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Over 30 renowned artists have released new music incorporating the sounds of nature to celebrate Earth Day 2025. The project extends the groundbreaking "Sounds Right" initiative, which made history in 2023 by establishing NATURE as an official artist on streaming platforms.
The diverse roster of musicians spans continents and genres, electronic music superstars like Amelie Lens and Swedish House Mafia's Steve Angello to classical composer Evgeny Grinko, each bringing their unique interpretation to the collaboration. Many artists have incorporated field recordings from wildlife sound specialists or captured their own environmental audio.
Several tracks carry deeper environmental messages. British DJ and producer I. JORDAN featured endangered UK birds on the "Red List" while Rosa Walton highlighted moth sounds, drawing attention to their declining populations due to climate change. Alice Boyd created a poignant comparison of birdsong recordings from the same location nearly five decades apart, subtly demonstrating nature's diminishing presence against increasing human activity.
Led by the Museum for the United Nations, the initiative has proven remarkably successful since its launch. NATURE has amassed 130 million total listeners across platforms, according to a press release, generating substantial royalties that directly fund conservation efforts. Last year, the program committed $225,000 to protect biodiversity in the Tropical Andes, including work to safeguard Colombia's endangered cotton-top tamarin monkeys.
"We asked a question: what if nature could speak—and be credited—through music?" said Gabriel Smales, Global Programme Director for Sounds Right at UN Live. "A year later, the answer is clear. Millions are listening, and directing real funding to communities protecting the planet’s most vital ecosystems."
Looking ahead, the organization plans to commit over $500,000 to conservation projects by 2025, with a focus on key biodiversity areas in the Amazon and Congo Basins ahead of the crucial COP30 climate conference in Belém, Brazil.
All tracks are available on the "feat. NATURE" playlist, which you can listen to below.
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May 2025 is shaping up to be an insane month for EDM fans across the globe. From sun-soaked beaches to sprawling cityscapes, these ten festivals promise unforgettable experiences with stellar lineups and vibrant atmospheres. Whether you’re a seasoned raver or a curious newcomer, here’s our guide to the must-attend EDM festivals this coming month.​
01. EDC Las Vegas
Dates: May 16–18
Location: Las Vegas Motor Speedway, Nevada, USA
EDC Las Vegas returns with over 250 artists across 16 stages. This year’s lineup boasts heavyweights like Tiësto, Martin Garrix, Charlotte de Witte, Eric Prydz, DJ Snake, Alesso, and Armin van Buuren. Expect immersive stage designs, pyrotechnics, and a vibrant community under the electric sky. ​
Tickets: https://lasvegas.electricdaisycarnival.com/tickets/#sunday
02. Palm Tree Music Festival Hawaii
Dates: May 9–10
Location: The Ritz-Carlton, North Shore, O’ahu, Hawaii
Set against Hawaii’s picturesque backdrop, this festival features Kygo, The Chainsmokers, Eric Prydz, Alesso, Nora En Pure, and San Holo. Experience tropical vibes and top-tier performances in an intimate setting.
Tickets: https://wl.seetickets.us/event/Palm-Tree-Music-Festival-Hawaii/634383?afflky=BAMPproject
03. Don’t Let Daddy Know Chile
Date: May 3
Location: Club Hípico, Santiago, Chile
DLDK Chile brings a powerhouse lineup with Afrojack, Don Diablo, Nervo, Nicky Romero, Oliver Heldens, and Third Party. Prepare for a night of high-energy performances and unforgettable moments.
Tickets: https://dldk.com/events/dont-let-daddy-know-chile-2025/
04. &FRIENDS Festival Manila
Dates: May 30–31
Location: Okada Manila, Philippines
Blending music and pop culture, &FRIENDS Festival features Zedd, Illenium, Seven Lions, bbno$, Yellow Claw, and local talents like Ylona Garcia. A unique fusion of global and local acts awaits.
Tickets: https://www.andfriends.live
05. Ultra South Africa
Dates: May 9 (Cape Town) & May 10 (Johannesburg)
Locations: The Ostrich, Cape Town & Expo Centre, Johannesburg
Celebrating its 10th anniversary, Ultra South Africa features Martin Garrix, Armin van Buuren, ISOxo, KSHMR, and local stars like Shimza and Culoe De Song. A decade of dance culminates in this epic celebration.
Tickets: https://ultrasouthafrica.com/tickets/
06. Breakaway Atlanta
Dates: May 16–17
Location: Center Parc Stadium, Atlanta, Georgia, USA
Debuting in Atlanta, Breakaway Festival presents Zedd, Illenium, Chris Lake, Tinlicker, Le Youth, and more. A fresh addition to the city’s festival scene.
Tickets: https://www.breakawayfestival.com/festival/atlanta-2025
07. Lightning in a Bottle
Dates: May 21–25
Location: Buena Vista Lake, California, USA
A blend of music, art, and wellness, LIB 2025 features Jamie xx, Four Tet, Khruangbin, John Summit, and Shygirl. Experience a transformative festival journey.
Tickets: https://www.libfestival.org
08. Electric Island
Dates: May 17–18
Location: Fort York, Toronto, Canada
Toronto’s summer series kicks off with CamelPhat, Miss Monique, Mochakk, and Sammy Virji. Enjoy house and techno beats in a scenic outdoor setting.
Tickets: https://www.electricisland.to
09. NAMELESS Festival
Dates: May 31–June 2
Location: Lake Como, Italy
Set by the stunning Lake Como, NAMELESS features Martin Garrix, Armin van Buuren, Don Diablo, Gorgon City, and Tchami. A picturesque location meets world-class EDM.
Tickets: https://namelessfestival.it/en/tickets/general/
10. Project GLOW
Dates: May 31–June 1
Location: RFK Festival Grounds, Washington, D.C., USA
Returning for its fourth year, Project GLOW boasts Kaskade, Alan Walker, Chris Lake, James Hype, and Loud Luxury. Dance in the heart of the nation’s capital.
Tickets: https://projectglowfest.com/tickets/

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Bootshaus has stood as a pillar of Germany’s nightlife for decades holding countless unforgettable events. On April 25th 2025 they’ll be adding to their history of amazing nights with Oliver Heldens at the helm.
Ranked as the #7 club in the world this year by DJ Mag, Bootshaus is a prestigious venue with a long and colourful history. Set in a shipyard warehouse in Mülheim harbour the building was originally used to store boats hence the name Bootshaus which translated to English means Boathouse. The venue has a monstrous capacity of 2000 split across its three diverse rooms: Mainfloor, BLCKBX, and DREHEREI. The production quality is second to none with high-end lighting, huge LED screens, incredible sound systems, and even pyrotechnics.
On the 1200 capacity Mainfloor Oliver Heldens will be heading up a night of hard-hitting electronic music with some excellent support artists. He’s been touring all around the world taking to the stage at all the biggest festivals and is coming off the back of another massive release ‘Born To Love’ in collaboration with Sarah de Warren. But the star power doesn’t end there as supporting him on the Mainfloor are the talents of Brandon, DJ Artin, and Ravepunzel who will undoubtably bring the house down.
To get tickets for this insane event click the button below:
BOOTSHAUS TICKETSTo follow Bootshaus on Instagram click the button below:
BOOTSHAUS INSTAGRAM
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Photo Credit: Karol G by La Prensa Gráfica Noticias de El Salvador / CC by 3.0
Karol G launches the trailer for her Netflix documentary feature, “Karol G: Tomorrow Was Beautiful,” releasing on May 8 from director Cristina Constantini.
After wrapping up her Mañana Será Bonito World Tour last summer, Colombian superstar Karol G has hardly slowed down. The trailer for her upcoming Netflix documentary feature launched today, alongside an official release date: May 8.
A documentary from This Machine and director Cristina Constantini, “Karol G: Tomorrow Was Beautiful” traces Karol’s rise from humble beginnings in Medellin, Colombia, to international fame with her record-breaking stadium tour. The film is a rare look at the unique determination, raw talent, and relentless work ethic that has launched Karol G to superstardom and paved a path for future generations of Latinas.

“Karol G was told her dream was too big, that she was the wrong gender, and from the wrong place, to ever be a global star. But only fools bet against a Bichota,” the film synopsis states.
The documentary is produced by This Machine, Interscope Films, and Bichota Films, with producers R.J. Cutler, Elise Pearlstein, Trevor Smith, Cristina Constantini, Kristofer Rios, Alex Simmons, and Mariem Perez. Executive producers include Mark Blatty, Margeret Yen, John Janick, and Nir Seroussi.
Karol defied critics with her record-breaking tour last year, as no other woman in Latin music had ever headlined a global stadium tour. The tour, in support of her Grammy-winning and chart-topping album, Mañana Será Bonito, also became a top-grossing event. Karol was the highest grossing Latin touring artist of 2023.
The final performance of the tour took place in Madrid’s Santiago Bernabéu Stadium — where she broke yet another record, becoming the first artist to sell out four shows at the venue. There, she gave a heartfelt speech to her audience.
“After almost seventy nights, I’m going to say for real that tonight is going to be the coolest night of my life,” she said. “I always think I have the words for everything, but I would like to find the words to describe how I feel as a person, as a woman, how I feel here in front of all of you.”
“This tour allowed me to find my purpose in life and that is to help people feel like I feel now after so many years of not feeling this way. I’m closing a chapter of my life that meant everything, the closeness with my fans, with my family, and after all, tomorrow was very beautiful.”
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Miami life is leveling up with the finished development of the all-new Miami Worldcenter opening in May. And to celebrate this grand opening, while staying true to their passion for music and entertainment, downtown Miami is hosting a free concert. But let’s call it what it really is… Block Party!
On May 22nd, join the evening fun as Lee Greenwood kicks it off singing ‘God Bless The USA’. Honoring the country, the flag, and the people who have all led to allowing such incredible achievements to happen. Immediately after, be ready for they are coming out of the gates hot with performances by Flo Rida, Nicky Jam, and Shaggy. Then the night will reach its finale with Swedish DJ Alesso. The entire event will be hosted by Miami’s very own DJ Irie and DJ Scotty B.
This new 6 billion dollar destination is 300,000 square feet, across 27 acres, and will bring you shopping, restaurants, and other lifestyle entertainment. If you show up at the Miami Worldcenter grand opening party, you can expect to enjoy immersive street activations, experimental performances, with lots of food and drinks.
You can attend for free with RSVP. The location’s address is 850 NE 2nd Avenue, which means it’s accessible by transit options such as Brightline, Metrorail, Tri-Rail, and Metromover. Doors open at 6 pm, concert begins at 7:30 pm and if you are interested, be sure to RSVP through Eventbrite.

The post Alesso Will Headline Free Miami Concert For Opening Of New Shopping Development appeared first on EDMTunes.
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While taking a break from the desert heat, EDMTunes got to sit down with German producer and DJ Boris Brejcha. The High-Tech Minimal pioneer was focusing a couple of hours before his return to the Coachella stage on Weekend 1. The artist was ready to bring out his Reflections concept show to the Sahara tent, including the live debut of his unreleased track ‘Red In The Desert’.
EDMTunes: What made you return to Coachella this time around?
Boris Brejcha: Easy, I came two years ago and it was my first time. It was crazy to see all the stages and the festival itself, we had a super nice time. At the time, we did a bus tour in America so the last stop was Coachella. It was insane so it was an easy choice to come back.
EDMTunes: What makes the Coachella crowd so special?
Boris Brejcha: I don’t know, it’s huge and we have people all over the world so it’s super crazy, the sound system is incredible and so are all the stages, everything is super well done.
EDMTunes: This is also a festival where the mainstream meets the underground, so it’s a very diverse experience. Do you have any past tracks that have inspired some new ones?
Boris Brejcha: I just did one called ‘Red In The Desert’, the vocalist is here in Coachella so that’s really funny. I’m going to play it today for the first time, see how it works. I’m super happy, that we got a nice singer for that.
EDMTunes: That’s something that we notice here in Coachella, the surprise special guests kill it every time. And speaking of special, you recently did a collaboration with Andrea Botez, she started as a professional chess player and now she’s producing. How did that come about?
Boris Brejcha: It was random, she was messaging me on Twitter, on X, and told me she loved my music and came into the genre because of my work. We started chatting a bit, and I saw that she plays chess, and man she’s f*cking good. I challenged her once and lost immediately. I had this track out and we were thinking ok, let’s do this together and do a remix, and it worked out really really well, she’s really tough.
EDMTunes: I’ve followed her for some time through her chess content, so I was super excited when I found out she liked Techno as much as I do.
Boris Brejcha: And actually it’s a nice combination right? Chess and Techno, it’s crazy, I mean.
EDMTunes: You’re right! They’re both strategic, calculated, but also cerebral, which we absolutely love. Moving on, do you have any new artists that inspire you right now?
Boris Brejcha: I have to say I don’t get to listen too much to other artists. I’m in the studio everyday, day by day so I don’t really listen to other music like pop or rock, but I can say there are a lot of good new artists coming up.
EDMTunes: Well that makes sense since you play your sets completely on your own production. And what about Boris tracks that you stop playing? Are there times when you decide you won’t play a specific track anymore?
Boris Brejcha: That’s a tough question, when you’re in the studio, you never know if the track is going to be super big or not. I just do my set and realize the reactions, then I decide if I want to play the track more or not, it also depends if I like to strike. It’s always a hard decision, but I like all of my tracks so it’s perfect to me.
EDMTunes: Now on the other end, what is one track of yours that gets that major reaction from the crowd every single time?
Boris Brejcha: Actually there are two or three tracks. One is ‘Gravity’, it’s a long-time favorite, of course ‘Purple Noise’, it’s super old but still works. And ‘Take It Smart’ as well, but yeah there’s always a couple tracks with the reaction.
EDMTunes: Personally, ‘Spicy’ gets me every time, but you have plenty of tracks that get us going. This next question is a special request from a friend in Las Vegas, her name is DJ Mariela Nunez, and she wants to know: If you could go back in time and give young Boris a piece of advice when you were first starting out, what advice would you give yourself?
Boris Brejcha: I mean, when I look back, it was a hard time, but in the end I would say I did everything right, so I would say: Boris, just do it, you know? Because everything will be alright.
The post [INTERVIEW] Boris Brejcha Talks Return To Coachella, And His Creative Journey appeared first on EDMTunes.
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Musician and sound designer Venus Theory has launched yet another free goodie, and this time it’s a piano library sampled right from his good friend Benn Jordan’s own home studio piano.
Jordan’s piano is described as a “unique” upright Yamaha, which also happens to have a MIDI input. The pair had been meaning to sample it for quite some time, and finally, it’s available free of charge for the Decent Sampler plugin (handily, this is also free).
READ MORE: “You have eight months to soundtrack an AAA game in a style you’ve never done before”: Venus Theory on his ‘trial by fire’ soundtrack for Avowed Venus Theory, also known as Cameron, launches free tools thanks to support from his patrons, and has a mission to make inspiring and easy to use music tools that are completely free of charge with “No strings attached. No stupid subscription bullshit. Just sound.”
The new piano tool marks the start of another new free series from the creative, which will all fall under the name of “forms”. The series introduces a new interface, but currently there are no other plans or ideas in motion for what might come next.
In a newsletter speaking of the launch, Venus Theory recalls of their joint project, “I packed a few extra goodies with me and we set up his Yamaha Upright with my piano sampling template and got to work drinking some bourbon while the piano played itself. Turns out a piano with MIDI Inputs makes for a very easy sampling session comparatively.
“This session was done as a ‘test’ to see if we could get the sound we wanted from the piano and experiment a bit with the recordings to come up with other ideas and we had no real intention of ever releasing this set of sounds since it was just an experiment more than a proper session. However, once we put them together in a test instrument and played around with it we liked the result too much to not share it,” he says.

Forms:piano is available to download for free now. Check out more from Venus Theory and Benn Jordan.
The post Venus Theory’s new free piano library is sampled from Benn Jordan’s unique upright Yamaha appeared first on MusicTech.
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Since 2003, Adam Toxic has carved out his place at the forefront of Poland’s electronic music scene, earning recognition on djlist.com rankings and in DJ Mag. What sets Toxic apart is his musical versatility—rather than confining himself to a single style, he embraces the full spectrum of Techno, crafting sets that take dance floors from simmering anticipation to complete euphoria. His musical journeys typically unfold from deep progressive techno before evolving into tech-house and minimal territories.
 
Throughout his career, Adam has commanded the decks at virtually every major club in Poland while extending his reach to Open Air events across borders. His international touring schedule regularly includes stops in England, Ireland, Germany, the Czech Republic, and various Asian countries including China and Thailand, as well as appearances in the USA. With a distinctive personality and natural sense of humor, Toxic connects easily with both audiences and media alike.

Always refining his craft, Adam continues to evolve as a producer. His upcoming 2023 track “Goths Town” will showcase collaborations with Cream remixers and Arnas Don on Canada’s Strange Town Recording label. 2024 saw Toxic release “Theraflu” on the respected “IBIZA OFTONES” compilation from Horatio’s label, while his remix of Boris Brejcha’s “Space X” further demonstrates his commitment to creating quality dance floor material.
 
Adam Toxic’s credentials include sharing stages with electronic music luminaries like Carl Cox, Umek, Valentino Kanzyani, Chris Lake, Armand van Helden, Sebastien Leger, John Digweed, Martin Doorly, and Bad Boy Bill, among others.
 
Beyond performing, Toxic has shaped Poland’s electronic music landscape as the founder of events including Tunnel Carnival 2008, Electrocity 2006-2009, and One Life Festival 2009. He founded 90 Festival (2014-2016) and co-created the recently revived Audiolake Festival (2010-2023). Additionally, Adam established the BPM Promotion Agency, which since 2006 has been bringing world-class electronic music talent to Poland and beyond.
 
What is the story behind the track?
“Awakening” was born during a very introspective period. I wanted to create something that felt like a personal breakthrough—a kind of sonic rebirth. The idea was to reflect that moment of clarity when everything suddenly makes sense. It’s both a release and a buildup, like waking up emotionally or creatively. The hypnotic vocal in the track was key for me—it pulls you in and adds a human, almost spiritual layer to the journey.
 
Tell us more about your production process.
The production started with a simple chord progression that I played on my MOOG SUB 37 late at night. From there, I built layers—adding textures, drums, and atmospheric elements that gradually evolved. I love using analog and semi-modular synths, especially hardware-based ones. There’s something raw and imperfect about them that I really connect with. The process was very organic and emotional.
 
Did you do anything production-wise with this one that might be interesting?
Yes! I used reversed and time-stretched vocal textures and blended them into the background to create a hypnotic, almost meditative vibe. There’s also a lot of modulation going on—filter movements, stereo imaging, and reverb automations that give the track a sense of constant motion. It kind of breathes in and out like it’s alive.
 
What were your influences for this track?
I was inspired by melodic techno artists like ARTBAT, Tale Of Us, and Stephan Bodzin. But also by ambient and cinematic music—I always try to find that emotional middle ground between dancefloor energy and introspective depth.
 
How would you describe the track?
It’s melodic techno with a dark, emotional edge. There’s tension, release, and a strong hypnotic energy that comes from the vocal and synth work. It’s cinematic and immersive, but it still hits hard in the right moments. The kind of track that fits a sunrise set or a deep after-hours vibe.
 
What are your plans for this year as an artist/DJ?
This year I’m focusing on building momentum with regular releases and live shows. I want to keep pushing my sound and developing my identity as Adam Toxic. My aim is to keep surprising both myself and my listeners with every track I drop.
 
Do you have anything exciting coming up?
Absolutely! I’ve got upcoming shows in Sri Lanka and Hamburg, which I’m super excited about. I’m also working on a new EP that dives deeper into the fusion of analog synth textures and hypnotic rhythms. Plus, I’m developing a hybrid live set that blends hardware synths and live FX with traditional DJing.
 
Is there anything cool you can share with us about yourself?
I’m really into sound design and I often use field recordings and random ambient sounds—like city noise, rain, or metallic clangs—and weave them into my music. I also have a background outside of electronic music, which influences how I write and structure my tracks. And honestly, I just love machines—synths like the MOOG SUB 37, DrumBrute, and similar gear are a huge part of my workflow.
 
I’m always chasing new inspiration to create a true dancefloor banger—but no matter what, I’ll always stay close to progressive sounds with a strong groove and deep vibe.
That’s the core of who I am as Adam Toxic.
The post Get to Know: Adam Toxic, Ahead Of his new Release ‘Awakening’ appeared first on Electric Mode.
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Artist and label owner JKriv feels we should focus less on DJs during live sets, and instead shift our priorities to the energy in the room and the people dancing.
JKriv, who co-founded the Razor-N-Tape label with Aaron Dae, has opened up on the different “hats” he wears as both a music maker and label co-owner, sharing his opinions on matters such as streaming and the current state of live music in a new interview with MusicTech.
READ MORE: “Your favourite producer’s sounds are made here”: Vaughn Oliver shows off his synths and studio Speaking as an artist when asked what he hopes to see more of in clubs and venues, JKriv responds, “I’d love to see a move back towards dark rooms and more anonymity for the DJ. My least favourite way to play is up on a stage where the focus is directed towards you and less about the energy in the room and people interacting and dancing. I think festival culture has driven that – it’s now about the personality of the DJ and the ‘performance’ they’re giving.
“We need more listeners and dancers and less DJs, too,” he adds. “Back in the day, music discovery was a different process. You had to spend money on it. You’d have to go and dig for records and learn the craft of doing it. And now, with digital DJing and digital record collecting, it’s much easier. That’s good, obviously, but also the market is just flooded.”

Further into the interview, he also gives his take on streaming among ongoing criticism of the low payouts the system provides to artists. “[With vinyl], you sell a white label record, you press 1,000 copies, you sell it, and when that’s done, you’re probably not going to repress it. So that’s all the money the artist will make from it, right? Streaming is obviously pennies, but the music will sit there forever. And it grows – you start to see over time how that income stream can build for you and for the artists. So that’s a positive thing,” he says.
“I would love to see a platform like Bandcamp build out some features that could compete with a streaming service like Spotify. Most people would love to know that the money they’re paying for music is supporting artists a bit more. I think if you gave people the opportunity to do that, they would go for it, and it would be a real success.”
JKriv’s new EP, Intuition, is out now. You can check it out, plus more releases, via Razor-N-Tape.
The post “We need more listeners and dancers and less DJs”: JKriv says DJs should have “more anonymity” when performing appeared first on MusicTech.
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Virtual instrument platform Musio has officially launched a new mic positioning feature, created using real recordings of physical microphones in authentic studios across the globe.
The new addition, called Mic Position Mixes, is described as highly-requested, and utilises real-life mic recordings captured with “state-of-the-art setups” such as rare (and expensive) Neumann M50 tube mics in a Decca Tree array. The recordings were mixed by top engineers like Dennis Sands, who has worked on countless films, has been nominated for four Academy Awards, and has mic positioning down to a tee.
READ MORE: Native Instruments has partnered with DJ Mustard on some ultra-limited gear – here’s how you can enter to win it The Musio team also travelled across the globe to capture culturally unique sounds in locations such as Reykjavík, Iceland, and Cape Town, South Africa to ensure that every mic position “reflects the depth, space, and authenticity of its original recording environment”. Users can also now explore a new built in mixer to control levels and compare their different sound sources.
Chris Hayzel, who stepped into the CEO role at Musio in late 2024, says of the launch: “It’s always exciting to release something that we know our users really want. And they’ve been very clear: They want more control over their sounds. The nice thing is the recordings were already designed for this – we just had to bring it all together.”
You can find out more in the video below:

Musio became the new home of Cinesamples back in late 2023. The integration aimed to decrease “the clutter and friction of traditional, complex sampler plugins” for composers and producers, and welcomed its vast range of sample libraries for the world of movie, TV, and video games to the platform.
For further information or to purchase a licence, head over to Musio.
The post Musio’s new highly-requested mic position feature is made with real microphone recordings from studios across the world appeared first on MusicTech.
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She’s back, and she means business – Honey Dijon presents ‘Honey F#cking Dijon’ at Chinois Ibiza. The globally adored icon returns to Chinois, Thursdays June 5th to July 24th for 8 dates, double that of her last year Chinois residency, so double the chance to see the legendary Chicago-born DJ and her supreme selection of the world’s best guest DJs. 
 
Where else but Chinois for Honey’s instinctive style mixing golden era disco, techno and her own house blend of New York/Chicago sounds, with a warm welcome for worldwide visitors and world music? After all, Chinois is ‘the club of Ibiza’, embracing the unique energy and spirit of the island to create a diverse yet inclusive community. Chinois’ cutting-edge sound system, immersive sensual visuals, and a dancefloor-first experience ensure resident and guest DJs of the calibre of Honey (F#cking!) Dijon.

“I’m excited to be back at Chinois this summer — we’re bringing the heat straight to the dancefloor,” Honey says. ‘Nothing beats the raw, unfiltered energy of the club—the lights, the bass, that connection between me and the crowd. It’s where music breathes, where it lives. Chinois has that energy, that vibe. I’ve got some of my favourite artists joining me on Thursdays throughout June and July, and I’m really looking forward to it. Can’t wait to see everyone there.”
 
Apart from igniting Chinois dancefloors, recently Honey has increased her already global status in music and fashion, inc. walking in WILLY CHAVARRIA’s show at Paris Fashion Week; her contribution to the DJ Kicks compilation series (October); her latest release C*NTY with Kevin Aviance; and press support inc. Vogue, L’Officiel, GQ, New York Times, Notion, Guardian… All 
since emerging from the underground to produce with Beyonce, collab with Jamie XX et al, play the biggest venues, and create runway soundtracks for Vuitton and Dior. 
 
GUEST DJS: A hot lineup, with first, three acts new to Chinois but massive worldwide. UNCLE WAFFLES, Swazi-born, South Africa-based DJ & ‘Princess of Amapiano’ (Billboard), her 2022 debut single went 7x platinum in SA and was then sampled by Beyonce – together with a viral clip of her dancing while DJing, her swift rise to global star was assured. Also Amapiano exponents are MAJOR LEAGUE DJz, Boston USA born (to Apartheid escapee parents), Jo’burg raised twins, multi-award winning stars influenced by both hip hop and SA jazz. Versatile UK star JAMIE xxhas won adulation from fans and tastemakers alike, both as solo electronic artist (inc. a Grammy Award & Mercury Prize nom), and as a member of seminal band The xx. Collabs/remixes inc. Gil Scott-Heron, Florence + The Machine, Adele… and on stomping LP single ‘Baddy On The Floor’, with none other than Honey Dijon herself. Returning after guesting for SHÈN last season is GINA JEANZ, Namibian-raised, Cape Town-based, bursting onto the world scene since pandemic times with her winning mix of Deep/Tech House, Indie & Nu Disco. 
 
 
Honey also brings back three welcome returnees from last season. DERRICK CARTER, Chicago House pioneer, underground house keys supremo with elements of old school disco, soul & jazz, who founded Classic Records label with LUKE SOLOMON. The UK member of Freaks, also co-owner of Music For Freaks label and solo DJ delivers acid house, Detroit techno & post-punk, maintaining underground cred along with chart success. Also returning is award winning UK producer TSHA who’s racked up 180M+ streams across her LPs and releases on Ninja Tune, fabric and beyond. With more game-changing DJ guests TBA, it’s set to be an incredible f#cking residency… 
 
Connect with: 
Chinois – @chinoisibiza
Honey Dijon – @honeydijon
 
Chinois
Address: Passeig Joan Carles 1, 17, 07800 Ibiza
Opening Hours: 23:30 – 06:30
Tickets: From €50 at chinois.com 
The post Honey F#cking Dijon’ unveils new eight date residency at Chinois Ibiza appeared first on Electric Mode.
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Following an extraordinary 2024, where they dazzled audiences as the supporting act for Kylie Minogue at British Summer Time Hyde Park and furthermore clinching the prestigious Samsung Rising Star award at Glamour’s Women of the Year awards. The rising girl band Say Now will raise the excitement even further in 2025. They made significant strides as the opening act for Omar Rudberg‘s “Every Night Fantasy UK tour” in February 2025. Now, as they gear up for their highly anticipated headline performance at Camden Assembly, the trio is thrilled to unveil their latest release, the infectious RnB pop anthem “Can’t Keep A Beat,” set to captivate fans and leave an indelible mark on the music scene.
Little by little these three burgeoning pop queens have unleashed a strong collection of dynamic tracks. Moreover, these namely traverse the pop and RnB genres singularly and at other times these genres crossover into one track. A prime example of this genre-blending is found in their infectious hit “Can’t Keep A Beat,” where catchy melodies are expertly paired with rich harmonies.
Their lyrics take centre stage, drawing listeners into compelling narratives that explore the intricate emotional tapestry of relationships. With a keen ability to evoke the rollercoaster of love, characterized by exhilarating highs and heart-wrenching lows. These artists transform personal experiences into relatable anthems that resonate deeply with their audience. Their evolving sound not only showcases their individual talents but also marks a significant contribution to the contemporary music landscape.
Furthermore, Say Now is taking the art of sassy music video production to new heights with the exhilarating dance video for “Can’t Keep A Beat,” directed by Douglas Reddan. This dynamic masterpiece showcases Amelia, Maddie, and Yssy alongside an exceptional ensemble from Addict Dance Academy. Yssy passionately shares,
Undoubtedly, these extraordinary ladies are not only fully ready for captivating live performances. With their stunning stage presence, dynamic choreography, and powerful vocal performances, they possess all the qualities necessary to shine in a highly polished TV special. Notably, their talent and charisma can engage audiences and leave a lasting impression. Thus further, affirming that the music Say Now is currently making has much to enthral.
Buy tickets for the Say Now headline show at Camden Assembly on May 27th HERE
Connect with Say Now
Facebook: https://www.facebook.com/saynowsaynowsaynow
X: https://x.com/saynow
Instagram: https://www.instagram.com/saynow/
The post Watch “Can’t Keep A Beat” by Say Now appeared first on EQ Music Blog.
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Bass Canyon has officially unveiled its Phase One lineup for 2025, igniting excitement for its highly anticipated seventh edition taking place August 15–17, 2025, at the legendary Gorge Amphitheatre in Washington. Curated by Excision and set against one of North America’s most breathtaking natural backdrops, the Pacific Northwest’s largest bass music festival is primed to deliver another massive year with a dynamic and diverse artist roster.
 
In a creative twist, this week Bass Canyon launched “Decipher The Drop,” a nationwide scavenger hunt across 8 cities, where fans unlocked the earliest lineup reveals via hidden QR codes, meet-and-greets, and surprise pop-up performances. Cities including New York, Denver, Chicago, Montreal, Austin, Los Angeles, Las Vegas, and Phoenix lit up with appearances from artists sending fan speculation into overdrive ahead of today’s full drop. The first reveals of the lineup included Dion Timmer, HE$H, LYNY, Vampa, SoDown, GorillaT, DRINKURWATER, FOCUSS, Hairitage, REAPER, Smoakland, Cyclops, Sippy, Neotek, and LAYZ. The scavenger hunt generated viral momentum, capturing the adventurous spirit that defines the Bass Canyon community.
 
With more than 80 artists now confirmed for Phase One, the 2025 edition brings together some of the most in-demand names in bass music. This year’s festival will feature heavyweights Adventure Club, SVDDEN Death, Wooli, and Space Laces, genre disrupters Tape B, Of The Trees, and Hedex, as well as rising stars like ALLEYCVT, HOL!, Lumasi, Skellytn, Wonkywilla, and many more. True to tradition, Excision himself will take the stage for three sets: a high-octane solo performance, his signature Detox set, and a highly anticipated debut back-to-back with the enigmatic masked duo ATLiens. The curation reflects Excision’s continued dedication to showcasing the full spectrum of bass music across 3 days, promising to deliver another unforgettable chapter in Bass Canyon history. 

As the festival marks its seventh year, Bass Canyon continues to grow in scope and ambition while preserving the tight-knit, community-driven spirit that has defined it since its debut.  Held at the scenic Gorge Amphitheatre, the festival blends thunderous sound design, immersive production, and a loyal fan culture into a one-of-a-kind experience. Each summer, thousands make the pilgrimage to this natural amphitheater, where the dramatic cliffs and views of the Columbia River serve as a powerful setting for a weekend of catharsis and connection through music.
 
With tickets already on sale, Bass Canyon 2025 arrives with a wave of enhancements that raise the bar for the fan experience. In an unprecedented early launch, Bass Canyon opened ticket sales earlier than ever before, offering fans more time to prepare for the experience, attendees can still secure passes with just a $50 deposit. Transportation has also expanded with the addition of a Portland shuttle route, joining the longstanding Seattle options to make the journey more convenient. Campers will enjoy free showers, and VIP guests can look forward to upgraded Hilltop viewing areas, enhanced amenities, and an exclusive merch pack. 
Photo by Orhun Uygur I www.turkphotos.com
As the countdown begins,  Bass Canyon is shaping up to be one of the most electrifying gatherings of the summer festival season. With an unmatched lineup, a devoted fan base, and a backdrop unlike any other, Excision’s flagship Pacific Northwest festival continues to be the annual pilgrimage for headbangers nationwide.
 
Ticket options and camping packages are now available for purchase. Further details, including the phase 2 lineup announcements, will be revealed in the coming months. For more information and to secure tickets, visit https://www.basscanyon.com.
 
Bass Canyon is Excision’s premier bass music festival held annually at The Gorge Amphitheatre in Washington state. Founded in 2018, the festival has grown to become the Pacific Northwest’s largest bass music gathering, combining earth-shattering sound systems, state-of-the-art production, and immersive stage designs with one of the world’s most breathtaking venue locations. Each year, thousands of headbangers make the pilgrimage to the Columbia River Gorge for three days of bass music, camping, and community. Bass Canyon showcases the full spectrum of bass music, from dubstep and riddim to experimental bass and beyond, curated personally by Excision himself. The festival has hosted countless memorable performances and has become a cornerstone event in the North American electronic music scene.
Photo by Orhun Uygur I www.turkphotos.com
Hailing from Kelowna, British Columbia, Excision has spent the majority of his career being a leader and innovator in the bass music scene, helping to create a passionate dubstep community. Within the last decade, Excision has launched multiple large-scale festival productions that over 100,000 dedicated fans call “home” year after year. Excision’s prehistoric themed dinosaur festival Lost Lands will celebrate its eighth year in 2025, while Bass Canyon, a dubstep haven nestled along the scenic Gorge Amphitheatre will see its seventh. He’s performed to massive crowds at EDC Las Vegas five years in a row, has headlined festivals across the globe including Shambhala, Tomorrowland, Lollapalooza, Ultra Miami and many others, and has consistently toured for over ten years.
 
With over a decade of experience, Excision has established a well-respected bass mecca. His discography spans five full-length studio albums, five EPs, over 30 singles, and 15 fan-favorite mixes, all of which have collectively amassed over 100 million streams. Excision launched the record label Subsidia in September 2020. With over 400 tracks released in its first year alone, it’s become a magnificent digital community uniting Headbangers from all over the world. The label aims to celebrate the diversity of the bass genre and become a platform for emerging Bass artists. 
 
Excision’s influence can be felt in every facet of the industry, and though he’s already established a legendary brand, he’s continually striving to help the community grow. 
 
“Everything I do is focused around the mission of making Bass Music as big of a genre as it possibly can be, while still staying true to itself, constantly innovative and fresh. We have such a caring and loving group of people involved within this scene, and I hope the music will help more people find their home within it.” — Excision 
 
FOLLOW BASS CANYON:
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The post Bass Canyon Drops Stacked Phase One Lineup for 2025 — 80+ Artists, 3 Excision Sets & a New B2B with ATLiens appeared first on Electric Mode.
Ravebot
Only right can happen when progressive house kings meet in the studio. 11 years ago, the world was blessed with ‘Payback,’ one of the most emblematic tracks in all history of electronic dance music.
Steve Angello, one third of Swedish House Mafia, and Dimitri Vangelis & Wyman, a legendary name in the progressive house world, united in 2014 to create what became a generational song.
Traveling all over the world, ‘Payback’ provided, and still provides, the soundtrack of sunny festival days and magic nights under the lights. Its unforgettable melody gets crowds going, and still feels fresh as ever, 11 years after its release.
Steve Angello’s iconic lead combined with Dimitri Vangelis & Wyman’s emotional yet powerful aspect, gave birth to a song that shaped the way progressive house evolved.
Although the track has no vocals, it remains perfect and is one of those instrumentals that ascend you to another dimension.
The Story of ‘Payback’
Like other legendary songs, ‘Payback’ has its own backstory. Dimitri Vangelis & Wyman opened about the record in an interview, saying: “We wanted to prove the doubters wrong at that time in our lives. That’s the simple reason behind the name Payback.”
The duo’s wish of proving haters wrong became reality as the track is now their most streamed record, with currently over 55 million streams.
Steve Angello spoke about the collaboration as well, praising the talent of the duo: “They had a great initial idea and I loved the potential of the record! They are super talented and they have loads of great music in the pipelines!”
‘Payback’ Through The Years
Played by big names like Alesso, Martin Garrix and Afrojack on stages at festivals such as EDC, Ultra and Tomorrowland, the track hit the industry and never left, gaining attention from the biggest artists and events.
Over a decade since its release, ‘Payback’ still gets played in many sets, especially at Steve Angello and Swedish House Mafia shows.
It is a staple in the boys’ sets and hits the feels just as it did back in the day. Moreover, its place on festival mainstages remains standing high, with the renaissance of progressive house taking over the globe.
Swedish House Mafia Tomorrowland 2024Steve Angello maintained the song relevant in time, producing various mashups, with the most known and appreciated being the one that features vocals of ‘More Than You Know’ by Axwell & Ingrosso.
In 2024, ‘Payback’ received a melodic techno remix by Kevin De Vries and Cassian, although there were mixed feelings from audiences. Some said the classic should not be touched, while others appreciated the artists’ take on ‘Payback.’
Celebrate 11 years of ‘Payback’ by Steve Angello and Dimitri Vangelis & Wyman by streaming the single below.
Ravebot
Photo Credit: Lil Durk by Daniel X. O’Neil
Lil Durk and his legal team are looking to get his murder-for-hire case tossed, claiming prosecutors have misled the jury about the facts of the case.
Chicago rapper Lil Durk is accused of being the mastermind behind the 2022 attempted murder of Quando Rondo by putting a bounty on his head in revenge for the death of King Von. He has been behind bars since his arrest in October and has been denied bail, despite his attorneys proposing a bond package of around $3 million in cash and real estate.
Durk’s legal team says prosecutors’ assertion that the rapper details the plan on Babyface Ray’s song “Wonderful Wayne & Jackie Boy” is inaccurate; the song was written months before the attack took place.
“The government’s misrepresentation in the Superseding Indictment, whether knowing or reckless, undermines the integrity of the grand jury’s true bill against [Durk],” write the rapper’s attorneys. “The Court should dismiss the Superseding Indictment against him as a result.”
His lawyers also claim, in a separate filing asking Durk to be released from jail ahead of his trial, that prosecutors have “attempted to hold [Durk] responsible for video clips that YouTubers and Instagram users have edited, produced, and posted to social media, but with whom [he] has no affiliation.”
“It is unfair, misleading, and just flat-out wrong for the government to suggest that [Durk] is responsible for these video/audio edits or that they evidence his purported commercialization of a murder that he supposedly ordered,” they continue.
Prosecutors have argued the rapper has a pattern of “criminal behavior and interference,” with which the judge agreed, and ultimately denied his attorneys’ proposed bond package. Prosecutors further allege that Durk has not been a model inmate at the Metropolitan Detention Center (MDC) in Los Angeles.
“Despite clear instructions to not engage in three-way calls, defendant repeatedly abused the phone system at MDC to engage in such conduct,” read a legal brief released in December.
The trial is set to begin on October 14, 2025, after being pushed back nearly a year. Among the reasons for the delay include the “complex nature” of the case, which includes “approximately 230GB of digital evidence” containing “audio/video recordings and surveillance footage, and approximately 20,000 pages of reports concerning murder and other violent acts, photographs, witness statements, and medical documents.”
Durk continues to maintain his innocence, asserting that prosecutors have “no real evidence” of his involvement in the attempted murder of Quando Rondo. The incident resulted in the death of Rondo’s cousin, Saviay’a “Lul Pab” Robinson.
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Photo Credit: Rajiv Perera
Just says after Fyre Festival 2 was ‘postponed’ and all tickets refunded, the Fyre Festival name has been licensed to a media entrepreneur for a new streaming service.
Fyre Music Streaming Ventures LLC was officially formed in the state of Ohio. The new company will be spearheaded by Shawn Rech, President & Co-Founder of Chris Hansen’s TruBlu Crime Network. Rech says he has spent years seeking the right partners and platform to bring a truly fan-curated music network to life. Rech acquired the full rights to the Fyre name and trademarks for music streaming services and free, ad-supported TV channels—securing their use in perpetuity.
The network will capitalize on the infamous Fyre name, but Rech emphasizes a clear departure from past associations with live music production. “This isn’t about festivals or hype—it’s about putting the power of music discovery back in the hands of the fans. We’re building something authentic and lasting.”
The notorious first Fyre Festival ended in a disaster well-documented by documentaries released by Netflix and Hulu. Inadequate shelter and housing, with cheese sandwiches served up in styrofoam to-go plates were not what people expected when paying for their luxurious destination festival vacation in the Bahamas. Convicted fraudster Billy McFarland spent four years in jail over the debacle and returned this year promising Fyre Festival 2.
The return of Fyre Festival was hugely exaggerated however, with officials for Playa del Carmen stating they were not involved in any permitting for a live music festival. Attempting to stave off nay-sayers, McFarland shared copies of the permits that had been granted, revealing Fyre Festival 2 was little more than a 250-person gathering with curated recorded music—not the live festival bash promised. After the ruse was exposed on social media, tickets were refunded with the festival being ‘postponed’ instead of outright canceled.
Billy McFarland is slated to have a presence on the network, though the nature of his involvement will evolve as the platform grows. The new company is not involved in producing or planning the music festival and any questions regarding the postponed festival should remain with McFarland, Rech says.
The Fyre Music Network is slated to launch its website and mobile apps on Thanksgiving Day 2025, with free, ad-supported streaming television (FAST) channels rolling out shortly thereafter. Rech is likely banking on the notorious name drawing cursory interest during its roll-out, though it’s unclear how successful that will be.
Younger viewers have migrated their music discovery habits to social media, so music channels have been in a precipitous decline. This year marks the first that the MTV Music Awards will appear on CBS in a bid to draw more attention.
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Ravebot
Now that we’ve finalized Coachella for the year, we can focus on what brings us together: Techno. Swedish DJ and producer Ida Engberg follows her latest release, Speicher 135 EP, with the pulsating and harmonic two-track EP Radiate. Now available on Drumcode Records, this marks her return to the label since her divorce from label boss Adam Beyer in 2021.
Radiate EP
Deep and Raw, the title track ‘Radiate’ starts the EP with intensity and sweetness. The mystical vocals echo on the bassline through the dark and cosmic growls. However, the more ethereal and lighter harmonies give the heavy accents of the track the perfect balance. It truly feels like a journey where one can find light and darkness, peace and chaos, all within a five-minute track.
‘New Day’ completes the EP with a bouncy bassline and a groovy beat. Although the vocals have a more serious and eerie tone, the track remains consistent with a melodic undertone and mantra-like lyrics. The string arrangements add a beautiful buildup to the track, which progresses into pounding kicks. The acid elements add the finishing main touches to the track.
All in all, the EP is a gorgeous yet intense ride. Both tracks work in synergy to take the listeners on a journey where you can face the darkness and the light within. The EP has a specific slow-burn effect to it, having build-ups that last the entire track. However, one will dance the entire length of it, as neither tracks have any pauses or drops, just powerful grooves.
Up Next
Ida has always been a diverse performer. Just recently, she was part of major lineups for Indira Paganotto’s Artcore showcases in Miami Music Week and New York. Next up, She has multiple Spain appearances for Pacha Ibiza, as well as a Drumcode show in Barcelona in June. She is also part of Fisher’s TRIIP Fesitval in Malta at the end of May.
Let your inner light Radiate:
The post Ida Engberg Makes Her Drumcode Return With Radiate EP appeared first on EDMTunes.
Ravebot
SoundExchange president and CEO Michael Huppe. Photo Credit: SoundExchange
Ahead of related CRB Web VI hearings, SoundExchange and the National Association of Broadcasters (NAB) have unveiled a rates agreement covering 2026 through 2030.   
SoundExchange and the radio rep just recently put out a joint release about the deal, which was actually finalized closer to April’s beginning. Meanwhile, the Copyright Royalty Board (CRB) set the overarching Web VI wheels in motion early last year.
Unsurprisingly, there’s been plenty of back and forth between the involved parties since then, the CRB’s pages-deep Web VI section shows. (The main CRB hearings themselves are slated to commence next Monday, April 28th, though a prehearing conference is scheduled for Wednesday the 23rd.)
Nevertheless, the talks (or at least those concerning rates for a portion of non-interactive digital recording usages – more on this in a moment) look to be ushering in significant progress relative to certain prior negotiations. And they’ll presumably be far smoother than some forthcoming rate discussions when all is said and done.
Bringing the focus back to the internet-radio world, the NAB and SoundExchange say their proposed settlement will boost the non-subscription rate to $0.0028 per usage in 2026 (up from $0.0025 currently). From there, the per-usage rate would increase by $0.0001 annually en route to hitting $0.0032 in 2030.
Additionally, the minimum fee would come in at $1,100 in 2026, grow by $50 annually until hitting $1,250 in 2029, and then remain the same in 2030. The payment deadline, for its part, would decrease from 45 days to 30 days following each month’s conclusion.
Lastly, in terms of brass-tacks takeaways, the NAB and SoundExchange treaded new ground with regard to late fees and access to performance data held by third-party vendors, among other things.
In a statement, SoundExchange president and CEO Michael Huppe applauded the “business solution that both parties can accept,” including because of the compromise’s “many benefits over battling it out in court.”
(George Johnson and Word Collections are participating as well; both, upon reviewing the relevant terms, “agreed they would not object to the” NAB settlement, per the adoption motion.)
And in remarks of his own, NAB head Curtis LeGeyt touted the settlement for providing “critical certainty around streaming rates in a way that is sustainable for broadcasters large and small.”
Bigger picture, SoundExchange has also proposed Web VI rate settlements on the public- and college-radio sides. And today, the entity reiterated proposed rates for all activities not covered by these possible settlements.
Against the backdrop of an existing royalties war between SoundExchange and SiriusXM – and given the above-described settlements, of course – that move is decidedly important for the satellite radio giant.
To be sure, besides seeking to address all sorts of “material terms issues,” SoundExchange has doubled down on calls for a substantially heightened per-performance rate of $0.0037 for subscriptions during the first year of the half-decade window.
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Ravebot
Petit Biscuit once made soundtracks for golden hours and quiet heartbreaks, but the boy wonder of chillwave is now entering his rave era with his new EP, Movement I.
Long beloved for his ethereal soundscapes that drift like pastel clouds, the French electronic music virtuoso pivots toward a more club-focused sound without sacrificing the emotional intelligence that first made him a standout.
The bass is louder, the emotions are rawer and the evolution is undeniable. If "Sunset Lover" was the daydream of a bedroom romantic, Movement I is the storm that rolled in when the curtains were finally drawn back.
Biscuit opens with a gamble, a cover of Radiohead's turn-of-the-century classic "Everything In Its Right Place." He brilliantly reimagines the band's cerebral original as a cinematic house cut, with Lizzy Land's spellbinding vocals weaving through lush strings and a four-on-the-floor thump.
His transformation from fragile to ferocious is most clear in "All Over," a down-and-dirty banger where seductive vocals purr atop filthy deep dubstep drops. The nasty track, a collaboration with French compatriot Asdek, is the project's most stunning departure.
On the trance-tinged "I Lost Myself," Biscuit's own confession ("I fell in love once") cuts deep. The luminous track also features a poignant spoken-word vocal, which functions as a lonely, late-night meditation on fractured identity and redemption: "I lost myself years ago too / A million versions of me to find."
Biscuit's dreamy synthscapes melt into Surf Mesa's percussive grooves in "Without You," which represents the inevitable morning-after, when club euphoria gives way to existential questioning. JP Saxe's aching hook ("Who would I be without you?") reflects the terrifying prospect of rediscovering identity after loss, capturing that universal moment of surrender when we finally admit our fear of moving forward alone.
You can listen to Movement I below and find the new EP on streaming platforms here.
Follow Petit Biscuit:
X: x.com/PetitBiscuit
Instagram: instagram.com/petitbiscuit
TikTok: tiktok.com/@petitbiscuit
Facebook: facebook.com/petitbiscuitsound
Spotify: tinyurl.com/2235vyvb
Ravebot
From festival-ready drops to deeply personal storytelling, TATE SEDAR introduces a bold new sound that might just redefine the next era of dance music.
There’s a new wave building in the world of electronic music, and leading it is TATE SEDAR. With his debut EP THIS IS POST-EDM, the LA-based producer takes a massive leap forward—both musically and conceptually—by carving out a space for his own sound. Call it what it is: post-EDM. And it’s not just a clever title—it’s a fully formed identity.
Following a strong rebrand in early 2024, SEDAR’s rise has been anything but quiet. From landing radio play for “Our Goodbye” to supporting R3HAB over NYE weekend with Insomniac Events, he’s built serious momentum. Now, he’s channeling that energy into a 5-track project that fuses the nostalgia of the EDM era with the versatility of today’s genre-bending sound design.
The EP Tracks
“San Francisco” kicks things off with a nod to SEDAR’s roots. It’s funk-forward and groove-heavy—layered with influences from Motown, hip-hop, and rock, all of which shaped his upbringing. More than an opener, this track sets the tone for what post-EDM could be: part retro, part futuristic, and all emotion.
“Emotions (ft. P$YCHEDELIC)” is where things really start to flex. It blends tech house, lo-fi hip-hop, and trap in a way that feels fluid and fresh. Featuring viral artist P$YCHEDELIC, this track marks a shift in SEDAR’s artistry—a move away from electro house nostalgia and toward a more sample-driven, dynamic sound. It’s already pushing 180K streams on Spotify, and it’s easy to see why.
“Our Goodbye (with Liv Kennedy)” might be the emotional high point of the EP. Co-written during the pandemic with his college friend Liv Kennedy, the track flips the traditional breakup song on its head. It’s upbeat, summery, and surprisingly optimistic. With plays on SiriusXM BPM and chart love on Nexus Radio, it proves that emotional storytelling and festival-ready production can absolutely coexist.
“Coming Home (I.M.U)” brings it back to where SEDAR’s journey started. Progressive house roots meet reflective lyrics in a track that feels like a love letter to both his past and his path forward. The vocals act as a turning point, both sonically and spiritually, giving the project one of its most powerful emotional moments.
Finally, we get “Dream (ft. Otto Palmborg)”—the crown jewel of the EP. Ethereal, electropop-infused, and heart-hitting, this one feels like the realization of everything SEDAR’s been building. Premiered on KCRW in LA, the track features soaring vocals from Finnish artist Otto Palmborg and captures the type of love that only feels real in dreams. It’s cinematic, it’s timeless, and above all, it’s a perfect closer.
The Vision Behind the Sound
So what is post-EDM? SEDAR describes it as a progressive style that blends the big-room emotion of 2010s EDM with analog instruments, live sampling, and cross-genre storytelling. It’s nostalgic but forward-thinking. Personal, yet big enough for the mainstage.
And THIS IS POST-EDM delivers exactly that. Each track represents a different chapter of SEDAR’s life—whether it’s his cultural roots in “San Francisco,” emotional growth in “Emotions,” or creative rebirth in “Coming Home.” The EP isn’t just a sonic experiment; it’s a snapshot of his evolution as an artist.
Why You Should Pay Attention
With over 8 million plays across DSPs and social media, TATE SEDAR isn’t just building hype—he’s building something real. His journey from self-taught producer to playing alongside names like Don Diablo, Dada Life, and Disco Lines shows just how far he’s come, and THIS IS POST-EDM proves he’s only getting started.
This isn’t just another drop in the EDM ocean. It’s a signal flare—a reminder that dance music is constantly evolving, and artists like SEDAR are pushing it in exciting new directions.
Whether you’re into house, pop, or just looking for something that hits a little deeper, THIS IS POST-EDM is worth a front-to-back listen. It’s introspective, innovative, and incredibly well-executed.
TATE SEDAR didn’t just introduce a new sound—he built a whole movement. And trust us, this is one you’re going to want to follow.
The post TATE SEDAR Rewrites the Rules with Debut EP ‘THIS IS POST-EDM’ appeared first on EDMNOMAD.
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Ravebot
Tomorrowland and Dimitri Vegas & Like Mike have revealed the stellar line-up of artists joining them at Ushuaïa Ibiza every Wednesday this summer. Starting on May 14, this season promises unforgettable memories with special guests Lost Frequencies, Oliver Heldens, Robin Schulz, Steve Aoki, Timmy Trumpet, and many more. With a string of 18 shows ahead, it’s time to get excited for another magical summer under the Ibiza stars.
Tomorrowland and Dimitri Vegas & Like Mike are gearing up for another unforgettable season at Ushuaïa Ibiza with the most spectacular show on the island. Inspired by the mesmerizing universe of ‘The Reflection of Love‘ – one of Tomorrowland‘s most iconic festival themes that has also travelled to Tomorrowland Brasil and Tomorrowland Winter – this year’s stage design will light up Ibiza like never before for a series of 18 breathtaking Wednesday shows.
More than just a theme, ‘The Reflection of Love‘ embodies unity, radiating the positive energy that defines Tomorrowland, and now finds a new home in Ibiza. Also joining the Belgian duo will be Agents of Time, Bassjackers, Brina Knauss, Joel Corry, Jogn Newman, Konstandtin Sibold, Mattn, and many more.
Tickets available Here!
The post Tomorrowland Announces Lineups For Dimitri Vegas & Like Mike Ushuaïa Ibiza Residency appeared first on EDMTunes.
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Snoop Dogg at WrestleMania XL. Photo Credit: Diego Serrano
Snoop Dogg and Death Row Records are looking to dismiss the $107 million lawsuit filed by Lydia Harris, who they say should also be barred from litigating against them moving forward.
Counsel for Snoop Dogg and the relevant label just recently made the dismissal push official. Meanwhile, Universal Music, Jimmy Iovine, and several others are likewise defendants in the pro se complaint.
We broke down that complaint when it was filed – and then once more when the presiding judge scheduled a pretrial conference – last month. Long story short, Lydia Harris (the ex-wife of Death Row co-founder Michael Harris) says she’s owed big for her purported stake in the label, which Snoop Dogg bought in 2022.
She sued Suge Knight (who allegedly pushed her out of Death Row) for similar reasons in 2002, and a court in 2005 entered a $107 million default judgement in her favor (hence the damages sought in the current action).
But Suge Knight went on to declare bankruptcy, and Team Snoop maintains that a 2008 bankruptcy settlement both resolved Lydia’s claims and prevented her from seeking relief down the line. (Lydia has seemingly confirmed receiving a $1 million “good-faith payment” from Suge Knight at some point.)
Consequently, Snoop Dogg is painting the newest suit as the latest in a series of attempts to overturn the 2008 settlement. Lydia, who hasn’t hesitated to elaborate on her position in the media, is alleging that “strategic bankruptcy filings” concealed the assets in question and prevented the settlement’s full enforcement.
Running with those ideas, Snoop Dogg and Death Row believe that Lydia’s “substantively frivolous” suit is “undeniably time-barred by the relevant statute of limitations.”
“Thus,” reads one part of the dismissal motion, “over 20 years have elapsed between the March 9, 2005 entry of judgment and the March 18, 2025 filing of Plaintiff’s Complaint, a time period which is considerably outside the one-year statute of limitations.”
Furthermore, the two mentioned defendants say the prior litigation and settlement definitively resolved the claims at hand, subsequent discovery of additional information or not.
Leaving no stone unturned, Snoop Dogg and Death Row are also accusing Lydia of failing “to adequately plead any cognizable legal claim” and of improperly serving the suit.
“Here,” the text indicates, “the proof of service filed by Plaintiff clearly shows that Plaintiff [a party to the action, of course] herself served the Complaint via certified mail. This is clearly improper and constitutes an independent ground for insufficient service.”
For these and different reasons, the court should toss the action and deem Lydia a vexatious litigant to boot, per counsel for Snoop and Death Row. The plaintiff is allegedly “a bad faith litigant” who “continued a pattern of harassment in California for years and has now shifted her harassment to a new forum in Texas,” the motion reads.
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Ravebot
A couple of years ago, the Aeroband guitar was released. It’s not a standard guitar, but it’s not really a ‘toy’ either. It sits somewhere in between those two product types. 
I’ve been spending some time with the Aeroband Guitar, and while it’s not a replacement for a traditional guitar, it’s a surprisingly fun and useful gadget to have around. If you’re a guitarist who travels a lot or likes to mess around with new music tech, this thing delivers.
Disclosure: 
I was sent a free Aeroband Guitar for review purposes, but I was not compensated for writing this. As a result, I don’t care if you buy one or not, allowing me to be truly objective. My opinions are my own, and no one from the brand was allowed to see this review or provide input on the content. If you’d like your product reviewed, send an email to [email protected]. If it’s something I find interesting, I’ll review it. 
The instrument features tactile strings for strumming, a detachable neck, and sensors throughout the neck, allowing the device to detect the position of your fretting hand. You can play single notes or chords. There are fun built-in effects; you can drop down an octave and pretend you have a bass. It does a lot of things, and it’s fun to play around with. But it’s not going to replace the need for a guitar. 

Overview – Do you want this? 
Let’s be clear: it’s not going to fool your fingers into thinking you’re playing a real guitar. But that’s not the point. The real value here is in its portability and convenience. It collapses down to a size that’s easy to pack. That makes it ideal for travel or for keeping in a desk drawer when inspiration strikes during the day. It’s light, simple to set up, and doesn’t require a full studio to get going.
In terms of playability, it does hit some of the right notes, literally and figuratively. It scratches part of that itch to pick up and play, especially when you just want to noodle around without committing to a full session. The built-in effects are genuinely fun to experiment with, and they add a layer of creativity that most compact practice tools don’t offer.
Drawbacks
That said, there are some limitations. The fret sensors have a slightly grippy, rubbery feel, so sliding across them isn’t smooth. You can still play fine for chords, but fast movements and fluid transitions won’t feel as natural as they do on real strings. But, I found playing lead a bit jarring due to the lack of sensory feedback and that grippy issue. There’s also a slight delay between your finger movements and the resulting sound. It’s noticeable if you’re listening for it, but not so bad that it ruins the experience. It’s something to be aware of, especially if you’re used to the immediate response of a traditional electric guitar.
Still Worth It?
Despite those quirks, I still find myself reaching for it. Sometimes, I use it between meetings, or just when I want a quick music fix without having to plug anything in or tune it. There’s something satisfying about being able to pick it up, experiment with a few effects, and get a creative boost in just a couple of minutes.
Who is this best for? I think the sweet spot is:
Young beginners who are curious about playing guitar and want something approachable Guitarists who are dealing with grip strength issues or recovery from injury Musicians who travel often and want something lightweight to bring along Tech-savvy players who like trying new gear and tools for practice This isn’t a guitar replacement, and it doesn’t claim to be. But it’s a clever, well-built alternative that makes the guitar more accessible in situations where a real one isn’t practical. For casual playing, portability, or gifting, it’s an option that fills a unique space in the guitar world, and I’m happy that I have one now. I probably wouldn’t have chosen to pay $400+ for one, but if I got it as a gift, I would be very happy with it, and I would tell the giver they ‘did a great job’, and I would mean it. 
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Photo Credit: WWE
Cardi B announces during WWE SmackDown that she will host the two-night WWE SummerSlam paid live event in August.
Several musicians, such as Bad Bunny and Travis Scott, have appeared in WWE programming within the last year. Now, another rapper, Cardi B, will be hosting WWE’s SummerSlam later this year. During last week’s WWE SmackDown, Cardi B announced in a video that she will host the two-night event in August.
“What’s up, WWE Universe? Guess what? SummerSlam, MetLife, two nights, and I will finally be hosting — and nobody better try me,” she said.

This year, WWE SummerSlam, “The Biggest Party of the Summer” will be held across two nights for the first time, like the wrestling network’s biggest paid live event, WrestleMania. The show takes place at the MetLife Stadium in New Jersey on August 2 and 3. Notably, Cardi B announced the dates and venue for the show last year.
A lifelong wrestling fan, Cardi B was supposed to host the 2021 edition of SummerSlam — but she had just given birth to her son only a few weeks before the show, so the timing didn’t pan out.
Last year, she revealed that she was eager to be involved in a WWE event, either as a performer or to get into the action and “slap someone.” She might actually get to see both wishes come true, as some wrestlers such as Liv Morgan and Chelsea Green have expressed interest in going up against her in the ring.
The news follows the release of Cardi B’s latest single, “Toot It Up,” with Pardison Fontaine. The hip-hop star is also featured on the soundtrack for the upcoming Smurfs movie, with DJ Khaled’s “Higher Love” featuring her and Desi Trill. Both songs come at a perfect time for Cardi, who is working on her highly anticipated sophomore album, the follow-up to 2018’s Invasion of Privacy.
“The features on my album are really good,” she told fans earlier this month. “I’m working with artists, some that I have worked [with] before, and some that I haven’t.” She added excitedly, “I can tell y’all this — I am 100% confident with this album. I just don’t think what I got is out there.”
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Photo Credit: Kneecap.ie
Coachella organizers Goldenvoice and AEG are facing backlash from Jewish groups for the Irish rap group Kneecap’s performance during both weekends. The performances came with anti-Israeli messaging and criticized the U.S. support of Israel.
Kneecap’s first weekend performance was cut from the Coachella livestream. Coachella organizers appeared to respond by not broadcasting any acts from the Sonora tent during the second weekend on the livestream. Kneecap claimed they were being censored and promised to return with an ‘uncensored’ message—sharing images of their set on social media.
The set contained several messages displayed in bold lettering on stage including ‘Israel is committing genocide against the Palestinian people’ and ‘It is being enabled by the US government who arm and fund Israel despite their war crimes,’ followed by a bold ‘Fuck Israel, Free Palestine’ statement.
Kneecap’s explicit anti-Israel stance during their set at Coachella has led to significant backlash from Jewish organizations. The Creative Community for Peace (CCFP) was among the first to warn Coachella organizers about Kneecap’s record of supporting groups like Hezbollah, which the United States has designated a terrorist group. The CCFP says platforming artists who “promote or sympathize with terrorism undermines the core values of art, music, and unity that Coachella claims to stand for.”
CCFP has demanded a public apology from Goldenvoice and AEG for platforming the group. “Festivals such as Coachella are meant to bring people together to celebrate music and life, instead they allowed the festival to devolve into a forum of hate—platforming a band that praised a terrorist group that carried out the largest massacre in music history,” CCFP Executive Director Ari Ingel stated. “At a time of record levels of antisemitism, it is outrageous that AEG and Goldenvoice allowed this to happen.”
The Tribe of Nova Foundation also condemned Kneecap’s statements and lamented Coachella becoming a platform for the glorification of terror. The group represents survivors and families of the Nova Music Festival massacre attacked by terrorists on October 7, 2023.
“We invite the members of Kneecap to visit the Nova Exhibition and experience firsthand the stories of those who were murdered, those who survived, and those who are still being held hostage. Not to shame or silence—but to connect. To witness. To understand. Healing begins with listening. And we believe that even those who have spoken from a place of anger or misinformation are capable of empathy—if they are willing to see.”
Scooter Braun also spoke out about the incident on Instagram, directly addressing Coachella founder Paul Tollett.
“When I invited Paul to the opening of the Nova music exhibit in Los Angeles, he was the first person from the industry to accept,” Braun said. Braun continues stating he appreciates Tollett’s engagement with the Jewish community, but said the decision to host Kneecap both weekends was ‘blindsiding’ and ‘insensitive.’
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