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Ableton announces new Doing Music podcast

Ableton has released a new podcast series called Doing Music, which explores artists’ techniques and strategies to generate their musical ideas. In each episode, host Craig Schuftan interviews an artist about the hands-on approaches they use to spark ideas in their work – and tries to challenge the myth that creativity is something that some people have and others don’t.
The podcast is for anyone with an interest in making music. Listeners will get to hear insights from artists on how they stay active in their creative field, and throughout the series can build a toolkit of practices that can help them spark new ideas too.
The first three episodes will be released on June 13, featuring YouTube sensation Cavetown, producer and vocalist Sofia Kourtesis, and Equinoxx founder Gavsborg. The following episodes will be released every two weeks and can be found on all podcast platforms.
Subscribed here
The post Ableton announces new Doing Music podcast appeared first on Decoded Magazine.
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DJ Dris & Behind the Scenes of ‘Riding Ecstasy’ + Interview

DJ Dris recently dropped his Afro House production ‘Riding Ecstasy’ alongside vocalist Roxa Damas; infused with a unique energy, incorporating shuffled beats, compelling melodic lines, and catchy details, the track came as a powerful addition to DJ Dris’ catalogue, serving as yet more credit as to the potential and promise his creativity holds. So, today we’re looking forward to sitting down with DJ Dris as he takes us behind the scenes of the release, taking us on a journey through its creation and his collaboration alongside Roxa Damas.
Hey DJ Dris, how are you?
I am good thank you.
With the release of this new track, what’s the reception been like from listeners so far? 
It has been interesting as I feel not many expected this type of sound from me – being a more mellow track in some regards.
Did you have any specific intentions when you set out to produce ‘Riding Ecstasy’? Was there a particular sound that you were striving towards?
I was creating a song based on the emotion of Ecstasy. The feeling of being in an amazing place.
Having been frequently releasing music throughout the last few months, what about this new track would you say differs from your previous releases?
The spoken word element on this track is different and almost puts it in a different genre. I also think each track is very different in their own right as I’m trying to show variety.

Can you walk us through the production process of this track?
So, I started this track as usual, creating the drum pattern used in the majority of the track. Then I played the pads and looked for a lead sound I resonated with. When I had those gelled together, I constructed the structure of the track.
The track features the vocals of Roxa Damas, can you tell us about how this collaboration came about? How did you work together to add her vocals to the production?
Roxa Damas is my partner and now also my manager; this track was the 1st track we created together. The vocals actually came from a voice note she had sent me shortly after we met. I asked if she had any spoken word ideas and that was what she sent. I loved it so I decided to make ‘Riding Ecstasy’ and stay in touch!
The rhythmic elements and groovy beats of ‘Riding Ecstasy’ create a particular energy throughout the track. Can you share with us how you created these elements and what your approach looked like when it came to constructing the different rhythmic details?
I really was going for a more gritty Afro House sounding track that would give the listener the feeling of Ecstasy (not the drug). So, everything is very hard-hitting at times and in parts very soft and moody. That is my perception of the feeling of ecstasy anyway. So, during the bridge/breakdown in the track I made sure that the drum pattern opens up in a way that does not interfere with the melodies. These elements create an interesting pulse and make the listener feel like the tempo of the track has increased.

Did you learn anything new when it came to the production of ‘Riding Ecstasy’?
At the time I created the track it was very early in this phase of my production career and the use of what I call hollowing out a track (giving the drums more space to hit) was one of my 1st attempts at doing this. So, I learnt that while doing this track.
‘Riding Ecstasy’ evolves into a mesmerising soundscape, immersive and engaging in sonic experience. How do you approach structuring your tracks to ensure that listeners remain captivated and hooked?
I love structuring my tracks based on how I would like to listen to them, either to dance, perhaps on an evening drive in the car or walking through a park. So, I try to not crowd out tracks with loads of vocals but also ensure that the vocals are memorable. I always make sure that the track is ever evolving so I try to add new elements after certain points or take elements out. The bridge I love to change the pattern of a prominent sound, within the soundscape, i.e. the bass or lead usually. This creates a prominent drop and shocks the listeners.
Where do you see your sound progressing next? What can fans expect to hear with your upcoming releases?
Well, it’s interesting because when I’m asked this question I know where it’s going as I have been releasing in a sort of chronological order spanning the last 3 years. What I can say is that I have a lot of music coming and each release is fine-tuning the sound that I hope everyone will grow to love. I have a few more release dates penned in up until July and then I guess, based on the reception, I will assess what to drop next.
With a musical journey that continues to guide him to exciting ground, exploring and elevating his creativity in each release, DJ Dris remains a talent to be watching closely, keeping his passion for his craft and artistic momentum at the centre of his creativity. So, we close out our interview by thanking DJ Dris for his time and for sharing a glimpse into his approach when it came to constructing the compelling sound of his track ‘Riding Ecstasy’; with new music still to come, DJ Dris is a talent to stay up to date with.
Be sure follow DJ Dris across social media to not miss out on his upcoming releases.

Listen and Buy ‘Riding Ecstasy’ Now:

DJ Dris Online
Website | Spotify | Instagram
The post DJ Dris & Behind the Scenes of ‘Riding Ecstasy’ + Interview appeared first on Electic Mode.
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Andrew Canlon Shares Live Performances + Exclusive Interview

Today, we have the pleasure of catching up with the talented Andrew Canlon, a fresh addition to the Electronic Music scene whose background in Classical Music continues to guide his unique and distinct approach towards his craft. With a long-standing passion for music, Andrew’s journey began at an early age, having grown up surrounded by the diverse musical culture of New York, revelling in the wide range of educational opportunities offered to him. As he sets about making a name for himself within Electronic Music, Andrew puts forward a distinctly original signature style, bringing in storytelling elements to both his productions and live performances.
In this interview, Andrew shares insights into his approach towards live performance, revealing his process for crafting his sets and how his live performance style sets him apart from others on the Electronic Music scene. So, let’s dive into the world of Andrew Canlon and discover the passion and creativity that continues to drive his career.
Hey Andrew Canlon, how are you doing?
I’m doing well, thank you.

Can you tell us about your approach towards live performance?
Sure! My approach is to maintain as many performative elements as I can. I’m not a huge fan of automation. I didn’t become a musician to automate a performance. I care about the audience, and I will always perform for them, whether I’m using a hybrid setup or DJing. I think taking the easy route can be counterproductive, so I try to keep pushing myself because we’re living in a world that has made it increasingly easy to look cool when doing the bare minimum and that feels dishonest to me.
How would you say your background in Classical Music has impacted the way you perform?
When you’re raised in an academic setting, you always feel pressure. That pressure comes from within because it was burned into you from an early age. I will always be my harshest critic. My education in music began as early as 5 years old. Back then, it wasn’t about technology. It was about what you could do through sheer hard work and repetition. That foundation still serves me well when I perform because I have such a high standard. Even if what I’m doing is “good”, it’s likely not good enough for me. I want to be even better. I think that translates when I’m on stage.
What would you say sets your performance style apart from others on the scene?
If we’re talking purely about the Electronic Music landscape, I think there are a lot of things that I do that separate me from many of the artists who are out there today. The biggest thing is that I sing my own songs and I place a huge emphasis on songwriting. I’ve been told that I’m basically an electronic Phil Collins. I fucking love that. I think the cross-section of EDM, pop, ballads and timeless songwriting is the place to be right now. Lucky for me, that’s where I live.

As you’ve grown and developed as a Producer, what about your approach towards live performance has changed?
I’ve learned to relax. I don’t have to be a busybody on stage. I have nothing to prove. I am purely focused on putting on a great show.
What do you enjoy most about live performance?
I enjoy every single thing about it. It’s what I love to do. I’ve been performing my whole life, so I think it’s just familiar to me. I actually get really anxious and depressed when I’m not performing. It’s been the one thing in my life that I’ve looked forward to and aspired to the most.
How would you describe your performance style to someone who has yet to experience one of your sets?
I would describe my performance style as immersive. I’m trying to tell stories through music. I want to take the audience on a journey, and I want to help them achieve a level of escapism and weightlessness that only music can offer. There are narrative threads as well as musical themes that I’ve constructed in such a way that the audience can let go, breathe and just enjoy themselves. Music is meant to be enjoyed and I lean into that wholeheartedly.
How do you prepare for your sets in terms of selecting the tracks you wish to perform?
That’s a great question. I kind of view a set list like a huge wave that you want to surf. There should be an immediate feeling that this is something that you want to get on board with. It should accelerate, crest, crash and inevitably slow down. I place tracks in an order that I feel reflects that concept. I try to get off to a fast start and keep the momentum going before changing the pace, slowing it down and ending with songs that are more poignant or memorable.
Does this change at all once you are able to read the crowd?
No. I think you’re doing yourself a disservice if you overanalyze the crowd. If you don’t think you’re hooking them, you just have to power through it and believe that you’re going to get their attention at some point. If you don’t, you don’t. Not every crowd is going to love you. You have to shake it off and keep moving.   
Do you have a dream venue that you wish to perform at in the future?
Brooklyn Mirage seems to have become the electronic Mecca of New York City. I’ve had amazing moments there as a fan and I can absolutely see myself on that stage one day. It’s a religious experience.

How do you prepare for a live performance? Do you have any pre-show rituals?
The only ritual you need is practice. I run my set til I’m blue in the face. I don’t want any surprises.
What direction do you see your live performance approach taking next?
I see myself becoming more comfortable and confident to experiment and trust my instincts. I want more high-flying synth solos, more vocal gymnastics and even more fun and experimental FXs that keep me and the audience on their toes.
As we wrap up our interview with Andrew Canlon, we thank him for his time and appreciate him sharing thoughtful insights into his creative process and technical approach towards live performing. From his formative years surrounded by the NYC music scene to his current status as an emerging DJ and Producer, Andrew’s journey has continuously reflected dedication and passion, an attitude he maintains today as he continues to pave his way within Electronic Music.
Be sure to follow Andrew Canlon across social media to remain up-to-date on his upcoming releases, live shows, and projects, as he is no doubt poised to keep carving a captivating journey.
Andrew Canlon Online
Instagram | Website 
The post Andrew Canlon Shares Live Performances + Exclusive Interview appeared first on Electic Mode.
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Jacob Colon – Made To Move Radio Update + Exclusive Interview

Jacob Colon’s ‘Made To Move’ radio show continues to captivate fans around the globe, drawing in listeners as it keeps showcasing Jacob Colon’s impressive abilities and unique tastes when it comes to curating high-quality, vibrant-sounding mixes. So, today, we’re looking forward to being joined by Jacob Colon as he shares updates about the show, giving us a glimpse into what we can expect to hear next within the upcoming episodes of ‘Made To Move’.
Hi Jacob! How have you been?
Everything is great. I’m really happy about how things are flowing. My radio program is doing well and gaining more syndications every week.
Can you share the inspiration behind the inception of ‘Made To Move’ and how that
vision has evolved with the recent episodes of the radio show?
The radio program was initially going to just be a monthly mix of my favorite tracks that I’ve been listening to during that month. Aside from the guest mixes I do from time to time, this would be something more consistent that my fans can listen to every month. This had some drawbacks though as something like this couldn’t be broadcasted anywhere outside specific platforms like Mixcloud and SoundCloud, and it wouldn’t really give much personality.
As I looked into it further and researched other music outlets, I decided to recreate the idea into a radio show which has served me well so far. This decision has not only helped me build my music library with weekly new tracks but also helps to promote other Producers with great music. ‘Made to Move’ was a small idea that has grown into a weekly show, broadcasted around the world and I’m very grateful for the entire experience.

With online radio constantly changing, what are some of the changes or new ideas you’ve implemented into ‘Made To Move,’ and how do you think these changes will amplify the listener’s experience?
‘Made to Move’ radio show is a program that plays a variety of different Dance genres. We air Latin House, Tech House, Afro House, Deep House and Minimal House. This blend of music creates a dynamic experience for our fans which is a lot more interesting than a vibe that is stagnant with only one particular style of Dance music.
‘Made To Move’ has been a staple for fans of your music. How do you balance staying true to the original content while introducing new elements to the show?
Staying true to the original content is always the root of any decision. I think it’s more about staying true to what I personally enjoy since that was the original intent for this project. When you mention new elements, I think that comes more with the type of music the next generation or current generation of Producers are making. Like everything else, music evolving and changing is inevitable, but if I enjoy it then that’s all that matters when considering what music to air on the show.
Can you walk us through the process of selecting music for ‘Made To Move’? Are there any changes you’ve implemented since you started curating the mixes for the show?
When I’m going through music, I don’t listen to the entire song at first. I’ll skip through to the section of the intro when the bass hits or when the drop happens. The first thing I listen to is how the drums and bass are moving together. This is the focal point of all the music I play. I consider beats that have more than a standard four to four rhythm and also pay attention to how deep the bass is in relation to the drums. It happens so quick when I listen, I don’t think about it. My brain just considers these factors when the songs start playing.
Engaging with listeners is important for online radio, what new actions are you taking to engage with the listeners of ‘Made To Move’?  Is there any feedback you’d like to share?
Though I receive a lot of my music through promos, I’ve been able to get some requests through platforms like Twitter by hashtagging madetomove and posting a streaming link like Spotify, SoundCloud, Beatport, etc for listeners to show me a particular song they want to suggest for the show. I’m looking to incorporate this concept to Threads soon as well.
Check out all episodes of ‘Made To Move’ here:

Technology plays a significant role in how radio shows are produced and consumed, how have technological advancements influenced changes you’ve made to ‘Made To Move’?
I’ve seen a lot of programs that help the creative side of production as far as making songs, but since my show is based on already finished tracks, I don’t use much of this type of software. There are also a couple of postproduction tools for equalizing, volume, and so forth but again those types of tools aren’t necessary for airing music. Not yet at least.
In growing with ‘Made To Move,’ were there obstacles you have faced, and how did you overcome them to ensure the show’s continued success?
The main obstacle there is when doing this type of work is creating a great vibe with quality tracks that not only sound good but sound unique to help differentiate the listeners’ experience from other shows. There is a ton of great music out there and it is very accessible, so the challenge becomes finding those gems and blending them in a way that creates a nice consistent vibe.
Radio shows often reflect the personality and passions of their hosts; how do the recent changes to ‘Made To Move’ reflect your personal growth and development as a DJ and Producer?
I feel more in tune with my productions and radio show episodes. The deeper I get into my career, the more aligned my thoughts and ideas are with what I’m doing. On a personal note, I’ve become more confident in my craft which is reflected in the growth and progress this program has made.
Looking to the future, what can listeners expect from ‘Made To Move’ in terms of the type of content or music, guest appearances/remixes, and overall direction?
‘Made to Move’ is an experience that focuses on the groove of music. To me, this is the heart of any song with or without vocals. In other genres, some Artists will drop remixes of their songs with the same beat but with more Artists. This shows you that as long as your beat or groove of the track is hitting then the rest of it will fall into place with any added Artist. With this, our fans can be certain the content airing on this show will have them ready to move.
With the promise to continue bringing exciting collections of tracks to his listeners each week, shining a light on music from a range of different talents, Jacob Colon’s ‘Made To Move’ will surely keep gaining traction, earning attention from more and more genre enthusiasts. So, as we conclude this interview, we thank Jacob Colon for his time and eagerly encourage you to make sure you are tuning into the next episodes of ‘Made To Move’ as Jacob Colon promises to continue delivering captivating sonic experiences.

Jacob Colon Online
Soundcloud | Instagram | Spotify 
The post Jacob Colon – Made To Move Radio Update + Exclusive Interview appeared first on Electic Mode.
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Rising Star THEUSS Gains Global Acclaim with Latest Track Losing My Mind

THEUSS, an emerging talent in the electronic music scene, has released his latest EP “Losing My Mind” on the AZZUR record label containing an original mix and a remix by Aaaron.
Since its release on 26 April, the track has garnered support from notable figures such as Rampa, WhoMadeWho, Sona (son of Black Coffee), Maz, Xinobi, Maxi Meraki, Dorian Craft, and is featured on the official playlist of Warung Beach Club, called Warung Waves.

“Losing My Mind,” by THEUSS, marks a significant milestone for the Brazilian artist, who is steadily making a name for himself both locally and internationally. The track, released under the French label AZZUR, features a remix by the German artist Aaaron, blending diverse influences and showcasing THEUSS’ distinctive sound. Influenced by timeless artists like David August, Âme, Maceo Plex, and John Talabot, THEUSS draws inspiration from a broad spectrum of electronic music. For “Losing My Mind,” he utilized classic hardware including the Nord Lead 2, Moog One, and Roland 808, creating a track that resonates with depth and complexity.


THEUSS’ career highlights include performances at prestigious venues and events such as D-Edge, Piknic Elektronic, Watergate, and Warung. His collaboration with vocalist Abrao on an upcoming release with the Israeli label Frau Blau marks another significant achievement. THEUSS approaches his craft with a blend of discipline, dedication, and a willingness to experiment. His creative process involves continuous engagement with music, seeking new influences and knowledge. This commitment is evident in “Losing My Mind,” which reflects his refined and innovative production skills.

“Losing My Mind” has received widespread acclaim, being played by influential artists across various countries. The track’s presence at events like the Cercle Festival in France highlights its global reach and appeal. THEUSS describes this international recognition as the fulfillment of a dream, rewarding years of hard work and dedication.
Who Made Who plays Losing My Mind – Aaaron Remix [IG Reel]
SONA  plays Losing My Mind [IG Reel]
Who Made Who plays Losing My Mind @Cercle [IG Reel]

The track’s support from renowned figures such as Rampa, WhoMadeWho, and Sona underscores THEUSS’’ rising status in the electronic music scene. This backing from prominent artists not only amplifies the track’s visibility but also cements THEUSS’ reputation as a significant new talent.

The release of “Losing My Mind” represents a pivotal moment in THEUSS’ career. His ability to blend various musical influences into a cohesive and engaging track has earned him critical acclaim and support from industry heavyweights. As the artist continues to gain recognition, his work promises to have a lasting impact on the electronic music landscape.
With “Losing My Mind,” THEUSS has firmly established himself as a rising star in electronic music. The track’s success and the support it has garnered are testaments to his talent and hard work. As THEUSS continues to evolve and innovate, his future releases are highly anticipated by fans and industry professionals alike.

THEUSS – Losing My Mind
Release Date 2024-04-26 | Label: AZZUR Cat: AZZ72

OUT NOW
https://www.beatport.com/release/losing-my-mind/4529012
Find THEUSS
Spotify and Instagram @theussdj
 
 
The post Rising Star THEUSS Gains Global Acclaim with Latest Track Losing My Mind appeared first on Electic Mode.
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Malóne And Jesse Bravo Unveil Dancefloor Heater, ‘Beef’

Hungry for that tasty cross-genre action? Get your palate ready for this one.
Fresh off the launch of his own imprint and event series WHYNOTUS, Club Space resident and global talent Malóne is on a roll. Often associated with the Dance kinds that span Afro and Tech House of the highest order, he’s teamed up with Miami-based Jesse Bravo, for a collaborative anthem filled with power.
Cuba-born-Miami-based Malóne swiftly moved up from the more underground scenes to summit-reaching spotlights, after signing on imprints such as Experts Only and Insomniac, and unveiling highly successful tracks such as ‘Muy Bien’ and ‘Besame’, both of which claimed the top spot on Beatport’s Afro House chart upon release.
Malóne. On the other hand, Jesse Bravo arrived in Miami from Los Angeles, following his passion for music. His production style blends traditional Latin sounds with the energy of Tech House, polishing a creative sound which has taken him as far as founding his very own imprint, Used Goods.
Their joint product is simply titled ‘Beef‘, and was released earlier this week through Jesse’s label, Used Goods.
‘Beef’
Fuelled by a captivating vocal sample reminiscent of 90s Rap fused with a groovy Tech House bassline, this track proves to be a must on any heated night on the dancefloor. Simplistic in nature, yet sophisticated in execution, ‘Beef’ is mainly led forward by catchy percussion, with core elements being hats and a fat clap, and occasional sounds refreshing the ears, mainly, a clave-like hit and background congas.
Ideal for the later moments of a warm-up set or the earlier stages of a main one, the tune masterfully balances the golden ideas of Tech House with the vocal lines, which can only amplify the excitement created with this track blasting on sun-kissed speakers or under the rapid-firing lights of a blacked-out venue.
Listen to Malóne & Jesse Bravo’s gigantic ‘Beef‘, by hitting the ‘Play’ button on your Spotify player attached below. Otherwise, don’t hesitate to visit this link to support the release on your platform of choice. And stay tuned to our page for the latest news and views from our beloved Dance music world.
The post Malóne And Jesse Bravo Unveil Dancefloor Heater, ‘Beef’ appeared first on EDMTunes.
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New Documentary Provides Glimpse Into Avicii's Devastating Final Moments

Editor's Note: This article discusses suicide and may be distressing for some readers. If you are struggling with suicidal thoughts, you can call the The 988 Lifeline, a national network of local crisis centers that provides free and confidential emotional support to people in suicidal crisis or emotional distress.
The heartbreaking final moments of Avicii's life are revisited in a new documentary, Avicii: I'm Tim, which premiered over the weekend at this year's Tribeca Film Festival.
The film airs never-before-heard interviews with the legendary DJ, whose real name was Tim Bergling. Ubiquitously known as one of the most virtuosic dance music producers of all-time, Bergling in 2018 died by suicide at the age of 28 after grappling with mental health struggles contrived largely from a grueling tour schedule.
Avicii: I'm Tim also features commentary from a number of Bergling's collaborators and contemporaries, like Jesse Waits, a Las Vegas nightlife entrepreneur and Nightclub Hall of Fame inductee. Waits saw firsthand the pernicious effect of painkillers on Bergling, who he said was "like a brother."
"His eyes were wide open like a zombie—he was not there," Waits said. "At the dinner, his demeanor changed and his eyes dilated. That changes everything. Those pills change how you act and how you feel. You wake up feeling like shit and have to have another one to feel good. For him, it was to suppress his anxiety, but it just created more anxiety."
Avicii.Sean Eriksson
In a particularly heartbreaking interview with Bergling, one of the last he ever gave, he laments his reliance on pills to challenge the limits of his mental fortitude while touring. 
"I just took everything that I could," he said. "I didn't realize you could do Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday. But once that opened up, you could tour the whole year. I was killing myself. The touring went even more crazy because the fees were getting higher. Everything went so fast from that point on."
Directed by Henrik Burman, Avicii: I'm Tim is the latest venture developed to pay homage to Bergling, whose family in 2019 launched a foundation that funds research and develops preventative solutions for young people experiencing suicidal thoughts.
Academy Award-winning filmmaker Lawrence Bender is currently producing a new documentary about Avicii with "previously unreleased footage" recorded around the time of his discovery and rise to fame. Meanwhile, the investment firm Pophouse Entertainment is planning to develop a musical about Bergling after purchasing a majority stake in his catalog back in 2022.
Find out more about Avicii: I'm Tim and its screenings here.
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III Points Goes All Out With Complete Lineup

III made several Points announcing their official final lineup for their 11th edition Tuesday morning. We were definitely caught off guard as Phase 1 only had 12 headliners. Now with more than 60 acts including tons of incredible b2bs, we can’t wait to head back to Mana Wynwood in Miami October 18th-19th, to celebrate music. Besides Ultra Music Festival, III Points is another Miami festival that celebrates underground and urban music. Moreover, the festival is a fantastic blend of mainstream and niche, crafting sick lineups on a yearly basis. Let’s find out the new additions to this year’s lineup.
Full Circle III Points
A constellation of artistry on its own, the ultimate lineup poster resembles a zodiac map, with stars all over it. We don’t need to look up at the sky to see the light this time! Additions to the lineup include Disclosure, Kaytranada, space mother Rezz, iconic live band Massive Attack, and melodic master Elderbrook. The lineup also includes crazy 4 hour sets by Seth Troxler, Pachanga Boys, Heidi Lawden, and DJ Koze. Start working on your endurance because you wil be dancing quite a lot. The b2bs this year include class acts James Hype b2b Meduza, Skin on Skin b2b Kettama, and local underground rising stars Robyn Sin Love b2b Quetamine.
Names that are also worth mentioning are Of The Trees, Tinlicker (Live), Horsegirl, Layton Giordani, Kenya Grace, Mall Grab, and Pretty Girl.
Speaking about the growth of III Points Co-Founder David Sinopoli says:
Background
Situated at the vibrant intersection of local talent, major live acts, global sounds, reggaeton crossover, and European club music, III Points embodies an immersive mini-city within Wynwood, illuminating the past, present, and future of music. Emerging in 2013, this Miami gem quickly distinguished itself from commercialized events, boasting unrivaled size and attendance while retaining an intimate feel. As III Points gears up for its monumental return to Mana Wynwood, its love for the Miami community and global music scene only grows stronger, cementing its place as a cultural cornerstone.
With such a diverse group of artists, III is on its path to be one of 2024’s best lineups. We can’t forget to mention that III Points ends late, and Miami is filled with afterparties. Get your pre-sale tickets now!
The post III Points Goes All Out With Complete Lineup appeared first on EDMTunes.
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Glastonbury Speculated To Take A Year Off In 2026

The iconic Glastonbury Festival, a beloved UK tradition, is taking a break in 2026, marking the first pause since the pandemic. This temporary gap allows for an even more spectacular return in the future. The upcoming festival, from June 26-30, promises an unforgettable experience with headlining performances by Coldplay, Dua Lipa, and SZA at the renowned Pyramid Stage.
Located on the picturesque Somerset dairy farm, Glastonbury has captivated music enthusiasts since 1970, making it a cherished cultural phenomenon. Spanning over a thousand acres and featuring more than 62 stages, the festival has a significant impact on the natural landscapes of Worthy Farm. This break offers an opportunity for environmental restoration and ensures that future festivals can continue to enchant music lovers for years to come.
Photo Credit: Anna Barclay “Fallow Year”
The “fallow year” concept is an important tradition for the Eavis family, allowing the land to take a well-deserved break from the Glastonbury Festival every few years. This break, typically occurs every five years, was last observed in 2018. But due to the impact of Covid, the event was postponed in 2020 and 2021. Emily Eavis mentioned in the BBC Sidetracked podcast that the next likely gap year will be in 2026. This break not only benefits the functioning cattle farm but also allows the land to rest and regrow, ensuring the festival’s sustainability for years to come.
Glastonbury Festival holds a special place in the Eavis family, with Sir Michael Eavis founding the festival in the 1970s. Then his daughter Emily Eavis continuing the tradition, referring to Glastonbury as their “lifeline”.
Glastonbury 2024
The festival recently announced its full lineup and stage timings, featuring some exciting changes. This includes the replacement of Arcadia’s fire-breathing spider with a giant dragonfly, the return of the Genosys stage to Block9. Honey Dijon will be headlining the Genosys stage on Friday. Additionally, this year marks a monumental addition with the opening of Glastonbury’s first dedicated South Asian space in Shangri-La. Explore the stage-by-stage schedule for all days here.
Don’t miss the opportunity to the full podcast with Emily Eavis here. Glastonbury will return in 2025, details to follow later this summer. Stay tuned to EDMTunes for all your daily dose of dance music updates.
The post Glastonbury Speculated To Take A Year Off In 2026 appeared first on EDMTunes.
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Roblox Players Can DJ and Produce Electronic Music in Monstercat's New "DJ Simulator"

You can now produce tracks and instantly headline events with no DJing or music industry experience—but only in Roblox.
Users of the popular gaming engine will be able to simulate the life of an EDM headliner by virtue of a new game mode created by Monstercat. For those unfamiliar with Roblox, the platform allows users to program their own games and develop monetized content for other players to purchase.
That includes in-game items like skins as well as full-fledged game modes, like Monstercat's new "DJ Simulator." The brand, which operates one of the electronic dance music scene's top independent record labels, this week revealed the ambitious gaming experience in collaboration with Roblox. 
Monstercat-released tracks like Tokyo Machine's "PLAY" and the iconic "Crab Rave" will be available for players to "produce" virtually and perform on a variety of virtual stages via mini-games. They will also be able to purchase on-stage "DJ actions" and skins for their turntables as they climb the virtual charts.
Monstercat's "DJ Simulator" will be available to Roblox players on Friday, June 14th. You can check out the trailer and learn more about the game here.
Follow Monstercat:
X: x.com/monstercat
TikTok: tiktok.com/@monstercat
Instagram: instagram.com/monstercat
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Sofi Tukker unleash audiovisual ‘Spiral’ ahead of third studio album

Fresh on the heels, or otherwise, of “Throw Some Ass,” Sofi Tukker present “Spiral,” the third early release single to appear on the pop electronic outfit’s upcoming studio album, BREAD. Tied to a retro-stylized music video featuring German-American model Heidi Klum, “Spiral” draws from ’90’s Euro-dance soundscapes while showcasing an infectious new Sophie Hawley-Weld-led guitar sequence. The new audiovisual pairing banks on turn-of-the-millennium nostalgia—both sonically and visually—pushing forth Sofi Tukker’s increasingly eclectic flavor profile. In a press statement, Heidi Klum describes the new record as “contagious and fun,” adding,
Sofi Tukker’s third studio album is due to hit streaming platforms this summer, on August 23rd, and it is currently available for pre-save. BREAD‘s 10-piece track list outlines impending collaborations alongside Channel Tres, MC Bola, and Kah-Lo, plus four unreleased Sofi Tukker originals. Now that “Jacaré” and “Throw Some Ass” have spent some time in the public purview, stream the official music video for “Spiral,” starring Heidi Klum, below.
Featured image: Ashley Steinberg
The post Sofi Tukker unleash audiovisual ‘Spiral’ ahead of third studio album appeared first on Dancing Astronaut.
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Spotify New Hi-Fi Tier Will Be Priced At Least 5 Dollars Higher Than Premium

Streaming could change significantly not too far into the future.
Recent price hikes for existing Spotify tiers are not slowing down the idea of the High-Fidelity step the music streaming giant has been planning for a while, according to a Bloomberg report. In their eyes, there is a dedicated segment of their customers who would be willing to pay more for better quality content and additional tools.
While Spotify declined to comment on specifics, the report suggests this new potential tier would incur an additional monthly cost of at least $5 compared to the current premium plan. Details regarding the nature of the “additional playlisting tools” — one of the stronger points rumoured as exclusive benefits of this “Supremium” subscription — remain undisclosed, with a representative for the firm closing the door shut, “We don’t comment on speculation around possible new features“.
Is Streaming Changing For Good?
This tier signifies a strategic pivot for Spotify — and perhaps all streaming platforms. The traditional flat-fee model, where users gain access to the entire library for a single price, faces increasing scrutiny from artists and rightsholders. They argue that this approach limits potential revenue, particularly from dedicated fans who consume a significant amount of content. Apparently, there are better ways to earn revenue for the artists, the labels, the streaming services, and everyone else involved. Or so they claim.
Offering a tempting higher subscription could be the answer to the slow growth of streaming in major markets nearing subscription saturation. What does that mean? Put simply with an example, Bloomberg reports the U.S., a country of 127 million households, has a 12-month average of 96.8 million on-demand subscriptions. There’s not a lot of room left for new buyers to enter, and these subscriptions account for a large percentage of record labels’ income. The site claims paid subscriptions accounted for 79.4% of label growth in 2023.
Once beta testing of this tier enters the larger markets in the world, we’ll see if things go according to Spotify’s reports and predictions, or if it all backfires, in the event of users leaving the platform after seeing some features — or potentially songs — hidden under an extra dollar sign.
[H/T] Billboard
The post Spotify New Hi-Fi Tier Will Be Priced At Least 5 Dollars Higher Than Premium appeared first on EDMTunes.
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Glastonbury May Take a Year Off in 2026, Says Festival Organizer Emily Eavis

Glastonbury is most likely taking a year off in 2026, according to Emily Eavis, the festival's lead organizer.
Eavis, the daughter of Glastonbury founder Michael Eavis, recently appeared on BBC's Sidetracked podcast and discussed an anticipated fallow year for the iconic English music festival 2026, citing a desire to give its grounds at Worthy Farm "a rest."
"We are due a fallow year," Eavis said of Glastonbury, which annually attracts the foot traffic of roughly 200,000 people. "The fallow year is important because it gives the land a rest, and it gives the cows a chance to stay out for longer and reclaim their land."
The festival's organizers have given the land a chance to recover by virtue of a fallow year before, most recently in 2018. Eavis said a year off would also give Glastonbury's staff a chance to rest after keeping the massive festival running for seven years straight.
"I think it's important. I think it gives everybody time to just switch off and the public as well. Then you kind of go away for a bit and it feels lovely when you come back. And I think it's quite good not to be seen to be cashing in."
The next Glastonbury Festival will take place June 26-30, 2024 at Worthy Farm. Set to take the stage are Coldplay, SZA, Disclosure, Bloc Party, Jamie xx, LCD Soundsystem and many more. 
Eavis has not yet officially confirmed whether or not Glastonbury will take 2026 off at the time of this writing.
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Framework Set to Ignite Summer Nights With Series of Unique Shows Across LA

Known for organizing cutting-edge events in unconventional spaces, Framework is preparing to once again push the envelope by hosting a string of compelling summer shows across the City of Angels.
From the first-ever use of a century-old movie studio to a complete city block takeover, Framework is presenting a bevy of unique nightlife experiences in a city known for spectacle and entertainment. The independent production house, whose recent takeover of a desert airport hangar elevated the Coachella experience, will partner with multiple labels over the course of three months to showcase the talents of their rosters.
Some of the artists performing across Framework's impressive summer programming include UK house music staple Duke Dumont, Night Bass boss AC Slater and deep house virtuoso Nora En Pure.
Check out Framework's stacked summer itinerary below along with ticketing links.
Saturday, June 15: AC Slater & Sound Present "Night Bass City" Los Angeles Block Party
A collaboration with Sound Presents, this street party will take place in front of the Framework-owned-and-operated Sound Nightclub and will celebrate a decade of AC Slater's beloved house imprint, Night Bass. 
Billed as the first electronic music event to shut down Las Palmas Avenue, the party will take over an entire city block between Hollywood Boulevard and Selma Ave with six hours of programming showcasing the signature Night Bass sound. Slater is scheduled to headline alongside EDM.com Class of 2022 alumni Kaleena Zanders and Young Lynxx. 
Of note are the handful of back-to-back performances sprinkled throughout the night, including Flava D b2b Taiki Nulight, Petey Clicks b2b Reece Rosé and BIJOU's b2b with a surprise guest.
Night Bass City will take place Saturday, June 15th from 5-11pm. Grab your tickets here.
Saturday, June 29: Framework Presents Francis Mercier at Gin Ling Way
Haitian-born house music star Francis Mercier will take Angelenos on a journey as he performs under the neon pagodas inside the city's historic Chinatown area. The intimate streetscape known as Gin Ling Way will feature Mercier, whose distinct take on Afro-house led to sold-out performances at Sound Nightclub in 2022 and 2023. 
The event will also include support from Samson b2b Sauaro and Orso, a collaborative project between Stryv and Twitch co-founder Justin Kan. 
Tickets for the event can be found here.
Saturday, July 13: Duke Dumont All Night Long- Warehouse Edition
Beloved UK house music producer Duke Dumont will arrive in Los Angeles in mid-July to make history by performing the first-ever concert event inside Red Studios Hollywood.
As part of a collaborative effort between Framework and Goldenvoice, this legendary studio is set to be transformed from a century-old movie production space into an underground warehouse rave. 
The event is sold out, but you can join the waitlist here.
Saturday, July 20: Anjunadeep "Open Air Los Angeles"
The deeper soundscapes of Above & Beyond's iconic Anjunabeats will surround the fields at Exposition Park as Anjunadeep presents "Open Air Los Angeles" on July 20th.
Marking the first-ever collaboration between Anjunadeep and Framework, this joint effort will boast some of the label's most revered talents. Luttrell will headline with support from Romain Garcia, Nicky Elisabeth, CRi and EDM.com Class of 2022 star Qrion.
Tickets for the show at Expo Lawn West can be found here.
Saturday, August 10: "Knee Deep In Los Angeles"
Venerated UK DJ and producer Hot Since 82 will return to the City of Angels as he presents Knee Deep in Los Angeles.
As part of an ongoing partnership with Framework, the influential British house music artist will perform at Exposition Park in early August after having already showcased his talents across various LA locales like Pershing Square, Sound Nightclub and an intimate "phone-free" secret location.
The event will also include sets from Prunk and Ky William. Grab your tickets here.
Sunday, August 11: Nora En Pure Presents "Purified Los Angeles"
The following day, Framework will conclude its summer series by hosting deep house icon Nora En Pure as she presents "Purified Los Angeles."
Although En Pure has performed at Framework's Sound Nightclub in the past, this event will mark the first-ever collaboration with her Purified brand. The Sunday event will also take place at Expo Lawn West inside Exposition Park and will immerse audiences in the brand's signature deep house music.
Aiding En Pure in her endeavors will be Justin Martin, Worakls, Jono Stephenson and Tim Enso. Tickets can be found here.
FOLLOW FRAMEWORK:
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The h.wood Group Reveals Keys, Luxury Hospitality Group's First Electronic Dance Music Venue

In a decisive leap into the electronic dance music domain, The h.wood Group is poised to redefine West Hollywood's nightlife with their latest venture, Keys. 
Positioned at the legendary 9039 Sunset Boulevard, Keys is primed to elevate the vivacious energy of LA's party scene by paying homage to the iconic Key Club. Scheduled to open in July 2024, the new 12,420-square feet venue promises a fusion of history, glamour and high-energy entertainment.
Spanning 12,420 square feet, Keys' tri-level design ensures a singular experience for every visitor. From its heart-thumping main dancefloor to its nostalgic arcade games and poker table upstairs, the venue's tri-level structure is said to embody a design ethos that marries modern aesthetics and vintage charm.
An artist's rendering of h.wood Group's new dance music venue, Keys.c/o The h.wood Group
According to a press release, Keys is the first dedicated foray into the electronic music space by The h.wood Group, the team who developed the iconic venues Delilah and Bootsy Bellows. They've meticulously crafted every detail of Keys to reimagine the traditional nightclub table experience, including its premium, opera box-style balconies on the second floor, each of which provides an exclusive vantage point of the venue's performances.
We're told the space will feature LED displays "that blanket the ceiling" and embed blacklight piano keys in the wallpaper. Keys is equipped with visuals by Production Club, a fiber optic system allowing for livestreamed performances and a bespoke sound system from L-Acoustics envisioned by Demetrius Moore, Drake's longtime front-of-house sound engineer.
The main level will feature a more traditional sound system with L-Acoustics A15i speakers and SB18s 2i subwoofers, which will provide a "360-degree listening experience," per the press release.
An artist's rendering of h.wood Group's new dance music venue, Keys.c/o The h.wood Group
"We are thrilled to finally introduce Keys to Sunset Boulevard," said Brian Toll and John Terzian, co-founders of The h.wood Group. "As a brand, we really embody Los Angeles, and all that it stands for."
"It is our goal to honor not only the revered venues that have previously called this space home, but to reinvigorate the rich musical history of the Strip. It is an honor to be able to inform the next golden era of Los Angeles’ live music scene—from big name DJ sets and intimate acoustic shows, to listening parties and more‚and to further immortalize the city’s iconic nightlife culture."
You can stay up-to-date on Keys' events via The h.wood Group's website.
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Sofi Tukker and Heidi Klum Trade Microphones for Sex Toys in Wild "Spiral" Music Video: Watch

In a move that's sure to raise eyebrows—and potentially some other things—Sofi Tukker and Heidi Klum have joined provocative forces for a new single and music video, "Spiral."
Relationships end but dance parties live forever, at least according to Sophie Hawley-Weld and Tucker Halpern's latest summer anthem. The new single blends the duo's signature guitar licks with a nostalgic Eurodance beat and lyrics about conjuring the bittersweet willpower to move on from a relationship. The music video, however, is the release's undeniable highlight.
Channeling the carefree exuberance of childhood sleepovers à la turn-of-the-century chick-flicks like 13 Going on 30, Sofi Tukker and Klum reboot the nostalgia machine—sort of. They take a titillating plunge into uncharted territory with the risqué "Spiral" music video, where the lines between high art and unabashed raunch blur into a delightful frenzy.
Clad in lingerie and fuzzy coats, Hawley-Weld and Klum trade microphones for—ahem—more intimate accessories, gleefully strutting their stuff in what had to be a dream video shoot for the former. And just when you think it can't get any wilder, Halpern crashes the party in the role of a pizza delivery guy, a classic adult film stock character. But there's obviously no cheap porn here as he steps behind the decks to DJ an in-home rave.
The music video "is all about leaning on great friendships during hard times," Klum said. Check it out below.
"Spiral" will appear on BREAD, an acronym for "Be Really Energetic And Dance," Sofi Tukker's first studio album since 2022's scintillating WET TENNIS. Halpern and Hawley-Weld will then take the new album, which will feature 10 tracks, on the road for their biggest U.S. headlining tour to-date in the fall.
The new single marks the latest foray into dance music for Klum, who recently collaborated with Tiësto on "Sunglasses At Night," a rework of Corey Hart's 1984 synth-pop hit of the same name.
"I don't like to be pigeonholed or just be put in one drawer, like, 'Oh you can only do this.' I get excited about things that I haven't done before or trying new things out," she told EDM.com in an interview at the time. "And I think also that’s how the world should be now. I feel like we can be multifaceted... There's more freedom."
Fans of Sofi Tukker can pre-save BREAD here ahead of the album's release.
Follow Sofi Tukker:
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 The Music World Gets An Upgrade | Hedonism Meets Healing at Cosmic Pineapple Ibiza

Renowned for their purpose-driven parties, Cosmic Pineapple’s new residency at Cova Santa showcases an experiential mini-festival where hedonism meets healing. 
 
Uniting the dancefloor through a conscious collective of DJs and artists, the renowned mini festival invites Heidi, Carl Craig, Ellen Allien, Osunlade, Josh Wink, Dan Ghenacia, Roman Flügel, Acid Pauli, and a benchmark special 25 Years of Robert Johnson edition. 
 
Now In its 9th year of operation, Cosmic Pineapple continues to be a pioneer in the Ibiza wellness meets party scene. This year’s theme is Sirius,which sets to illuminate the festival, by bridging hedonism and healing, where music activates positive action. The vision for this year is to emphasise the power of music and sound to activate the dancefloor and engage it as a vehicle for healing. 


Cosmic Pineapple has become globally recognised as more than just a party. It’s a well curated creative consciousness experiment where festival vibes prominently thrive. Revelers can dance under the sun and beneath the stars, fully immersing themselves in an experience that sets to transcend the ordinary. Wellness areas are abundant and showcase diverse healing modalities, interspersed with live music performances, art installations and creative boutique and craft markets. Cosmic Pineapple proudly promises a magical fusion between the weird and wonderful which is amplified through its island residency.
 


Each event will be hosted by BayBJane, who brings her unique energy and holds the golden ticket to the exclusive cave. As the evening sets in, this is where a secret midnight intimate concert and sound journey takes place. This will further celebrate the inherent history of Cova Santa, which is located in the middle of the island, surrounded by the vibrant natural landscape and also built around an ancient cave. Everything about the venue is Sirius and maintains a positively charged atmosphere.
Making a stand for authenticity and transformation, performers and healers harness the energy through interactive connections. The cosmic weave of traditions, movements and cultures all come together to provide an experience that is truly rare and personal in comparison to modern productions and events.


 
Cosmic Pineapple Founder Kim Booth has been a steadfast advocate in both the music and wellness realms for 19 years. She has facilitated cacao ceremonies and crystal singing bowl meditations, in addition to teaching yoga. Furthermore, Kim has brought Cosmic Pineapple spaces to key festivals and events such as Houghton Festival, Bestival, Lost Village, Medicine Festival, The Natural History Museum in London, The Zen Space at ADE, Nicaragua and Iceland.

 
Cosmic Pineapple is a staple to this summer’s Ibiza events calendar, with a healthy mix of innovators within the electronic music scene, sacred live music celebrations, expressive art, creativity and wellness activities. Combined in service to engage, entertain and make you dance, expect an experience ignited with island magic and enhanced by music.
 



 
LINE-UP (A-Z): 25 Years Of Robert Johnson, Acid Pauli, ATA, Anthony Middleton, Bambounou, Carlos Valdes, Carl Craig, Cassy, Ceri, Chabeli, Cici, Curses, DJ Holographic, Dan Ghenacia, Danny Daze, Eclair Fifi, Ellen Allien, Endo, Heidi, Jackmaster, Jonny Rock, Josh Wink, Lex Wolf, Marc Romboy, Mathew Jonson Live, Nightmares On Wax, Nils Olav, Osunlade, Prins Thomas, Roman Flügel, San Proper, Shubostar, Superpitcher, William Djoko, xX Isis Xx… Plus more Secret Guests!
Summer Dates
June 6th, June 20th, July 4th, July 18th, August 22th, September 5th, September 19th
 
Tickets Available Here
 
More information 
http://cosmicpineapple.co.uk/
 
Find Out More & Follow
 
INSTAGRAM | FACEBOOK 
 
__________________________________________________________________________________
 
NOTES TO EDITOR
 
IMAGES | ARTWORK
 
Press Enquiries [email protected]
 
 *Interviews & Press Passes on request
 
ADDITIONAL INFO HERE
Cosmic Pineapple | Kim Booth | BayBJane | Cova Santa
The post  The Music World Gets An Upgrade | Hedonism Meets Healing at Cosmic Pineapple Ibiza appeared first on Electic Mode.
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RL Grime, Kaskade and More to Perform at Nashville's Deep Tropics Festival 2024

Nashville may be known for country music, but Bicentennial Park will once again come alive with the sounds of electronic dance music this summer, thanks to Deep Tropics.
Sofi Tukker, Kaskade, PEEKABOO and RL Grime, among others, are set to headline the festival in mid-August. House artists like Cassian and Elderbrook will take over the ancient temple-inspired "Meru" stage while the tropical "Lotus" stage will host a variety of bass artists, including MEMBA and Cool Customer. Mimicking the aesthetics of Stonehenge via 360° stone columns, the “Congo Soundsystem" stage will feature Hiroko Yamamura, Art With Me Festival co-founder Matt Caines and many more.
Fans can expect stunning audiovisual production, visuals and art installations across the festival grounds. To kick off day two of Deep Tropics, a special curated set by DJ Drez will combine breathwork, yoga, meditation and dance.
The Deep Tropics Music, Art and Style Festival.Casey Mabry
Deep Tropics is considered "the greenest festival in North America" according to a press release, working in conjunction with their non-profit Deep Culture to divert festival waste from landfills. They have achieved diversion rates as high as a staggering 96%.
Collaborating with organizations like Ancient Nutrition's R.A.N.C.H. Project and Trees for The Future, the festival's organizers also offset their carbon footprint via tree-planting initiatives. The day before this year's fest, August 15th, they are hosting a sustainability summit with locals, government officials and industry leaders to discuss regenerative solutions.
"Picture immersive workshops, thought-provoking panels and captivating talks on regenerative agriculture, sustainable fashion, renewable energy and holistic wellness practices," said co-founder Joel Atchison in a press release. "Within our event, festival-goers will discover activities dedicated to rejuvenation and self-care, offering yoga, meditation, sound healing and holistic modalities designed to replenish mind, body and soul. Deep Tropics is more than a festival—it builds a bridge between party and purpose."
Tickets to Deep Tropics are available here. Check out the full lineup below.
Deep Tropics Music, Art and Style Festival 2024 Lineup
Ahrt
Airrica
Calussa
Canvas
Cassian
Cool Customer
Cruel Mistress
DJ Dainty
DJ Drez
DJ Morphonic
Dumb Groove B2B Dame Luz
Elderbrook (DJ Set)
Hiroko Yamamura
Hotboxx
Jessie D
Kaskade (Redux)
Kenopsia
Lux Velour
Maloné
Marsh
Marti Nikko
Matt Caines
Memba
Merchant
MGR Mike
Nora En Pure (Sunset Set)
Peekaboo
RL Grime
Rohaan
Sintra
Sofi Tukker (DJ Set)
Soohan
Subrinse
Taiki Nulight
Tape B
Taran Michael
Valleria
Yoko
Ysheso
Zingara
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Apple Finally Catches Up: iOS 18 Brings Homescreen Freedom and RCS Messaging

The annual Apple WWDC is always a frenzy of new feature reveals, and this year’s iOS 18 announcement was no different. While some updates focused on performance and security, the headliners were undeniably the long-awaited home screen customization options and the integration of RCS messaging.
Android Had it First, But Better Late Than Never
Let’s be honest, Android users have been enjoying the freedom of personalized home screens since the beginning. Scattered apps, custom widgets, and themed layouts have been a staple of the Android experience. Apple’s announcement feels a bit like catching up, but hey, better late than never, right?
iOS 18: Unleashing Your Inner Designer
So, what exactly can iPhone users expect with iOS 18? The ability to place apps anywhere on the screen, not just in a rigid grid, is a game-changer. Imagine creating designated zones for productivity, entertainment, or social media. Widgets are getting a makeover too, with the ability to resize and place them freely alongside your favorite apps.
The RCS Messaging Revolution (Hopefully)
Another major announcement was the adoption of RCS messaging. This upgrade allows iPhone users to finally enjoy features like group chat read receipts, improved media sharing, and richer chat experiences – features that their Android counterparts have had for years. The hope is that this will finally break down the communication barrier between iPhone and Android users, leading to a smoother messaging experience for everyone.
Is it Enough?
While these updates are welcome, some might argue that Apple is simply bringing iOS up to speed with features that have long existed on Android. Still, for iPhone users who’ve craved more control over their home screens and a more seamless messaging experience, iOS 18 represents a significant leap forward. We’ll have to wait and see how these features translate into real-world use, but one thing’s for sure: the competition between Apple and Android continues to push the boundaries of mobile innovation.
The post Apple Finally Catches Up: iOS 18 Brings Homescreen Freedom and RCS Messaging appeared first on EDMTunes.
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Insider Interviews: ArrDee & K Motionz

It’s not the first time UK rap artist ArrDee has entered the releam of D&B, last summer saw the release of ‘Liquor & Cigarettes’ with scene superstars Chase & Status and Hedex. The track was blasted across dancefloors and festivals earning its props amongst D&B heads but also invited a new wave of young UK rap music fans to explore the greater depths of the bass scene.
Now ArrDee is back with new drum and bass offering- “Heavyweight” created with the mighty K Motionz and club legend Riko Dan. We sat down with ArrDee and K Motionz while they interviewed eachother.
UKF: How are you? How are you both doing?
ArrDee: Good.
K Motionz: I’m good. Just cracking on ready for summer and ready for a madness.
UKF: What have you got coming up?
K Motionz: It’s gonna be festival season, going around on planes flying about- nothing you get bored of, It’s was too much fun.
UKF: What have you been up to recently?
K Motionz: Working on this tune to be fair. My life has literally just been this track for the last few months. It’s just all been about this. And it’s been the same for you [Arrdee]. It’s been wicked.
UKF: Awesome. Good to hear that you’ve enjoyed it.
ArrDee: Definitely.  Obviously, there’s always problems and stuff, But it’s just about like getting it right. This is probably the only collaboration I’ve done so far where someone is just as much of a perfectionist as I am. We both had our vision for certain things and we tried to get that across in the best way possible.
K Motionz: We actually found a lot of the middle ground that we both liked and that’s actually been really good. 
UKF: How did you both meet?
ArrDee: I don’t even think K Motionz remembers it, but the first time I met him was at a rave in Brighton and this rave was going off. I’d been to the same venue before, but Kallum was booked there, and the tickets were only 10 each so this place was double rammed. I was like ‘Who the fuck is playing?’. I knew the owner so I cut through the venue and I was like, ‘Yeah, this guy is cold.’ 
K Motionz:  I couldn’t kind of put it any better. Obviously, I knew you from when you broke through years ago. And then you jumped on drum and bass and I was like, ‘Yo, this is sick, when’s when’s he gonna do it again?’ I thought to myself imagine if we did something together and then a few weeks after you messaged me. So it was a bit of a manifestation it was quite nice. Because when something like that happens you’ve got to do it.  It’s almost got its own story. 
ArrDee: And at the time, I’d had this concept for a drum and bass tune. We’d pieced together the lyrics and stuff, but we just didn’t know how we were gonna get across production wise. Then I saw that set and I was like, ‘Fuck it, he’s the one. We’ve got mutuals, and I think his manager knows a lot of people that I know. So we just gelled from there and it all fell into place.
K Motionz: We got into the studio at the end of January. We went down to London, recorded all the vocals and then went back and forth for a good two months until it was right. I struggled on the instrumental a bit but we got there. I had a video of the project file I was I watched it and thought ‘Oh, my days, I’ve actually actually put a lot of work into this one’.
UKF: Why do you think you were struggling? Just couldn’t find the right vibe?
K Motionz: Yeah, sometimes you just can’t get what you want. But I went out and started doing different things and trying to get inspiration that I could draw from. I was really stuck on it, I was like, ‘nah, this can’t I can’t let this slip.’ I took a little bit of time out from it and then went back into it. And then all of a sudden, it all just came together.
ArrDee:  I can imagine for you just as much for me as well, like, there’s this bit of pressure. The first ever time I jumped on D&B it was with some heavy hitters and some GOATS in their own right- and the tune did fucking spectacularly if I do say so myself.  I think between us as a team, we were aware of that and aware of the fact that me and K Motionz is a big link-up because he is definitely the next one. It’s big for the audience, in the sense that I’m jumping on D&B again. So I think that there are a lot more moving factors to it than what would usually come with just a new link-up and a new relationship
UKF: ArrDee I wanted to ask you about your relationship with drum and bass…
ArrDee: It’s kind of been there forever. I’m from Brighton. If you know, you know, a lot of our venues are household names- you’ve got Volks, you’ve got The Arch, you’ve got Patterns, apart from Prism and Pop World, all of our venues are very dance music-orientated.  A lot of Brighton culture is very drum and bass orientated it’s a uni town and as soon as the sun’s out you’ve got bare man walking around spitting over D&B with the speakers on wheels- we’re a little bit chaotic which is matches bass music in a way.  It’s just been the same as all the other music- D&B has been a part of my life forever. I couldn’t tell you the first time I listened to it. It might have been dubstep times that would have been my first introduction to the sound, maybe 2011. 
UKF: Are you ready to ask each other some questions?
K Motionz: Yeah, come on… 
ArrDee: You can go first.
K Motionz: How did you find it when everything started to pop? How did you find dealing with your life-changing? 
ArrDee: I feel like the answer that everybody always wants to hear is that it can be challenging but the truth is I was fucking loving all of it, I was completely soaking it in. I’m a massive attention seeker I’d been manifesting it and believing the fact that it was gonna happen for so long. Even right before it happened, I was already so sure and followed myself that by the time it was almost like ‘Yeah, I told you!’
K Motionz: Yeah, it’s totally up to you to believe in your own craft and get more fans and have more hits and all that.
ArrDee: Definitely love what we do… So, obviously, it’s it’s common knowledge between the both of us that we like a little bit of a party. So I was gonna ask who would you say is more of a heavyweight, me or you?
K Motionz: You know, I’m gonna say you, you know. You’ve told me some stories, I’m not gonna lie. I like to have a bit of fun but I reckon you take the heavyweight title.
K Motionz: So you said before that you’ve been into drum and bass forever, do you remember one of the first drum and bass tunes you heard or one of the first drum and bass raves that you went to?
ArrDee: The first drum and bass I heard has got to be ‘Tour’ by Macky Gee- the track blew up and overplayed at the time, but my man is cold in his own right- respect to my min because he is goated. 
But I think the first time I fell in love with raving and drum and bass was different. And it partly leads back to the first question you just asked.  Even though I wanted all the fame and I still want it now, I started focusing properly on music when I was 16, I blew up when I was 18, but we were still in lockdown. So I had never been to a festival or a club as a regular attendee. As soon as the clubs were open it was invites from every single one of them. But also drinks, girls, private tables, you name it, everything was being thrown at me. But when I go to a drum and bass, they’ll still recognise me, but it’s not like when I go to the rap club- the people surrounding the table, flashlights in your face, begging for videos, photos, autographs. At a drum and bass rave, even when I go to the local ones in Brighton, I might get asked for a quick photo, or just get like a little gun finger or a head nod. Everyone’s there of enjoy themselves.
K Motionz: D&B’s a different vibe. 
ArrDee: Yeah. And that’s where I fell in love. It’s like I get to live a little double life when I go out into the two different genres. 
K Motionz: Yeah it’s good fun. And it’s just different. The whole drum and bass scene is just a bit different to other genres, so I think it’s always gonna be there and a part of UK  culture. It’s always gonna be somewhere in the middle of the charts. Sure, music has its phases, but drum and bass will never be a failure.
ArrDee: You’ll always get the pop stars chiming in and adding a little spin on it every now and then. There have been massive phases but it will always have its own scene.
ArrDee: I’m gonna ask you a similar question because I actually don’t know. How did you get into producing Drum and Bass- you’re still young?
K Motionz: This will make me sound really old. But in 2011 my brother was making hip-hop beats in this shitty little council flat that we had in Birmingham. I was like, “Yo, what’s this?” And then started figuring out how to work the program, and then I started making weird dubstep edits. I sampled Keith Lemon into a dubstep tune- I thought I was an absolute genius. 
And then my mum showed me More Than A Lot, the album by Chase & Status. I feel like a lot of people came to drum and bass through Chase & Status. ‘Eastern Jam’ off that album was the first thing I listened to off that album. ‘Eastern Jam’ was a dubstep tune but the rest of the album was pretty much drum and bass. So it all just went from there. 
When I started making tunes nobody really took me seriously, because I was so young people just sort of took the piss a little bit. I was too young to play out so it was hard to get music out there. I went to Belgium from the age of 16 to 18. I probably played 40/50 shows in Belgium when I was that age. Then when I got to 17 I was sneaking into clubs here to play.  
ArrDee: I got to rate you for that one!
K Motionz:  I love a little chicken spot, man. You’ve got a chicken brand Ugly Chicken, how did that come about? I need to try it…
ArrDee: I always wish I had a much more interesting story about the name, but I can’t take too much credit. There were a few of us just sat around a table throwing names at each other. Our main thing is wings. 
K Motionz: You’ve got them in a few places now…
ArrDee: We’ve got over 50 stores now.
UKF: You’ve got a chain of chicken shops?
ArrDee: No, no it’s delivery based only. Deliveroo, Just Eat, Uber Eats all that kind of stuff.
K Motionz: We need to cop some together. 
ArrDee: For sure! Love to bring some down and to start dishing it out. 
ArrDee: That leads me on to my last question. What would you say is the maddest thing you’ve seen DJ? You must see some mad shit in it when you’re in those dungeon clubs…
K Motionz: Actually, it was last summer, I was playing a festival and was watching the crowd. I could see something at the back getting a little bit out of hand. I didn’t really think much of it. I kept watching and all of a sudden I saw this guy just fly at another guy and punch him full-on. The show got stopped twice because somebody got knocked out at the back of the crowd, and then there was another fight with the same guy later on. Show stops don’t happen very often, but two was crazy. I watched the guy take a swing and a half and thought “Yo, what is going on? I can’t carry on”
ArrDee: I hate when that happens. It sets a weird tone for your crowd for the rest of the night. Another thing I’ve noticed in drum and bass crowds is they collectively stop fights, protecting their community. 
K Motionz:  It’s so funny because there was another situation a month or two ago. There’s a guy fighting in the crowd, I brought the music down got on the mic and I went “Wanker.” The whole crowd started chanting it. British culture at its best. 
UKF: Before you’re off, I wanted to ask you both what you’ve got coming up after this release… 
K Motionz: A run a run of festivals. Finishing off a few more tunes for the year. Just focusing on the shows and enjoy festival season and just enjoying this beautiful, beautiful life on tour.
ArrDee: I’ve got a huge project coming. I know it’s going to come before summer ends. I can’t give an exact date because I’ll get told off. Massive features from in and outside of the UK on the biggest singles that I’ve ever written before. Just getting ready to take over again, I suppose.
Ravebot
Ravebot

Turn Down for DJ Snake’s Birthday: Celebrate with His Top 10 Tracks

Turn down for what? For DJ Snake‘s birthday, of course! As one of the most prolific artists in the electronic music scene, DJ Snake has given us countless hits that have kept us dancing for years. From his explosive debut with ‘Turn Down for What’ to his recent chart-toppers and collaborations, DJ Snake‘s influence on the music scene is undeniable. As we celebrate his special day, let’s take a moment to appreciate the tracks that have defined his career and made him a global sensation.
In honor of this joyous event, we’ve put together a list of DJ Snake‘s top 10 songs, which highlight both his talent and range. Whether you’ve been a fan of his music for a while or are just now getting into it, these songs will definitely make you want to get up and dance. From the infectious beats of ‘Lean On’ with Major Lazer to the vibrant and invigorating ‘Taki Taki’ featuring Selena Gomez, Ozuna, and Cardi B, each track represents a milestone in DJ Snake‘s illustrious career. So, turn up the volume and join us in celebrating the Parisian native’s birthday with a musical journey through his greatest hits!
10. Magenta Riddim – 152m streams
9. Get Low (with Dillon Francis) – 198m streams
8. A Different Way (with Lauv) – 282m streams
7. You Know You Like It (with AlunaGeorge) – 505m streams
6. Turn Down for What (with Lil Jon) – 546m streams
6
5. Loco Contigo (with J Balvin and Tyga) – 822m streams
4. Middle (with Bipolar Sunshine) – 1,067b streams
3. Taki Taki (with Selena Gomez, Ozuna, and Cardi B) – 1,569b streams
2. Lean On (with Major Lazer and MØ) – 2,079b streams
2
1. Let Me Love You (with Justin Bieber) – 2,145b streams
Ravebot
Ravebot

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