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LMF Croatia Announces Full Line up for 2024

The fourth edition of Croatia’s scene-leading LMF Festival at Jarun Lake, Zagreb is just around the corner and once again on June 7th – 8th, 2024, world class DJs such as Dom Dolla, Argy, Chris Lake, Mind Against, Claptone, Matroda, Dubfire, Sam Paganini and more will arrive in Zagreb alongside a mix of regional and domestic electronic talents. 
LMF is More Than a Festival, It’s an Unforgettable Experience
In just a few years, LMF has become the most important electronic festival in Zagreb. It is hosted at the beautiful Lake Jarun, only 15 minutes from all major points in the city, and is renowned for top-notch production, creative stage designs such as aboard a Zagreb tram, mouth-watering culinary offerings, and art displays across the site which all make it one of the most desirable in this part of Europe. 
Zagreb – The Ideal City Break Destination
In recent years, Zagreb itself has cemented its reputation as one of the most interesting cities in Europe for a short city break. Not only is it well connected by regular and low-cost airlines with major European centres, but it is also on a great route for backpackers exploring this part of Europe and passing through Croatia to reach the beloved Adriatic coast. In the centre of this urban oasis is Lake Jarun, the host of the LMF festival. You can spend your day exploring Zagreb’s rich history, excellent cultural and gastronomic offerings, and in the evening, dance to the beats of the most electric stars of the scene 
World Class Music 
This year’s line-up is another epic showcase of the best in house, dance and techno music with Dom Dolla leading this year’s star-studded lineup. The Australian maestro is behind hits like “Take It” and “San Frandisco” which have become anthems of electronic music, and he is currently one of the most sought-after DJs in the world. Argy also stands out as a long time underground favourite who mixes up lassi house and techno with his own fresh sound, while Briton Chris Lake has always explored different genres and created his own distinctive sound that combines elements of house, tech-house, and many other similar genres. His hits like “Changes,” “Operator,” and “Turn Off The Lights” are real classics. 
Claptone is a magical DJ who brings real soul to his sets. He plays all over the world and has his own Ibiza party ‘The Masquerade’. He’s recognisable by his gold bird mask, hypnotic rhythms and seductive melodies that win hearts worldwide. Also performing will be the hugely popular Matroda, well-known to this audience, Mind Against, and the icon of Italian electronics, Sam Paganini. They will be joined by big names from the regional and domestic electronic scene: Bosk, Dallerium, Damir Hoffman, Danceelectric, Discopolis, DJ Jock, Einfakinn, Ilija Đoković, Joe2shine, Kosta Radman, Kraundler, Lanna Lokka, Luka Kosty, Mjuz, Percassi, Tomo in der Mühlen, Vedran Car, Viktor, and Yakka.
Let the Music Be Free
At LMF, the music allows you to explore your own freedoms, meet people, and create unforgettable memories, free your senses, and experience an unforgettable weekend in a stunning location. 
Sign up now to get tickets via https://www.lmffestival.com/.
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AMF Announces Martin Garrix As 1st Headliner For 2024 Edition

AMF is sparking pure excitement with the reveal of headliner Martin Garrix, setting the stage for an electrifying lineup and solidifying AMF’s longstanding title as the biggest event with the biggest names held during the world-famous Amsterdam Dance Event. 
Martin Garrix needs no introduction. With a string of global hits including ‘Animals’, ‘In the Name of Love’, and ‘Scared to Be Lonely’, the Dutch DJ and producer has become a household name in the electronic music scene. His energetic and melodic style has also earned him a massive following worldwide, making him one of the most sought-after DJs in the industry. This will be Garrix’s fifth time returning to the famous AMF stage in what’s expected to be one of his most monumental performances yet.
With 40.000 fans set to fill Amsterdam’s Johan Cruijff ArenA, AMF becomes the biggest nightclub in the world and the perfect stage to host such an iconic performer. However, the announcement of Martin Garrix is just the beginning of what promises to be an unforgettable experience, with AMF soon to announce another legendary Dutch DJ alongside the rest of its world-class line-up of artists.
Insomniac Europe is making an extraordinary debut on the scene by hosting AMF, the biggest night club in the world. A new division of Insomniac — the organization that hosts 10,000 concerts, club nights and festivals for seven million attendees annually — Insomniac Europe was established to grow the organization across the continent and is tackling that head on with AMF. Backed by Insomniac’s incredible range of expertise, they’re  set to put on the best edition of AMF to date.
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Learn how to DJ with James Hype and Tomorrowland Academy

The Online Tomorrowland DJ & Producing Academy has collaborated with famous UK DJ & producer James Hype to present an Exclusive Masterclass titled ‘From Beginner to Pro‘.
People from all over the world can now delve deep into James Hype’s astonishing skills. He personally guides you through a step-by-step approach to enhance your transitions and increase your mixing skills. The course takes in mind any setup with the most viral DJ tips & tricks from the master himself.
As one of the most experienced and charismatic DJs around, James Hype is the ideal person to explain DJing from flagship to home setup. Beginning and expert DJs and producers who want to take their career to the next level don’t require an expensive setup; James Hype explains all of his tricks on several controllers.
Learn and improve tricks for mixers, and controllers
Starting DJs can use the DDJ-FLX4 with an easy, medium, and hard DJ trick per controller, progressing to the DDJ-FLX10, XDJ-RX3, and four-deck mixing on CDJ-3000s.
To top it off, Hype debuts his most recent DJS-1000 routines, which include the usage of drum machines and the creation of songs on the moment.

The Tomorrowland DJ & Producing Academy
The Online Tomorrowland DJ & Producing Academy is Tomorrowland’s instructional DJ & producer platform, devoted to educating and motivating passionate people from all over the world to produce, release, create, and perform music.
The Online Tomorrowland DJ & Producing Academy is the ideal venue for scouting fresh and young talent. It also allows adults to hone their talents and network with other industry professionals.
DJs, both new and experienced, can use the online academy’s in-depth courses to practice and take their first steps into deejaying and producing, challenge their skills, innovate their music library, and solve common DJ problems.
Producers can learn from the best in the industry, upgrade their techniques, browse samples and project files, and receive feedback on their demos.
Costs
A subscription to the brand-new Online Tomorrowland DJ & Producing Academy is €15 per month or €165 per year. The brand-new Masterclass with James Hype is not included in the monthly/yearly subscription and costs €149.
The post Learn how to DJ with James Hype and Tomorrowland Academy appeared first on The Groove Cartel.
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40 UK Festivals Cancelled This Summer, Over 170 In 5 Years

The UK festival scene is in crisis, with 40 festivals already cancelled this summer and over 170 disappearing in the past five years, according to the Association of Independent Festivals (AIF). The recent cancellation of the El Dorado Festival in Herefordshire highlights the severe financial pressures festivals face, including rising operational costs and the impact of the increased cost of living. The AIF warns that without government intervention, over 100 more festivals could vanish by the end of the year, primarily due to unpredictable and unsustainable supply chain costs.
To combat this, the AIF has launched the ‘5% For Festivals’ campaign, urging festival-goers to lobby for a temporary VAT reduction on ticket sales from 20% to 5%. This measure aims to provide the necessary support for festival promoters to rebuild. AIF CEO John Rostron emphasized that the industry’s decline is not due to a lack of public demand but financial challenges. The loss of smaller festivals also threatens emerging talent, reducing opportunities for new artists to perform and grow. Immediate action is needed to preserve this culturally significant industry.
article credit to: www.nme.com
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Doctor P. and Flux Pavilion: Dubstep in 2024 and 15 years of Circus Records

It’s hard to believe that the so-called ‘new sound’ of dubstep music is now 15 years old. It feels like only yesterday that the old guard of dubstep were complaining about the tonal shift in the genre. A rift occurred in the mid-00’s between the UK-sounding, sub bass filled half time tracks which still resembled its ‘dub’ origins, and the newer version of the genre which emphasised anthemic synth lines, big build ups and Electro-style basslines. 
At the cusp of this shift in sound was Shaun Brockhurst aka Doctor P. and Joshua Steele aka Flux Pavilion. With classics such as Bass Cannon and Big Boss and their iconic remix of DJ Fresh’s Louder feat. Sian Evans which could be heard at every festival in the UK, Doctor P. and Flux Pavilion have become household names in the landscape of dubstep music, and are now seen as pioneers of dubstep’s more contemporary sound. The pair have been pushing their sound of dubstep through their label Circus Records since 2009 which has exposed the world to the likes of Zomboy, Funtcase and Cookie Monsta. 
UKF sat down with Shaun and Josh to discuss their recent tours around the world, dubstep in 2024 and their record label; Circus Records, celebrating their 15th year of releasing music with a 43-track compilation album; Circus Four. 
Where are you guys currently?
Doctor P. I’m just home from Australia after a run of shows. I’m glad to be back in the studio though and getting back to work.
Flux Pavilion. I was away for four months touring….I’m just back from the states. I need a break from Flux Pavilion this week!  
Is it good to be back in the UK?
FP. It is and it isn’t. When I’m away I don’t engage with the rest of the world. Tours are really good for that. You can disengage and just concentrate on the next gig. 
What about you Shaun?
DP. I know what you mean, though to be honest, I’ve stopped looking at social media at all. 
FP. I use it for my social life. Just tweets and private messages.
DP. It just makes me anxious. 
FP. Yeah, I’ve got an eye twitch from looking at Twitter.
Ok, I’m glad to hear I’m not the only one. You guys are successful in your musical journeys, I always thought that stress and anxiety would dissipate when you’ve made it. 
FP. It only gets worse the more popular you are. Though having been around for 15 plus years of Flux Pavilion, it’s a bit better these days. There was a time when I just spent my whole time judging comments. Now that I’m a bit older, I feel like I’m enjoying it more. Writing music is better, going on the internet isn’t as bad as it was. But yeah, popularity can be a blessing and a curse to be honest.
You guys have been at it for a long time now. Has your experience turned you cynical about the world of music?
FP. It’s easy to get like that sometimes, I guess that’s the same as any creative industry. I was extremely competitive years ago. It’s only natural. Nowadays though I’ve really turned around. I’ve started having a less competitive mindset and these days I’m way more excited about other producers’ work. I have to remind myself that I’m a loved and cherished member of this dubstep community. I’m not in competition with these people. I love the work everyone is doing. Before I would see someone come out with a new sound and beat myself up going “Why haven’t i done this massive thing!?” Nowadays I can appreciate up and coming producers. I can sit back and say that their music is amazing and when I’m doing amazing things, I hope that they’re going to say the same thing. 
DP. I agree. The more I talk to everyone else in the scene, the more you realise you’re not alone. Everybody is in the same mindset. Everyone is experiencing the exact same thing. 
You guys have been putting out dubstep tracks for over 15 years now. Tell me a little about the current landscape of Dubstep. Where is it sonically and in the zeitgeist?
FP. As always, it is absolutely killing it in the states. 
DP. Outside of the US, the cooling off period has been happening for close to ten years now. I think that’s why we’re getting so much dubstep that’s really out there.
FP. I think the lack of the spotlight on it in the UK (for example) has meant that it’s generating a space where producers can be free. In my opinion, some of the best dubstep is happening now as a result of it not being as popular in local markets.
Drum & Bass seems to be having its moment in the sun currently in the UK and the rest of the world. Do you think Dubstep will have a similar resurgence in the UK soon?
DP. For dubstep, a lot of people just call it 140 now. I think dubstep is a taboo term in the UK these days because of the association with brostep. People like it, but the style is out of fashion. I think people are interested in the tempo and the vibe that originally existed back in 2008. The likes of Hamdi indicates that things are happening again. 
FP. I’m interested to see what it develops into, and I want to be a part of it. These days It feels important for me to dedicate myself to dubstep as a concept and to understand what it is now. I’ve only recently started to use the term evangelically.
You’ve recently just been on tour in Australia and New Zealand. Is dubstep still going strong in Australia?
DP. It was fun! I think Oz has definitely been affected by the pandemic though. According to the people on the ground, Australia is really suffering because of the post-covid recession. As a result, music has died down there a bit.
How’s the New Zealand dubstep scene doing?
FP. I think the New Zealand dubstep scene has been killing it! I find it hard to see the reality that people these days aren’t interested in dubstep as much as they were because every time I get a booking the rooms are full. I think that the people want it but the industry hasn’t realised it yet. 
And what about the USA?
DP. It’s still massive out there, though to be honest, however musically I live in a little bubble. I’ve just always been doing my own thing and making my own thing. Luckily people have just liked it. I’m never the first one to hear about a brand-new artist coming through. My focus is just solely on making tracks in the studio.
I have noticed that lots of artists in the US have gone the way of “death metal dubstep”. It’s not the dubstep that I know (obviously coming from the UK), but I appreciate it for what it is.
FP. I don’t like the way some fans criticize the new wave of American dubstep. Why do they judge the metal stuff harshly? Loads of kids are showing up to dubstep shows and headbanging to it. Just because it’s not what you like (or understand) doesn’t mean it’s automatically bad.
DP. I love the fact that they’re out there loving it. It’s cool to see live.
FP. I don’t think it really pays to be bitter and angry. My advice is to just do the thing that you do well. Rather than just sitting around and complaining about the new style, it should be a call to arms for you. Especially the British scene looking at American dubstep fans. Let them enjoy it! If you don’t enjoy it, make your own new sound! There’s space for everyone!
Your audience is all over the world. Is it difficult to keep on top of trends from other countries? 
FP. We’re not really plugged in to what everyone’s doing on purpose. Once you chase what everyone is doing it can get seriously distracting, so what is the point of doing that to yourself. It is fun for the listener to know what’s going on, but as a creative endeavour, obsessing over what’s popping can go against you.
You have to ask yourself: what’s there to gain. That’s not why we started our label or wrote dubstep. It was to push the boundaries of electronic music. Even after loads of exploring, I still come back to dubstep because there is so much room for exploration. Some stuff hasn’t even been conceived. It might not be called dubstep in the next wave but there is so much untouched gold that I can’t keep away from it.
DP. It’s crazy how broad it is these days. The term these days is basically just a general guide for a track at 140bpm with a drum pattern and a bassline.
FP. House and drum & bass have so many constraints. People are trying to do that with dubstep, keep it constrained to a specific sound, but I don’t think it’s going to stick. It can just become boring and monotonous. As I said, the point of writing dubstep for me is because I think it’s the best avenue to explore new sounds and push the boundaries of electronic music.
Do you think that the dubstep fans more than other fans are more open minded to genre bending stuff.
DP. These days people are going to see the dubstep act they like, so there’s definitely a level of trust the fans have for the artist. If that artist wants to explore new avenues in their sets, I think the fans are there for that.
FP. I’ve got a show in Bristol tomorrow and it’s my first show outside of London in about 5 or 6 years. I really just want to be there in front of that crowd and just say “Look guys, this dubstep is going to be different. Let yourself go and we’re all going to have an amazing time. Forget about the past. My music is good. Just trust me on this, I’ve been doing it long enough. I know the Bristol scene loves the deeper stuff but I’m going to go full heavy tonight. So just trust me and remove judgements and we’ll walk out of this room thinking heavy dubstep is ok.
Now that we’ve covered the dubstep landscape. Let’s talk about Circus Records. You guys set up Circus Records all the way back in 2009. Does it feel like 15 years ago since its launch? 
DP. I remember right at the beginning thinking if I can do it for 5 years, it will be a success. Then before I knew it, it was 10, and now 15 years. Our original goals have been far exceeded.
Thinking back, we were so young and extremely naive and didn’t have a clue. We had a lot of ideas and just went for it. I think that helped us in the long run really, not knowing what we were doing. It’s crazy to think it’s been 15 years and it’s so nice to know people are still here for us and listening. 
FP. When I was younger, I had more ideas of grandeur. I thought we were going to change the world of electronic music.  I wanted to make a project that would be remembered for a thousand years. I realise now that I was just putting myself under immense pressure
DP. I had zero idea of any of that. I was just thinking why can’t we do it ourselves.
FP. One thing I do appreciate is that we were just putting out the songs we like, rather than questioning ourselves on whether it suited the scene. We don’t really question whether our music is good, we just kind of feel it. The lack of self-doubt plays a big part in whether what we’re doing is actually a huge benefit. 
DP. It means we do a lot of things that are highly questionable, but I guess that’s what it takes to succeed. Taking chances and not thinking about them too much. 
Has Circus changed much since its inception?
FP. We’ve multiplied our staff by about 6 or 7 and they are doing such a sick job. We’re making great numbers. There hasn’t really been a business takeover as such; it’s very much artist led. Thanks to the team, Circus has become a force to be reckoned with. 
DP.  We wouldn’t be where we are without working with a bunch of people who know what they are doing. 
FP. Yeah, if we made all the decisions, I would have wasted all of our money on ideas that would have lost all our money by 2011.I don’t think of Circus as just being us two anymore like it was. I’d say we are still the body and ethos of the label, but Circus is very much the team. 
Over the years you have put out Circus Compilations, showcasing some of the best Dubstep tracks out there including some iconic tracks from yourselves like Bass Cannon, Sweet Shop, Got 2 Know and of course I Can’t Stop. Circus Four dropped a few weeks back including 17 unreleased tracks totalling 43 tracks! Tell us a little about the release. 
DP. We had an idea of doing a big album every year which represents us, but in retrospect it was a bit too ambitious. Now we think of it as the album that describes an era. There’s been four and it kind of encompasses the last 15 years of dubstep. It’s kind of like putting things together that represents a milestone in the label’s history. Its aim is to showcase the sound that we were interested in at this moment in time.
You’ve got some new emerging artists on the compilation including ANGEL CANNON, AIMER, DirtySnatcha and more. How do you find this new talent?
DP. Our team is really doing a lot of great A&R. They are always sending me new things from relatively unknown artists. It’s a nice way of seeing who’s coming up. Prime example of this would be M!KESHIFT. 
FP. I discovered M!KESHIFT from Circus Four and have become a big fan. I don’t like to keep on top of things because it can cloud my own work. But when I heard M!KESHIFT for the first time in a long time I was like “Ok, what the hell is this?’.
DP. Yeah, his release on Circus Four, PRODEEJAY really caught my ear. I think he’s going to have a really big moment soon. He hasn’t released that much but he’s definitely one to keep an eye out. 
FP. He seems like a perfect fit for Circus. It’s funny, I don’t think he really knows what’s going on. I saw an interview with him and I don’t think he knew what’s happening around him. Circus is definitely for the misfits. I think of us, Cookie Monsta and Funtcase as the core four. We didn’t really fit everywhere. We were all just weirdos from all over the country who didn’t really fit except for in each other’s sets. Circus still definitely has that vibe. The label is a lot about a specific identity. If the artist feels unique then Circus is the perfect home for them. Other labels must have a uniform where it all neatly fits together. Circus is definitely not like that. We’re very much like “Oh, you’re on a pogo stick that plays weird techno goth dubstep, come right in!”. The compilation really represents what circus is: a mad house.
It’s stacked with some serious bangers. What’s your favourite track on this compilation and why?
FP. My track with Jessica Audiffred and Doktor, Bigger Than Bad. Is it weird to pick my own track? 
A bit.
FP. But it’s true! It’s the opener to my set. It’s such a banger. 
DP. I don’t think I have a favourite but I love Somewhere I’ve Been by Dead Rose, and Wobblesaur by Dino Shadix. I’ve been playing those out a lot in my sets. Ushūu is great too. He’s another one who’s going to pop off 
FP. I saw him play at Lost Lands festival and it was so sick.
DP. He’s French as well. I feel like they are always one step ahead musically.
FP. I think that’s right. They always elude that British self-consciousness we have beaten into us. They’re way more visionary. I think English people don’t have that confidence that the French have to experiment.  French people like it when their artists push boundaries.
Congratulations on the sick compilation. What can we expect coming over the horizon for Circus Records?
DP. For the time being, it’s just continuing as we are for 15 years. We’re just going to keep putting out music that we believe in. 
What can we expect coming over the horizon for Doctor P?
DP. Well, I’ve got a lot of songs I’m trying to finish now. I’ve so many unfinished tracks it’s mental. The writing of a new idea is fun, and finishing a new track is not fun. Over lockdown I was working remotely with a lot of vocalists. I just want to get them out there!
Beyond that, Josh and I have started a load of tracks together that we can’t talk about right now….
Ominous…So, what can we expect coming over the horizon for Flux Pavilion?
FP. I’ve made a more concerted effort to be more confident in my music production ability. Can we all just accept that we’re good? Each day I don’t have to go through the sludge of self-doubt. I’m stopping to have to persuade myself to keep making tunes without doubting myself. It’s hard to say I’m good, because I’m English and we find it hard to give ourselves confidence, but I’m done with all that self-deprecating.
You’ve clearly just spent a couple of months in America.
FP. I think they’ve got a lot of stuff right. Besides changing my mindset I’m also working on a bunch of collaborations. It’s been my focus to hang out with other artists and re-imagine what dubstep is and what music is at that tempo. I’ve too many songs to finish. I can’t say who they are with or when they are coming out, but I can’t wait to get them out there for you to hear. 
When it comes to Flux Pavilion and Doctor P., we didn’t really change what we did much to move with the times, but now the times are moving back in our direction. When the world wants it, we’re here and the best at what we do.
Circus Four is out now on all digital streaming services.
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Bobby Shann Releases ‘A.N.P.A – Power Unleashed’ Album

Bobby Shann invites listeners on a musical voyage with his new 17-track album, ‘A.N.P.A – Power Unleashed’, a follow-up to his 2020 album, ‘A.N.P.A’. Working alongside his passion, interest, and knowledge of the Japanese anime franchise Dragon Ball, the album works to capture the essence of the series, incorporating concepts, themes, and characters to offer an immersive sonic journey that encapsulates powerful ideas of love, strength, friendship, and self-discovery within bold musical soundscapes. With an innovative approach towards music production, Bobby Shann appears as a unique creator, striking out with a project distinctive in its vision and sonically explorative in instrumental arrangement. 
Having been inspired by the emotive potential of Japanese City Pop, intrigued by its fusion of Jazz, Funk, and Pop to evoke nostalgia, a feeling only heightened when combined with the visual elements of anime, Bobby Shann has taken to carving out his own signature style; an enthusiastic historian of Dragon Ball, the talented Producer set out to produce an album that introduces the nuances and dynamics of the series, its characters, and the psychological aspects uncovered within the relationships and narrative.

With a background in Hip Hop and Disco, coming to music production with a particular penchant for vintage sounds, Bobby Shann has continued throughout his musical journey to draw influence from a variety of sources, and this new production surely comes as yet another example of his confidence to push sonic boundaries to offer listeners eclectic soundscapes and refreshing musical journeys.
‘A.N.P.A – Power Unleashed’, an album infused with the spirit of Dragon Ball, makes for a compelling listening experience; as each track comes as another narrative in the saga, the album continues to introduce new themes, emerging as a bold tribute to the timeless allure of the series. With emotive melodies, anthemic details, groovy basslines, shuffled rhythms, and exciting beats, the intricately detailed soundscapes on the album place Bobby Shann’s production talents in the spotlight, serving as a distinct reminder of his artistic potential when it comes to weaving unique sonic tapestries of innovative elements and creative musical narratives. As each track layers in new energy, continually refreshing in sonic makeup, from bouncy synth chordal lines to punchy leads and animated arpeggiators to full-bodied pads, ‘A.N.P.A – Power Unleashed’ evolves into a mighty-sounding production, delivering a listening journey unlike any other and one not to be missed.
So, embark on a voyage of sonic discovery and dive into Bobby Shann’s ‘A.N.P.A – Power Unleashed’ now to experience the playful, distinct, and enthralling vibes for yourself.

Make sure to keep Bobby Shann on your radar by following him across social media, as he remains a talent to be watching closely. ‘A.N.P.A – Power Unleashed’ is out now and is available to stream and download across platforms.
Listen and Buy ‘A.N.P.A – Power Unleashed’ Now:
https://open.spotify.com/album/1RHlsPcj4yFtqzmVYFwcD3
https://www.beatport.com/release/anpa-power-unleashed/4540268
Bobby Shann Online
Spotify | Instagram
The post Bobby Shann Releases ‘A.N.P.A – Power Unleashed’ Album appeared first on Electic Mode.
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Cynthia Lacle – Behind The Scenes Of ‘No Good Remix’ – Interview

In this insightful interview, DJ/Producer Cynthia Laclé shares a glimpse into the creative process behind her latest remix of ‘No Good’. From her initial inspiration to the challenges she faced and the techniques she employed, Cynthia offers valuable insights into her approach to remixing tracks and staying true to her signature sound. With a focus on maintaining the essence of the original while infusing her own style, Cynthia’s passion for music shines through, as she discusses her dedication to delivering high-quality productions and her excitement for future projects.
Hey Cynthia Laclé, how’s it going?

Hi guys, all good here and you?
All good, thanks! Can you tell us about the creative process behind your new remix?
Sure, this track came on my favourite radio, SLAM FM, and I have noticed that this track wasn’t remade for quit some time. And its just such a classic epic track that I thought this is a cool one to make an own version off. So then you start working on it, and let your creativity flow. 
Were there any specific elements of the original track that you wanted to highlight or focus on in your remix?
Yes, I really love the original melody and the vocals of the track. I wanted to keep that part because everybody knows the lyrics and the melody. Is an epic classic track.
How do you ensure you stay true to the original while also incorporating your own signature style and sound when remixing a track?
By picking specific parts of the track. I didn’t want to loose the original vibe from the track. It’s because with artists like these that inspired so many generations, it’s an honour to have such great artists as guidelines.
What did you struggle with most with this remix? Was there a specific element that took longer to create?

The biggest struggle was the vocals. To get them in the best quality possible.

How do you hope listeners react to this new track?

I hope they like it though, but that is always the question, though.
Can you walk us through your process when it came to creating the integral elements of the production? How did you approach producing the pounding beat and punchy synth parts?

Even though its a massive track already, I did want to make something that people would recognise that it is a Cynthia track. I wanted to make sure that the energy and vibe is high in it, like I always do. So, I added the screech sounds in it, and the bass. The synth makes the drop a bit dramatic like how I usually make my breaks, but in the second drop it fires again when all the sounds are combined. Of course when it comes to the kick I am very selective, it still is the most important sound for me. It sets the tone and vibe for my track and inspiration.
When it comes to your workflow, how does your approach differ when you are producing originals compared to remixes?

My workflow doesn’t change if it’s a remix or original track. There is still the same amount of work that you put in it. The only thing that might go a bit faster is the melody, because it’s already there, but still you want to make it ‘your own’ sound/track so that requires also time and creativity.
Did you experiment with any new techniques, or did you craft any elements differently during the production of this remix?

No, not specific in this one. I did make some new stuff with my new track that comes out later. But with this remix it wasn’t necessary.
What can we expect from you in terms of future remixes or original productions?

There will be so much more production coming. Originals, as well as remixes. Remixes are fun to make, and its even more epic when the original artist replies to it. It’s a massive honour. Own productions are just fun to do, you can put any emotion or vibe to it. Basically, you’re telling a story about who you are, or something that you have experienced in life that you would like to share. Stay tuned guys!
Closing this interview, we thank Cynthia Laclé for her time and for our conversation that provides glimpse into the intricate production process behind her latest remix of ‘No Good’. From drawing inspiration to overcoming challenges and infusing her signature style, Cynthia’s passion for music shines through, and with a commitment to delivering high-quality productions and a promise of exciting projects on the horizon, Cynthia leaves listeners eagerly anticipating what’s next in her musical journey, so make sure to follow her across social media to remain updated on her latest releases and projects.
Listen to ‘No Good Remix’ now: 

 
Cynthia Laclé Online
Spotify | Instagram | Website   
The post Cynthia Lacle – Behind The Scenes Of ‘No Good Remix’ – Interview appeared first on Electic Mode.
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Inked Beats: Tony Junior on Music, Tattoos and Reality TV

In this candid and riveting interview, Dutch DJ and producer Tony Junior takes us on his incredible journey from a rock music teenager to becoming one of the biggest names in EDM and the Hardstyle scene.
We dive deep into how Tony’s passion for electronic music was ignited after discovering the raw power and energy of hardstyle. He opens up about making the transition from playing in rock bands to immersing himself in EDM production and performing at the biggest festivals like Tomorrowland, Defqon.1, and more.
I want to start off first, can you tell us a little bit about who you are, where you’re from and what it is that you do.
All right. This is always fun to do. I think it’s always very hard to talk about myself, but my name is Tony. Born and raised in Holland, in Utrecht. I’ve been a drummer. I was always in music. That was my only option in life, I guess. I started playing in bands when I was like 10 years old. I made a switch from being a drummer to making electronic dance music in, let’s say, 2011, 12.
And I’m 34 right now and living life with music.
Do you have an earliest memory that really drew you into music? Or how did you become a drummer? You just picked up some drumsticks and started banging around in the house?.
The thing is my father was a famous drummer here in Holland in a Dutch band. It was called Het Goede Doel. And for me, it was super logical that I would play the drums like my dad, because I was like one year old and my mom would hold me and had a small drum kit for me, and I was already playing and fooling around with it. So, the moment I had conscience, I knew I’m going to be a drummer. It’s the only thing I like.
It was like Pokémon and playing the drums. That was my whole youth and after a couple of years in school, I quit high school when I was 12 years old. So, everyone saw like, all right, this kid needs to be doing what he wants to do, not like doing mathematics or history class, whatever. He’s good to go.
How did you go from playing rock music to becoming a DJ? What did that transition look like for you?
That was, to be honest, one of the most important moments in my life because that flipped it all around. I had this pop rock band. I played for almost eight to nine years and that started when I was like 10. So those guys were like 10 years older, but they were my best friends. So, for years and years, we did a lot of shows.
We recorded albums and EPs and when I was around 21 years old, that band split up. We got into a musical fight and we were never able to fix that. So suddenly one night, I lost my best friends and my reason to wake up in the morning because my life was playing the drums with my band and making new songs and just hanging around and being together. And then one day it was just simply, boom, it was gone.
So, then I got super addicted to playing Call of Duty. I played Call of Duty for one year, like almost professional. I played 12 hours a day and suddenly I came to like realization when I went to my first house party in Utrecht here. It was a show with Sunnery James, Ryan Marciano, Leroy Styles and Melvin Reese. And I was like, holy s***, this is what I’m going to do. I’m going to sell the Xboxes and I’m going to make music on my own because I cannot have fights with band members and have issues about money.
It’s going to be around me and I can decide everything. So that moment, like when my band split up and that year doing nothing, changed my life until now.
Sunnery James and Ryan Marciano are kind of Big Room House, mainstream EDM, you would say. Did you decide to take that route first? What made you decide on that specific subgenre of music?
I’m going to feel like almost old with saying this, but in the time, I started, it was a little simpler. EDM wasn’t a term yet. It was just House music.
Everything was house music. And you had like, you had Trance, you had Hardstyle and Hardcore, but like Sunnery James and Ryan Marciano or those guys, but you also had like the Swedish House Mafia. They were just House. My first party was the party where they played a lot of Latin House. And that got me. But within a couple of months, I became a big fan of the Swedish House Mafia and Avicii. Back then it was Progressive House and that was like what we call Big Room-ish now. So, like the old Swedish House Mafia and Avicii stuff.
You had Latin House, you had like the Dutch House, so the old Afrojack stuff. I felt the most connection with Latin House and normal House first. So, I just started producing that because that’s what I heard and had a party with. I was like, I’m going to make this music. That’s what I love. And later, like months of producing and locking myself into the studio, I started to love Big Room House as well. From 2015, I became a Big Room EDM DJ. It’s interesting, the evolution of the genres.
Would you define your music then at the time as Latin house, or would you just say a default?
No, the Latin House, that was a time that I produced a lot of music, but it never was good enough to release. So, when I started making electronic music in 2011 or 2010, 11-ish, I locked myself up in the studio literally for three years, doing nothing, no drinking. I never did drugs and not going out, just making music, music, music. In those three years, I accidentally scored like a number one hit here in Holland. I made like a remix of an old Dutch song from the 30s, and that became a number one hit.
Suddenly I was all over the radio and people and clubs were booking me, and they didn’t even know what I was. Was I a dancing act? Was I a DJ? Was I whatever, a live act? So, the Latin House was something I liked to play during those shows. I produced, but after a couple of years when my music evolved, it got good enough, and I got signed to Spinnin’ Records.
But before that, I had like random releases on random labels, and I was super f******g happy that I got a release. So Latin House, it’s definitely rooted in my electronic music taste. But I didn’t make it a lot that came out so that the public could hear it. That makes sense.
How did you discover hardstyle? Have you always like hardstyle? How did you go to kind of what the music you’re doing now?
Like for me, I never say I’m Hardstyle. I always say the Harder Styles because I’m not Hardstyle. I make it, but I can do like a Hard Techno song as well. But I always flirted during my sets with the Harder Styles and Hardstyle.
If you look back to my old releases, like Immortal or Nobody Beats the F*****g Drum, those are kind of old school Hardstyle songs, but just 20 BPM lower. So, and during my sets, I played the last 20, 30 minutes was Hardstyle because I love to play it. And sometimes I made like a bootleg or, but I never like said in my career, okay, it’s going to 130 BPM to 150 BPM.
And that’s what happened now. So, I always was busy with Hardstyle already. Like when I started, you had like, you had House music and like Latin House, Minimal House, Tech House. You had Techno, you had Dubstep, Jungle, whatever, Trance. And now everything is so blended that Techno is almost early Hardstyle.
So, it’s coming so close, like music wise. So early old Hardcore is almost Techno from now, you know? So, in the Techno scene, all the credible people are playing show Tech songs. So, it’s a super interesting time.
And that’s why I never said I am this, or I am EDM or I am whatever. And what happened a couple of years ago was what we call EDM. I never put myself into like I am EDM or I am Hardstyle or whatever. So, I just like put it up 20 BPM around 150. And a couple of weeks ago, I did an Uptempo song with a friend of mine called Rosbeek. I’m doing some harder Techno songs and I make what I like to play. And that’s the thing. I don’t want to be credible Hardstyle like Headhunterz or Brennan Hart or Wildstylez. I just like the music and when people like it, I’m a happy man. And when people don’t like it, I’m a happy man as well.
When you’re talking about haters, how do you respond to hate online? And how do you respond to those people? How would you respond to those kinds of haters?
If you don’t have haters, you’re not doing a good job. The more people who hate you, there’s also people that love your stuff and I was on television in Holland a lot. That’s like a side thing that started a couple of years ago that I didn’t even want, but they just asked me for like television programs and asked me for The Bachelor and Exhibition Robinson. So, I’m experienced when it comes to getting hate on social media, because when you do something on TV, let’s say you give a rose in The Bachelor to a girl that the whole world doesn’t want you to give it, everyone’s going to hate on you.
And with music, it’s interesting because my music is my baby. I spend time making them, producing them, playing them. So that hurts a little bit more.
The people that hate will listen to your music as well, probably. I don’t really care. And genre-wise, for example, in the Hardstyle industry, they are very protective about their genre. And I get that, because I was on a podcast a couple of months ago, and I spoke with a lot of people, because there were people that thought I would enter the Hardstyle industry and wanted to be credible. And people think of that like, no, f*** off. It’s our industry.
But I get why they are that protective because they feel like it’s their genre. It’s like 10 years ago, they were like maybe outsiders loving to rave with Hardstyle or Hardcore. And they think that people didn’t like those sub-genres or people that went to hard sell festivals.
So, they’re like if you didn’t like us back then, don’t like us now. Don’t touch us. So, they’re protective and I respect that a lot. So, I understand that they maybe can hate on me, because I’m making songs with like Brandon Hart or Coone, or Da Tweekaz. But there’s a lot of people that like Hardstyle as well.
And they’re like, oh, I like the song, whoever the f*** it is. And you see that with a lot of genres, I think people are always scared that it goes too commercial and it isn’t cool anymore to like a kind of genre, I guess. It goes too mainstream. So, I’m super cool and super chill with that. That’s why I never say I am Hardstyle. I am Harder Styles.
F****g love it or hate it. I don’t care.
This interview was originally published on the Drop Bass Not Bombs podcast and an excerpt has been transcribed for this article
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‘Auroras Light’ to Shine at Lucidity Festival 2024

Lucidity 2024
Lucidity is a narrative co-authored by its participants. This year, the festival invites you to step into The Lucid City, a place “where all possibilities, creativity, and love are born”. Nestled in the oak-dotted hills above Santa Barbara, the Live Oak Campground transforms into a vibrant city of dreams from June 28 to 30, 2024.
Headliners Jade Cicada and Detox Unit are set to weave their auditory magic. Next, Wajatta – a dynamic duo comprised of Reggie Watts and John Tejada brings a performance that blends humor with rhythm. Mija, The Crystal Method, and Coki will be delivering a pleasantly mixed bag. They round out a lineup as eclectic as it is electric. Other notable acts include Balkan Bump, Boombox, The Funk Hunters, and Christian Martin.
Beyond the Beats
Lucidity’s narrative extends beyond the music. It offers a transformative journey through art, community, and learning. Artists, healers, performers, vendors, and storytellers come together to create an experience that transcends the ordinary. Workshops designed to enlighten and inspire, art installations that challenge perception, and performances that defy gravity.
Additionally, Lucidity boasts a variety of theme camps – microcosms of creativity, collaboration, and connection. Enchanting theme camps awaiting your discovery include Camp Stop Won’t Stop, Dreamboat Oasis, Fishbon, and Hive 5.
To check out more of what the festival has to offer and to purchase tickets, head on over to the Lucidity website.


The post ‘Auroras Light’ to Shine at Lucidity Festival 2024 appeared first on EDMTunes.
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Skrillex and Fred again.. Announce Event in San Francisco

On an X post that Skrillex made on Friday, May 24 (see below), he stated that he and Fred again.. “have way too much new music” to test out and then announced that they will host a rave in San Francisco. Shortly after, both Skrillex and Fred again.. uploaded their own respective posts on Instagram, announcing that tickets go on sale to the general public at 12 p.m. on Tuesday, May 28. In their posts, the two EDM icons then included a Ticketmaster link so that the fans can visit it and obtain the tickets before they sell out. As of this writing, the tickets have sold out, although fans can still obtain tickets via ticket reseller sites (if they are able to). The time and date of this event will be at 6:30 p.m. on Saturday, June 1, 2024.
According to an article from SFGate, the spectacular rave of Skrillex and Fred again.. will occur at the Civic Center Plaza, across the street from the Bill Graham Civic Auditorium and the City Hall. The event’s promoter is the local and well-known name, Another Planet Entertainment, the same minds behind the city’s famous Outside Lands Festival. June 1st will definitely be a date that many fans of the two superstars will forget in the “City by the Bay”.
The post Skrillex and Fred again.. Announce Event in San Francisco appeared first on EDMTunes.
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Interview – MOLØ “I embraced the freedom that initially drew me to electronic music”

There’s a long and respected lineage of electronic dance music artists stemming the musical hotbed that is Stockholm. Adam Beyer, Jeremy Olander, Joel Mull, Genius of Time, Studio Barnhus, Jesper Dahlbäck are just a few, and the latest and greatest to join the aforementioned artists on her very own quest is MOLØ.
Following in the footsteps of her father, a well-respected and highly regarded selector in his own right, shet has been making moves on the local underground scene in the Swedish capital for the last half-decade. With progress in the studio and behind the decks has her playing multiple shows week in and week out at every imaginable club and underground event in the country, and in early 2018 she caught the attention of Jeremy Olander.
The Vivrant label founder put MOLØ on opening duties at his label show, she quickly landed residency honours at all his future hometown shows. Olander proceeded with inviting her to spend time with him in the studio, which has resulted in a collaboration EP on Olander’s Vivrant imprint in 2019. In the summer of 2018, MOLØ continued to rack up impressive accolades when she landed herself a residency at Stockholm’s club Kvarteret. There, she joined the Vivrant Open show with Marino Canal, Henry Saiz and Jeremy Olander, whilst also played the closing set after Detroit legend Carl Craig.
Warming up Luciano and Sasha at festivals and clubs as The Ark Cruise in Ibiza, Culture Box in Copenhagen and Big Burn Festival in Istanbul, we had a brief Q&A ahead of her debut album on Jeremy’s Vivrant label.
MOLØ, congratulations on the release of your debut album on Jeremy Olander’s Vivrant label! This is a significant milestone. Can you share what this moment means to you?
It means so much. The album reflects a lot of my journey this past year, and I’m excited to invite listeners into my world through these tracks. It’s a mix of excitement, relief, and a touch of nervousness.
Vivrant is known for its high standards and unique sound. How did your collaboration with Jeremy Olander and Vivrant come about?
This was around 2018. I sent one of my songs to Vivrant, which is how I first connected with the label. I received a response from Jeremy’s manager, Alex, saying that he liked the sound and asked if I wanted to play a warm-up set at one of Vivrant’s parties in Stockholm. I did, and after that, I was lucky to become a resident at their showcases. After some time, I sent a new draft to Jeremy, a melody I felt really passionate about and thought would be an even better fit for the label than my earlier tracks. He responded and asked if I would like to finish it together. This became our first collaboration as well as my career-first release, ‘Vanadis’.
Can you walk us through the creative process of this album? What were some of the inspirations behind it?
The album includes some older ideas that I refined over the past year, along with several new songs. Initially, the plan wasn’t to create an album, but after completing some tracks, Vivrant and I decided to assemble a full album rather than an EP. Listening to them from start to finish in the order that’s on the album made it feel really cohesive. 
For a while, I’ve felt a strong urge to explore new creative directions and experiment with different sounds. Ambient music has been a big part of what I’ve listened to personally  in recent years, and something I wanted to explore more as a producer. During this time, I also listened a lot to more experimental electronic music like Rival Consoles and Daniel Avery. This turned out to be an eye-opener for me, and instead of sticking to a specific genre, I embraced the freedom that initially drew me to electronic music. This album is a little reminder to make whatever resonates with you.
Was there a particular track on the album that was especially challenging or rewarding to produce?
‘Balo’ and ‘Moma’ practically wrote themselves. I love it when tracks seem to know exactly where they’re going. That was a rewarding experience.
One track that needed a lot more time was ‘Mio’. I felt like something was missing. It took me a long time and many different drafts before I finally reached out to Running Pine, an artist and vocalist I had admired for a long time. The version he sent back with the top line was beyond my expectations, and I felt like the song had finally hit home. 
‘Chelle’ is a special one. It’s dedicated to my relative, Kjell, who passed away in May 2022. Kjell was an incredible musician and entertainer. Whenever I released a new song, he’d give me a call to discuss chord progressions and the melodies I had written. G minor held a special place in his heart, a detail he never failed to mention. So, after his passing, I wrote ’Chelle’ as a lullaby for him in G minor. When I decided to seek boerd’s input on it, the version he came back with was remarkable. I cried like a baby when I heard it for the first time in the studio.
How do you feel your sound has evolved from your earlier releases to this debut album?
I was fortunate to release a track early in my production journey, initially focusing on straight club music, even if it was slow burning then too. Releasing music at the start of your career, before fully developing your sound, has pros and cons. I felt the pressure of expectations before truly understanding my own sound.
During the pandemic, without the ability to test new tracks on a dance floor, it felt natural to move away from dance-centric music. This shift brought some uncertainty, and I questioned whether I should introduce an alias or not. At one point, I even feared I lost my ability to produce club-oriented tracks. Thankfully, that wasn’t the case, and now, it feels good to be able to do both. 
Now I feel more confident about breaking out from the path I started on. I personally find it more inspiring to follow an artist’s journey and witness their musical development over time. I’ve stopped being afraid of trying new directions, and I think there’s still much to uncover about the direction I want to pursue. 
Jeremy Olander is known for his distinctive sound and artistic vision. How has working with him influenced your music?
Working with Jeremy has been incredibly inspiring. Collaborating with him has pushed me to explore new creative paths and dive deeper into my own artistic vision. Early on, he taught me the impact of building a journey that resonates on a deeper level. I will always admire his way of creating his journey with very few elements. His ability to blend deep, emotional melodies with energetic rhythms has influenced how I approach composing and producing music. Jeremy’s influence has definitely left a mark on my approach to music.
The electronic music scene is constantly evolving. Where do you see your music fitting in, and how do you hope it will impact listeners?
I’m not entirely sure where my music fits in to be honest. I’m still trying to understand it myself. I do have a sense of the contexts and communities I want to be a part of, and I hope my music will find its place in those spaces where I feel most at home. 
I hope that “Aqua Lull” will find its audience and resonate with people emotionally, giving listeners comfort and inspiration over time. My goal is for the music to leave a lasting impression of tranquility and evoke some sense of hope.
Looking ahead, what are your plans for the future? Are there any upcoming projects or collaborations we should be excited about?
I’m currently working on an exciting project with Slacking Beats, and I’m really looking forward to sharing it. I’m also finishing an upcoming solo EP release. Plus, I’m eager to try another album. Next time, I want to start with a blank canvas and build an entire narrative from the ground up.
Finally, is there anything you’d like to say to your listeners who have supported you on this journey?
To all my amazing supporters and listeners, thank you from the bottom of my heart. Your unwavering loyalty and passion fuels me every step of the way. Your feedback, enthusiasm, and dedication make me believe in myself and give me the courage to share my vision.
Available now via beatport
The post Interview – MOLØ “I embraced the freedom that initially drew me to electronic music” appeared first on Decoded Magazine.
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Billie Eilish Says Playing A Three Hour Concert Is “Psychotic”

Don’t expect more than a two-hour concert from beloved pop icon Billie Eilish. As Eilish celebrates the release of her third studio album Hit Me Hard and Soft she has been doing interviews, and sharing BTS on social media ahead of her upcoming tour. Fans are excited to interact with her more, but some have raised questions about her recent strong feelings on playing long concerts.
During a chat with fans on the Stationhead app, Eilish mentioned that her upcoming tour, Hit Me Hard and Soft, will not be an epic three-hour show. Unlike her peers Beyoncé and Taylor Swift with their Renaissance World Tour and Eras Tour, respectively.
Long concerts have been a thing of the past with legends like Paul McCartney having performed for many hours. Swifties are not happy with the shade she has thrown on their Goddess. Despite this, Eilish and Swift made headlines last week, as for the first time in eight years, two albums earned more than 300,000 equivalent album units in a single week. According to Billboard 200 album charts, Swift’s The Tortured Poets Department held the top spot for the fifth consecutive week with 378,000 units. Eilish’s album Hit Me Hard and Soft was at number 2 with a career-best 339,000 units. When fans asked if they could expect to hear all the new album songs on her upcoming world tour, Eilish mentioned that it wouldn’t be possible as it would make her shows “like a million years long.” Some fans expressed their disappointments on Twitter of this interview.
We have not heard Billie Eilish respond to any of the criticism or rumoured feuds. Her upcoming tour is sold out in most cities, join the waitlist here. Stay tuned to EDMTunes for all your latest music updates.
The post Billie Eilish Says Playing A Three Hour Concert Is “Psychotic” appeared first on EDMTunes.
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Hypnotised – A Journey Through Trance Music’s Arjan Rietveld Talks ‘Belgium’, Ahead Of The Series’ 4th Release

In trance music’s alphabet, G is for Germany, while H could only ever count for Holland … ports-of-call already made by the Hypnotised album series. When it comes to Britain though (likewise touched on in 2023), it has to share its B with another. Despite its neatly compact size, Belgium’s left an outsized impression on the genre, and that’s where Hypnotised’s roots-to-musical-riches ‘Journey Through Trance’ series arrives on June 7. Meticulously detailing the impact the country had on the scene, over the course of 25+ tracks it highlights nine of the most momentous years in Belgium’s electronic music history.

The fourth album in the series is again compiled by Arjan Rietveld, author of its encyclopaedic companion book, Hypnotised: A Journey Through Trance Music 1990 – 2005. Here, writing exclusively for EDMTunes, Arjan talks about how Belgium so capably rivalled the giants.
Belgian trance scene
Counting a population of nearly 12 million and caught in between nations with strong music cultures, it may come as no surprise that Belgium played an instrumental role in the development of electronic music. Here’s a brief history on its evolution as a powerhouse for trance.
The rise of new beat
Following the developments of electronic music in the United States – notably the New York and Chicago house scenes as well as the rise of Detroit techno in the eighties, Belgian new beat caused a slowdown on dance floors across the country. Being a lower-pitched cross-over between acid house and electronic body music (EBM), the underground subculture associated with new beat was particularly thriving during the 1987-1988 period.
These early movements – house, new beat and techno – attributed the first forms and incarnations of trance-engineered music that emerged in the early nineties. Belgians eagerly picked up on early developments that took place nearby – most notably in Berlin and Frankfurt. Also, the leap from new beat to this more hypnotic club sound felt like a natural progression. It didn’t take long until the country developed its own take on electronic music.
Early imprints
The nineties were marked by innovation and experimentation within the realms of electronic music. In Belgium, Ghent-based imprint R&S was at the forefront of it all. Founded by Renaat Vandepapeliere and Sabine Maes in 1983, the label’s roster reads like the who’s who of the early scene – featuring appearances from high-profile international artists such as Aphex Twin, Model 500, System 7, Dave Angel and Ken Ishii. The 1992 single “Camargue” by Belgian artist C.J. Bolland is a prime example of the early fusion of electronic music genres.
(Above, R&S’s legendary C.J. Bolland)

Another prime example was Antwerp’s Bonzai Records, which was established by Christian Pieters in 1992. The imprint initially functioned as an extension of his record shop called Blitz, as an outlet for the productions of his most trusted customers. Not long after, a studio space erected in the back of the shop – where local producers such as Airwave, DJ Bountyhunter and Yves Deruyter started to record their works. Pieters oversaw that the sound fitted his vision, which resulted in a unique, more rave-directed sound palette. One track that brought the label to global attention was 1993’s “The First Rebirth” by Jones & Stephenson.


Club life
In accordance with the formation of these first Belgian record labels and hits, the country’s club culture burgeoned around that same time – birthing a trance revolution that reverberated beyond its borders. At the forefront of this sonic uprising were iconic venues like Bocaccio, Cherry Moon and La Rocca, each a beacon of hedonism and musical innovation in their own right.

Bocaccio, nestled in the industrial outskirts of Ghent, became a mecca for trance enthusiasts with its electrifying atmosphere and pioneering DJ sets. Meanwhile, Cherry Moon in Lokeren pulsated with its neon-lit dance floors, drawing revelers into a euphoric trance with its pounding beats. La Rocca, situated in the picturesque town of Lier, elevated the clubbing experience with its luxurious ambiance and eclectic mix of trance and house music. Together, these clubs formed the backbone of Belgium’s vibrant club scene – which also appealed to visitors from neighbouring countries. For example, Dutch artist Tiësto was inspired by his trips to Belgium early on in his career to further pursue his interest in trance.

(Above Boccacio, Ghent; below, La Rocca, Lier)
Commercial appeal
By the late nineties, trance had established itself as a major force in the European club circuit. Belgian imprints such as Antler Subway, Dance Opera and N.E.W.S. noticed the potential of trance – and initiated subsidiary labels to cater for this newfound sound.
Dance Opera was a strong purveyor of promoting Belgian club life, with a strong lineup of domestic artists such as Johan Gielen and Sven Maes pushing a more widely appealing sound. The duo produced tracks under various monikers, including Airspace, Boccaccio Life and Maes’ solo project Svenson – with each project reaching favourable success. Meanwhile, N.E.W.S. – Belgium’s largest independent music distributor – ran a string of in-house imprints that catered to different genres. With its labels Yeti and Yris, the distributor introduced appealing trance releases from abroad to Belgium, while also crafting a stage for domestic acts such as Frank Biazzi, Filterheadz and Mr Sam.
(Above: Svenson & Gielen)

By the turn of the century, international media picked up on the growth and increasingly important place taken by electronic music and club culture in the life of the younger generation. The commercial success of independent labels didn’t pass unnoticed with the major record labels. Brussels’ Antler Subway was at the forefront of this movement, After its establishment as Antler Records in 1984, the imprint turned into a subsidiary of major label EMI by 1995.
Backed with these financial means, Antler Subway went on to produce Belgian acts with mainstream hit potential, such as Ian Van Dahl, Kate Ryan, Lasgo, Milk Inc. and Sylver. With their pop-like structures, female vocals and euphoric synthesizer sounds, these acts quickly captured an international audience. Under the banner of trance, commercialism capitalised on a once-underground sound.
Aftermath
By the end of the decade, the clubs that initially formed the backbone of Belgium’s vibrant trance scene had lost much of their prominence. Regulatory pressures, changing tastes and the emergence of new genres in electronic music led to the decline of the once-thriving trance era.
In the aftermath of this commercial boom, independent labels also moved on. Bonzai’s Christian Pieters was one of those left the trance scene: “I started struggling with the genre back in 2002 or 2003, which became noticeable in the releases we put out in the following years. Around 2006, it became clear to me and my associate that we needed a big change to actually enjoy ourselves again, which was – and still is – working in the music business and running labels.”
These days, many of the originators of the Belgian trance scene are back on track. Record labels such as Bonzai, N.E.W.S. and R&S still release new material as well as their classic releases. Yet, much has changed compared to the early days. Pieters: “Today, our trance department is handled by label managers and represents just a very small part of the genres we put out.” Pieters’ words echo the state of electronic music today, which can be seen as a versatile palette of sounds that reaches far beyond the sound of trance. Having said that, trance still has its place within that wider spectrum – also in Belgium.
Through one album, nine labels and twenty-seven tracks, ‘Hypnotised: A Journey Through Belgium Trance Music’ brings the country’s golden years vividly back to life. Find it through all good physical, digital and streaming channels here [https://blackhole.lnk.to/hypnotised4PR].

Tracklist:

CD 01 – R&S / Dance Opera / Bonzai
01. Digital Excitation – Pure Pleasure
02. Sonic Solution – Arab Girl
03. CJ Bolland – Camargue
–
04. Requiem featuring Chiara Gio – Virtual Love (First Abduction Mix)
05. Airscape – L’Esperanza  
06. Boccaccio Life – The Secret Wish (Club Mix)
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07. Space Module – Dreamworld
08. Blue Alphabet – Cybertrance
09. Jones & Stephenson – The First Rebirth
CD 02 – Anaconda / S5 Red Active / XTC
01. DJ Wout – Endless Road
02. Perfect Sphere – Different Glow (Original Vocal Mix)
03. DJ Philip – Feelings
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04. Enforcer – Searchin’ 4 Love
05. Allegro – Moments In Love
06. Osaka 2 – Shinkansen Express 2000 (Full Trance Mix)
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07. M.I.K.E. – Sunrise at Palamos
08. Extreme Trax – Final Fantasy (Remastered Original Mix)
09. Fire & Ice – Souvenir De Chine
CD 03 – Yeti / Camouflage / Green Martian
01. Filterheadz – Blue Car
02. Sinesweeper – Eyes Wide Open
03. Sloane Strangers – Mind Over Matter
–
04. The Snapper – Pulsar
05. Jericho – Way Of Love!
06. Cosmo Kid – Cosmic Meltdown
–
07. Velvet Girl – Velvet (Remastered Vocal Club Mix)
08. V-One – Dead Cities (Remastered Original Mix)
09. Planisphere – Deep Blue Dream (Remastered Original Mix)



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The post Hypnotised – A Journey Through Trance Music’s Arjan Rietveld Talks ‘Belgium’, Ahead Of The Series’ 4th Release appeared first on EDMTunes.
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Justice to Headline Hollywood Bowl for Biggest US Show of Their Career

Justice are set to make history under the bright lights of the Hollywood Bowl.
The duo's upcoming concert at the iconic venue, which has a capacity of nearly 18,000, is their biggest standalone US headlining show to date, according to a press release shared with EDM.com. Showcasing their enduring appeal for well over two decades, it marks a significant milestone in Justice's illustrious career.
With their latest tour and new album, Justice continue to solidify their legacy as pioneers of electronic music. Their new album, last month's Hyperdrama, has been met with near unanimous acclaim and features several notable collaborations, including tracks with Tame Impala, Miguel and Thundercat.
The announcement of the French duo's Hollywood Bowl show arrives following a commercially successful first leg of their US tour, "Justice: Live," which in April included a high-profile performance on Coachella's Outdoor Stage. The LA performance is part of the tour's second leg, which also includes a headlining slot at San Francisco's Portola Music Festival.
Tickets for Justice's show at the Hollywood Bowl, scheduled for October 4th, go on sale Friday, May 31st at 10am PT. 
Follow Justice:
Facebook: facebook.com/etjusticepourtous
Instagram: instagram.com/etjusticepourtous
Spotify: spoti.fi/2SEFlXM
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Feature Interview: “My speakers love you, my neighbours hate you,” – Fabio & Grooverider

Clocking up close to a staggering 40 years in the business, Fabio and Grooverider are hands down the most enduring duo in dance music. Despite being behind the decks for longer than half the dancefloor has been alive, they have still managed to keep recreating; representing and championing new music across every genre of drum and bass. And they get to. They invented it.
When I spoke to them, they were a few days shy of kicking off a five-week curated residency at XOYO in London. This series was designed to bring together some of the biggest icons in drum and bass and pay homage to the roots of the genre Fabio and Grooverider were architects of in the early 90s. And it’s not all 170bpm. 
“The residency is a snapshot of our career and legacies,” says Fabio, dialling in from London. “It’s five weeks where we can do what we want, with different flavours of music every week, from hardcore jungle to acid house.”
The lineups read like a who’s who of drum and bass royalty, studded with true pioneers; Total Science, Nicky Blackmarket, Ray Keith, Mickey Finn, Jumpin Jack Frost and DJ Ron. Plus a throwback house night with MR C, Shades of Rhythm and Colin Dale.  
So why only five weeks? According to Fabio, it’s important the series was around for a good time, not a long time. “We don’t want to rinse things out,” he says, when I ask if the residency is set to continue. “We don’t want to be the people who survive on just on legacy. You can become too caught up in reviving your past all the time. I’m invested in today’s music, and doing things a bit differently.”
Fabs and Groove had just rounded off a road trip of the UK with the Outlook Orchestra, selling out a three-stop tour to 8,000 people in Manchester, Nottingham and London. 
“It’s an orchestral take on drum and bass, with a 40-piece orchestra,” says Grooverider, who has just dialled in and is munching his lunch. “Sorry, I’ve just been to the gym and I’m starving!”  “It’s a departure from what we normally do. Being on stage with a 40-piece orchestra is a bit different to having a few MCs on the stage. It’s not logistically easy to pull off.” 
With European summer loading and festival season on the horizon, their calendar is as enviably full as you’ve expected. They’ve already crossed Mexico off for the year, making their annual pilgrimage to Tulum for the Locus festival. Smart move to swap out drum and bass in paradise for snow in the UK. 
“We get the gang together every March, we’ve been every year. Such a laugh out there. And a great time of the year to not be in the UK! It’s very different to anywhere else we play at… like we were playing at stunning locations, at waterfalls in the tropics. It’s definitely one we look forward to.”
“We’re off to the first ever Locus Bali in June, which will be similar vibes.”
After playing every festival worth playing in the world, the pair have strong thoughts on how the scene has evolved. “When it comes to festivals, not all of them hit the mark like that,” confesses Groove. “Plenty forget the fundamental elements that you get a in a club, like a proper sound system.” 
“But the worst is when people aren’t there for the music. They’re there for the dressing up and being seen for social media. Some jackarse DJ standing in front of 20,000 people waving their hands in the air, thinking they’re God. That’s not us.” 
Fabio seconds that. “Festivals can be a circus. If you go to a nightclub, it’s just you and the crowd. If it was a choice between festival or club, I’d pick club anytime.” “It’s not always the case,” says Groove. “There are some great ones out there. Boomtown in the UK, Exit in Serbia, some are off the charts. In my opinion, Exit is the best festival in the world. The sound systems are on point.”
The more I chat with Fabs and Groove, the more it becomes apparent how closely they are aligned with each other. They share the same opinions, find similar things tedious and the same thing funny, and finish each other’s sentences harmoniously. It’s hard to believe that living in each other’s pockets for so many years wouldn’t spark disagreements. 
“No barneys here,” says Fab. “Honestly, we say the most fucked up shit to each other. When you are with proper mates, you can be who you really are. We know each other’s boundaries, we’ve got a code and we stick to it.”
“We’ve got a special bond,” Fabio says, triggering that fantastic, booming laugh I’ve always wanted to hear first-hand. “He’s like my GF, but not my GF.” I want to know who the wife is.  “Neither of us is each other’s bitches,” says Fab, as Groove grins. “It’s an equal playground. We’re both extremely grateful. We’ve seen a lot, been through a lot of changes. We’ve been around since the inception of dance music and we are still here for a reason. It’s because in a lot of things, but especially musically, we have rules.” 
“There are certain hard no’s. Things we don’t do. Namely back to backs with other DJs.” “People get fucked off about it but I couldn’t go with another DJ. It’s about people’s approach to it. If I did b2b with another DJ and they were in some kind of war with me, it wouldn’t work. It’s not what B2B Is about.”
Of course, Grooverider agrees.  “I don’t roll with the battle vibe.  Going back-to-back isn’t about trying to compete with another guy, or set him up for something that doesn’t work. It’s not about sparring, or trying to outdo another guy. If it’s like I’m going to knack them… well you ain’t half-talking a load of shit. Completely missing the point.”
As the first duo to share the decks in dance music, Fabio and Grooverider get to make the rules. They have strong opinions on how long a back-to-back should go for, and what they are saying makes some serious sense.
“One tune on, one tune off is nonsense,” says Fab. “How are you supposed to create a journey? It doesn’t make any sense. Sometimes the pair of us are squeezed into a 45-minute B2B slot. There’s really not much you can do in that time frame, which is why we prefer the longer sets. If we had to do 45 minutes, we’d maybe go two on two.” 
“You have to remember we are the first B2B duo in dance music,” says Groove.  “When we started off there was no house, no techno, no dnb, definitely no subgenres. It was just house. Over the years everything has been categorised. Calling it that kind of house or that kind of dnb is ridiculous. It’s restrictive.” 
“If I like a tune I don’t care what subgenre it belongs to. People are far too rigid in what style of music they like. I like liquid but I hate jump up they say. Well, ultimately it’s all the same within that remit. It all came from the same place. When we do the B2Bs there are no limits. No one style. It’s just drum and bass. We trust each other’s tastes and trust each other.” 
“If you listen to Fabio and Grooverider from 1988, or now you can still see that line because it’s always been the same. We have slightly different tastes, but it’s all tasteful.” 
“We improvise everything we do, nothing is planned… that’s how we do it. Our B2Bs probably sound like we practised them, but we haven’t. It’s all spontaneous, reading the crowd and what mood takes us.”
There’s a recurring theme that keeps arising in our conversation, which is a respect and deep reverence for house music. “House music is my thing,” says Groove. “At the end of the day house music was my first love. My inception into dance music was through house music. You can’t tell us a thing about drum and bass because we created it.”
“Tunes like Just Another Chance by Mr Reece. or Mysteries of love. Anything Derrick May. The morning after by Fallout. I’ve heard that tune thousands of times, but every time, it’s like the first time I’ve heard it. There are very few tunes that have lasted the test of time like those. “
“We love playing house music sets. It’s why we dedicated one of the nights at our XOYO residency to house and hardcore. It’s about paying homage to our roots. Our nights at Rage with Heaven started off with house. We innovated jungle at Rage. That’s our era.”
All true drum and bass heads have watched the clips of those heady days, reminiscing when records would be carried around in milk crates; when Groove had dreads and Fabio wore string vests and they didn’t even have Technics. When the M25 parties were a thing. When they used to drive around South London handing out flyers in a Mark 1 Ford Escort. DJ Storm saying she wouldn’t have had a career without Rage. Doc Scott said Rage was the most powerful influence in his life. The very place where a man like Fabio created Jungle. 
Rage was where Fabio and Grooverider were the first people brave enough to pull up a tune. To play breakbeats on top of techno, to double the beats of hip hop and put it over the top of breakbeat tracks to birth jungle. The genesis of everything we know, where people began dancing differently. 
It seems the pair are never far away from celebrating a milestone. When I ask them about the official date of 40 years of playing together, they aren’t sure. They must have done a fair whack of interviews across four decades of music. I am conscious of avoiding asking them the same cliched questions for the hundredth time. I ask them what question they are most sick of answering. It’s how they got together, which I quickly scratched off the list. 
My obsession with Fabio and Grooverider probably peaked when I discovered their Friday night BBC Radio 1 show in the early 2000s. I’d tune in every week for my fix of two hours of elite multi-genre drum and bass and guest interviews, shot through with their trademark banter and shenanigans. Over a decade ago, they gave me a shout-out, “My speakers love you, my neighbours hate you,” reading what I had written to them live on air. Unlike my neighbours, I was absolutely stoked. Chatting with them and writing a tiny piece of their story today was a new level of frothy. 
The post Feature Interview: “My speakers love you, my neighbours hate you,” – Fabio & Grooverider appeared first on Decoded Magazine.
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EDMTunes Chats with Tim Clark

The artist known as TIM CLARK has faced a barrage of challenges during his dogged ascent through the peaks and valleys of his journey in the music industry. Faced with daunting odds,  the Las Vegas-based trance/progressive DJ and producer did more than stake his future on a  roll-of-the-dice; he tilted the odds in his favor by adhering to a strict regimen of relentless practice and an obsessive devotion to making and playing music. Being only two years into his quest to make it as a recognized electronic DJ/producer and TIM CLARK’s fireplace mantle boasts not one, but two EDMAwards bestowed upon him by the music industry during this year’s Miami Music Week. Coming off the stages of Zouk Nightclub and EDC Las Vegas and jetting straight to Miami to play E11EVEN with Markus Schulz and HALIENE, TIM CLARK is living  the dream and proof that you create your own reality.  
EDMTunes: Congratulations on winning not one, but two awards at the 2024 EDMAwards! Armin van Buuren went on-the-record about the EDMAwards and that they mean so much to him because they are genuine, fan-voted awards. What does it mean to you? 
TIM CLARK: It’s always good to be recognized. Even though I’ve only been at this a relatively short period of time, I’ve worked extremely hard to be the best I can possibly be. To get to where I want to be, I never back down. 
EDMTunes: You’re based in Las Vegas, one of the top entertainment capitals for EDM in the country. Has this proximity given you an edge? 
TIM CLARK: I’m sure it’s a bit like it is in Miami or New York; there is always a DJ gig you can do at  a bar, club, or mega-club if you know the right people and have the right connections. Whatever edge is in the amount of work that’s possible, but you still have to show-up and play your best, be professional. In Vegas in particular, there is a large community of DJs here which allows you to collaborate with like-minded creatives. Living in Vegas also puts you in an “entertainment” mindset which continually keeps me motivated. 
EDMTunes: Where can music-lovers find you DJ’ing in Las Vegas? At what venues are you playing on a regular basis?  
TIM CLARK: I’m currently playing a weekly Friday night residency at Troy Liquor Bar at The Golden  Nugget in downtown Las Vegas. I play every Friday night during the summer, an afterhours party called “Patio Late Nights,” which the promoters hope is going to be the new afterhours hot-spot in  Vegas. I just played at Zouk Las Vegas inside Resorts World with Duke Dumont. I’ve played in the past at Discopussy and 920 Warehouse. EDC Las Vegas was a lot of fun this year! I was on the Ryno  Bus Stage and I went on right before Rabbit In The Moon. Generally, I only take dates in Vegas when I’m not touring elsewhere in other cities like Miami, New York, Los Angeles, Houston, Seattle,  Washington D.C, Fort Lauderdale….or internationally in the Netherlands, Poland, Romania and so  forth. Vegas is a great town to live in, because it’s a city centered around entertainment and everyone comes through here.
EDMTunes: For those not familiar with your style as a DJ/producer, can you please describe  your sound? 
TIM CLARK: I’ve coined my sound ‘underground big room’. It is a mixture of progressive, trance, big room. 
EDMTunes: How has your musical style evolved since you first began DJ’ing professionally? 
TIM CLARK: I’ve had many influences. Being on tour with Markus Schulz has influenced me. As  well, working with Insomniac on my radio show, “Inspire Radio,” that has really steered me in a certain direction. Recently, I feel like I’ve become more mature as my sound has evolved.  
EDMTunes: Name some of the most memorable shows you’ve played as a professional DJ?  What about those events made them memorable for you? 
TIM CLARK: One of the most memorable shows was New Year’s Eve 2023-24 at Avalon Hollywood, in L.A., with Markus Schulz. It was an honor, because Markus Schulz and his team have built that venue up as a must-attend New Year’s Eve destination over the past several years and they always pack-out the venue. It goes from doors-open at around 9:00pm until 8:00am or later the next day; Markus plays his renowned open-to-close sets, so the venue gets a lot of different waves of clubbers throughout the entire event. It was a massive experience playing in front of that crowd! Also, EDC Orlando in 2023 was special for me because that’s the show where I found my festival groove and sound. Everything clicked for me at that show. Before that, E11EVEN Miami in  the summer of 2023 was special, because I was the only other DJ on Markus Schulz’s ‘The Rabbit  Hole Circus’ Tour and that was the first time I’d ever played at a megaclub. Melkweg in Amsterdam during A.D.E. (Amsterdam Dance Event) last October was the first time I’ve ever played in Europe,  so that was an eye-opening experience. 
EDMTunes: How did those shows prime you for the current season? 
TIM CLARK: I just played at EDC Las Vegas for the second time, as well as at E11EVEN Miami for the second time with Markus Schulz and HALIENE. I recently played Soundcheck in Washington D.C.  with Aly&Fila, and at Ora Seattle with MORTEN. Later this year, I’ll be back to Europe during A.D.E.  playing Melkweg Amsterdam, and I just got my first booking in Wroclaw, Poland, at a really sick underground club called Transformator right after A.D.E. I’m getting offers for other international markets in Asia, South America and throughout North America, so my goal right now is to keep honing my sound, releasing new tracks and staying focused. 
EDMTunes: What was the most difficult challenge you’ve had to overcome on your quest to become a recognized DJ? 
TIM CLARK: One of the most difficult challenges was in readying myself to learn how to play at the highest level. I’ve only been at this a relatively short amount of time, so I’ve had a crash-course in how to play festivals and clubs. I had to learn about all the travel required and everything that goes with touring. I learned that being a professional touring DJ is far from easy. I’ve learned that having a large entourage can be a problem, too, not a blessing. 
EDMTunes: What’s the hardest part of the job in your career as a DJ, now? As a producer? 
TIM CLARK: The hardest part of the career has been the constant traveling and being away from my kids. My wife is usually with me, so that’s not a problem. As a producer, I’m in search of my first big hit and those are not easy to write or produce. They come when you least expect it, and that’s what I need in order to get to the next level. I and my team will be working with some major, big league songwriters in the coming months. 
EDMTunes: The music industry is very grueling for anyone who wants to make it big. Were there ever moments where you almost gave-up? What did you seize upon emotionally, mentally or physically to give you the fortitude to carry-on and not quit? 
TIM CLARK: My first year, I probably almost gave up ten times, but there is no greater revenge than success. I would feed on anybody who said something negative to me or who told me I had no chance. It was especially difficult when friends said that. They don’t say that anymore! What people  might not know about me is that when everyone’s telling me I can’t do something, it just pushes me to work harder until I succeed. 
EDMTunes: Looking both back onto your journey thus far, as well as looking forward to where you’re about to go, what stands-out the most in your mind? What words would you like to leave readers with, to give them a lasting impression about TIM CLARK? What’s next for you? 
TIM CLARK: I will always be playing the best clubs and live events in the world, but right now I am focused on putting out a track that is a hit. The lasting impression I want people to remember is: it is never too late to live your dream. If you work hard and stay-the-course, good things will happen.  
The post EDMTunes Chats with Tim Clark appeared first on EDMTunes.
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[WATCH] Relive The Most Magical EDC Las Vegas 2024 Sets

We are still ecstatic from last weekend, and we already scooped our tickets for next year! EDC Las Vegas continues to impress us. The new layout and stage designs were incredible, and the music set us free. Of course we can’t wait til EDC Orlando to go back under the electric sky. So… we decided to compile the best sets of the weekend available to watch. EDC has prepared this special landing page collecting the EDC 2024 livesets here – and we’re sure itll be updated as more come online.
Alesso
Illenium
Lilly Palmer
Martin Garrix
Nicole Moudaber
Four Tet
John Summit B2B Green Velvet
Fred Again
Virtual Riot
Sub Focus
The post [WATCH] Relive The Most Magical EDC Las Vegas 2024 Sets appeared first on EDMTunes.
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Greg Gatsby and All-Pro NFL Star Marcus Jones Swing Into Summertime With New Single, "Pose"

Like a game-sealing interception in the final seconds of overtime, Greg Gatsby and Elliott.J are out to make a statement this summer with their new single, "Pose."
A smooth blend of trap and R&B, the collaboration highlights the unlikely dynamic between Gatsby, a five-time Billboard-charting producer; and Elliott.J, the alias of NFL star Marcus Jones. The first-team All-Pro punt returner for the Patriots has been staying creative off the field with a handful of releases under his belt, including 2023's "Make It Right."
The groove-laden "Pose" presented Jones an opportunity to channel his artistic instincts in a new creative capacity. Known for his agility and precision on the gridiron, Elliott.J translates these qualities into his music by curating a sound that's both sultry and fitting for the uplifting style of Gatsby's production.
"Working with Marcus has been an incredible experience," Gatsby said. "His musical instincts and athletic discipline bring a unique energy to the studio. 'Pose' is a testament to the creative possibilities when artists from different backgrounds come together."
Listen to "Pose" below and find the new single on streaming platforms here.
Follow Greg Gatsby:
Instagram: instagram.com/greggatsbymusic
X: x.com/greggatsbymusic
Facebook: facebook.com/greggatsbymusic
Spotify: sptfy.com/QOqt
Follow Elliott.J:
Instagram: instagram.com/theelliott.j
X: x.com/marcusjonesocho
Spotify: tinyurl.com/ec37pckb
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