the best possible way by unleashing a thunderously bass-heavy record that set the ball rolling on Britain’s bleep and bass revolution. It was a challenge that Millington, Harriott and many others in Sheffield, Leeds and Bradford simply couldn’t resist.

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CRSSD Fest Returns as Trustworthy San Diego Staple for Dance Music Lovers

As one of the most reliable dance music experiences around, CRSSD Fest once again proved to be a dependable source for fans of electronic music as it closed out its 2024 season. 
The biannual San Diego festival returned to Waterfront Park for two days of staggering performances from leading names in the house and techno genres.
Produced by FNGRS CRSSD, the festival has become a San Diego favorite due to its consistent roster of electronic heavy-hitters alongside a laidback atmosphere. Its modest footprint and idyllic seaside setting have required minimal changes to the boutique event, offering guests a dependable backdrop to enjoy the latest in dance music. 
CRSSD's City Steps stage.Miguel Monad
True to form, the downtown playground was home to CRSSD's three recognizable stages, each offering a unique electronic soundscape. 
At the Palms stage, you could expect to be enveloped by all things house music. Here you could catch a groove to acts like Walker & Royce, Gorgon City, Idris Elba, Biscits and BLOND:ISH.
Idris Elba.Felicia Garcia/Fixation Photography
The City Steps stage catered to the techno mavens. The techno-fueled bangers blaring out of the speakers came courtesy of acts like HI-LO, VTSS, Klangkuenstler, Adam Beyer, I Hate Models, Mathame, Ann Clue, Chris Avantgarde and 999999999.
I Hate Models.Felicia Garcia/Fixation Photography
Over at the Oceanview stage, the sounds varied from melancholic live band performances to massive house productions. Disclosure, Tinlicker, Nora En Pure, Neil Frances, Soulwax, BICEP, and Gesaffelstein all graced the mainstage.
Kerala Dust.Miguel Monad
As it enters its 10th year, CRSSD Fest has proven to be a trustworthy San Diego staple. The caliber of artists that FNGRS CRSSD recruits, alongside its unaltered layout, offers guests a sense of familiarity amid an evolving festival landscape.
Find out more about CRSSD here.
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PAWSA's Long-Awaited Track "Collect The Commas" Is Finally Here: Listen

PAWSA's fully-loaded arsenal of unreleased dancefloor bangers just got a little smaller after the release of his long-awaited track, "Collect The Commas."
Out now on Circoloco Records, the track has been electrifying crowds since as early as 2023. Fans of PAWSA had taken to social media in droves to check in on an official release.
"Collect The Commas" expertly showcases the London-based producer's trademark production style, lacing enticing vocal hooks and funky synths through thumping, minimalist beats. In true PAWSA fashion, the heady track is infused with layers upon layers of house grooves, speaking to his uncanny ability to stir up any dancefloor.
The "Too Cool To Be Careless" hitmaker has recently played at Circoloco Amsterdam, Creamfields and Chicago's ARC Music Festival, among many other major festivals and events. He's now posied for a momentous performance at the 2024 Amsterdam Dance Event, the world's leading electronic music summit, where he'll DJ a five-hour set alongside Dennis Cruz as GOLFOS.
Listen to "Collect The Commas" below and find the new single on streaming platforms here.
Follow PAWSA:
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Spotify: spoti.fi/3TU9TB1
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We Are The Mission Festival 2024: The Ultimate 3-Day Pulsating Journey in Bangkok

Bangkok is about to witness an epic electronic music takeover from October 11 to 13, 2024, as the We Are On The Mission descends upon BITEC Bangna. Over the course of three days, the festival will spotlight different styles of electronic music, from techno to trance to hardstyle, bringing together some of the world’s most revered artists in a festival experience like no other.
The festival kicks off with Techmission 2024 – Immersive Reality on October 11, promising a futuristic techno experience that goes beyond just the music. With state-of-the-art production and a lineup packed with global techno powerhouses, Techmission will push the boundaries of what a festival can offer. One of the most anticipated sets comes from I Hate Models, whose genre-bending sound fuses techno with acid and industrial influences, delivering high-energy and emotionally charged performances. Also featured is Joris Voorn, renowned for his masterful, melodic techno sets that have captivated audiences worldwide. Lilly Palmer will make her long-awaited debut in Thailand, bringing her driving techno beats to the Techmission stage. Joining them are Nakadia, representing Thailand on the international stage, Space 92, known for his high-energy productions, and Philipp Straub, whose deep and melodic techno will captivate the crowd. This debut edition of Techmission promises an immersive and innovative techno journey that festival-goers won’t forget.
On October 12, Transmission 2024 – Elysium takes the spotlight, offering an unforgettable trance experience. Known for its stunning visual production and emotionally resonant performances, Transmission will transport attendees to a world of euphoria. Ben Nicky, presenting his Emotional Havoc set, is set to take fans on a rollercoaster of high-energy trance beats, while Driftmoon delivers his signature uplifting melodies. Key4050, the powerhouse duo of Bryan Kearney and John O’Callaghan, will perform a set that combines euphoric and hard-hitting trance, making it one of the festival’s highlights. Adding to the lineup are Maddix, known for blending big-room sound with trance elements, and the legendary Markus Schulz, whose Rabbit Hole Set will take fans on a deep and immersive trance journey. Rounding out the lineup are Rubén de Ronde, delivering emotive and progressive trance, and Moshic & Ozzyxpm, who will bring their atmospheric soundscapes to the event. Transmission promises to be a night of soaring melodies and unforgettable moments.
Closing out the festival on October 13, Hardmission 2024 – Destiny brings the harder styles of electronic music to Bangkok. With an explosive lineup of hardstyle and hardcore artists, this night will be all about relentless energy and earth-shattering beats. Leading the charge are D-Block & S-te-Fan, pioneers of melodic hardstyle, whose euphoric yet hard-hitting tracks make them fan favorites. Warface, known for his raw and aggressive style, is set to deliver one of the most intense performances of the festival. Radical Redemption and Miss K8 will both bring their signature hardcore and rawstyle beats, ensuring that the energy levels stay sky-high throughout the night. Joining them are Sickmode, whose hard-hitting drops and aggressive sound design will keep fans on their feet, and TNT (Technoboy & Tuneboy), legends in the hardstyle scene who will deliver a powerful set packed with anthems. The night will be rounded out by the likes of Devin Wild, Anime, and DJ Isaac, ensuring that Hardmission is a truly unforgettable conclusion to the We Are The Mission Festival.
In anticipation of the festival, the excitement builds up with exclusive pre-parties at Spaceplus Club, starting on October 8 with Jonnie B kicking things off for the Transmission crowd. On October 9, Kickcheeze x Papas JNR will bring the heat for Hardmission, followed by Lilly Palmer on October 10, setting the tone for Techmission with her signature driving techno beats.
And the excitement doesn’t end after the festival days — you can keep the energy going at the official after-parties. Nakadia, with support from Mr. Yang, will headline the Techmission after-party on October 11. Ben Nicky takes over for the Transmission after-party on October 12, while D-Block & S-te-Fan, supported by Ayrton L, will close out the after-parties on October 13 for Hardmission.
With three days of unmissable performances, cutting-edge production, and non-stop energy, We Are The Mission Festival promises to be a defining moment in Bangkok’s electronic music scene.
For tickets and more information:
Techmission: www.ticketmelon.com We Are On The Mission: https://weareonthemission.com/
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Ravebot

Don’t Let Daddy Know Announce Lineup For Poland with Edition

Don’t Let Daddy Know are thrilled to be back to ignite the dance music scene in Poland once again. Mark your calendars for an unforgettable night of euphoria as they unite at the spectacular ERGO Arena, on February 15, 2025!
Join thousands of music enthusiasts from near and far as they gather under one roof to celebrate the power of music and the unity it brings. With a line-up that showcases the best artists across genres, DLDK guarantee an epic journey through sound that will leave you craving for more. International superstar DJs Axwell, Nicky Romero, Benny Benassi, Morten, Sub Zero Project, Kaaze and Hypaton will be playing at the second edition of DLDK Poland.
DLDK Poland will be the first event in 2025 of the ‘Don’t Let Daddy Know World Tour’. After this show, the concept will travel around the world to other big cities in Mexico, The Netherlands, Peru, Korea, Romania and many more!
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Ravebot

Toolroom welcomes back Illyus and Barrientos and Sllash & Doppe

We have always been attentively tracking Toolroom Records’ recent releases and have to admit, they have been simply fantastic lately! Allow us to introduce to you two particularly noteworthy songs that will light dance floors ablaze.
Illyus and Barrientos D.A.N.C.E
First of all, with their brand-new track “D.A.N.C.E.,” our beloved Scottish pair Illyus & Barrientos is making a comeback. For ten years, these fellas have been Toolroom mainstays. They are regularly producing outstanding tracks and rocking Toolroom presentations around the globe.
This has to be the toughest record from Illyus and Barrientos to have ever landed! Riding over the top, this real peak-time monster has bundles of energy, huge buildup, and an absolutely captivating synth.
This song signifies a major change in their sound, and we have heavyweight DJ support for it all around. Really, get ready for this one; it’s an amazing trip!

Sllash and Doppe, Jorge Aguilar and Sus Embelecos – Tombolero
Next up is Romanian house pair Sllash & Doppe making their triumphant comeback to Toolroom. They carry a very unique tune ready to soundtrack the tail-end of Summer 2024.
Back in 2018, these lads originally became well-known with their enormous tribal club song “Aguella,” which attracted support from major artists such as Claptone, HUGEL, and Fatboy Slim.
They are back now with another futuristic tribal anthem with a really recognizable melody. Originally penned by Toto La Momposina and made well-known by Michael Cleis, this fresh rendition of flutes, vocals, drums, and percussion entirely rewrites and recreates in a small Colombian community. This method provides the record with an incredibly amazing, raw, live element!
This classic has been brought straight up to date by Sllash & Doppe. It’s falling just in time for those Ibiza closing events. I promise you, on the White Isle and beyond this one will be enormous!
Toolroom has, yet again, you covered whether your taste in grooves is tribal-infused or peak-time bangers.

The post Toolroom welcomes back Illyus and Barrientos and Sllash & Doppe appeared first on The Groove Cartel.
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