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[Event Review] Project Glow’s Third Edition: A Success Story of Continuous Improvement

Photo Credit: Benjamin Adams
This past weekend marked the third anniversary of Project Glow in Washington D.C.’s RFK Stadium. With a stellar lineup, great stage production, and a good offering of pre and after parties, the festival’s continued improvement year over year has solidified its place as a staple east coast festival; and a welcome success as other events in the region crumble and decline. Seeing events like Ezoo, Firefly, and Imagine Music Festival fold and fail to make a comeback in 2024 due to operational issues (among many things) meant that all eyes this year were were on Insomniac and Club Glow, who started Project Glow in 2022 with hopes of invigorating the east coast dance scene.
The Good
Photo Credit: Annmarie Smith When I attended the first edition of the festival in 2022 and the world emerged from COVID-19, I found myself noticing how bare bones the event was. It was two stages, an art cart, simple food options and missing a lot of the pizzaz we have come to expect from events like EDC and Beyond Wonderland. But it was still a good time. Project Glow was very accessible and the price point was on the lower end for a festival with that caliber of a lineup. Last year saw the addition of a third stage, more activities, art installations and a better offering of pre and afterparties. This year, the trend continued. The festival again saw steady improvement: a new layout, expanded VIP services, and additional food options and merch vendors were added. In the blink of an eye, the festival had dialed up the quality level of the experience, all the while keeping more or less the same price point.
Photo Credit: Benjamin Adams Some of the best sets this weekend included a B2B between Deorro and Valentino Khan, Knock2’s Main Stage debut, and a packed B2B with Acraze & Wax Motif. A few standout secret garden sets for me were Derrick Carter and Baby Weight. It was a big weekend for house music lovers, but that didn’t mean the bassheads were left out. REZZ and ILLENIUM closed out Main Stage night one with resounding success. Although the gloomy weather during the first day of this year’s festival left something to be desired, that didn’t stop festival goers from dancing the afternoon away and having what appeared to be a fantastic time. It really speaks to the power of music to be able to carry the energy through a day like that. Day two saw perfect sunny weather and an even better vibe due to the uplifted spirits and vitamin D. To cap off the weekend, I went to the highly anticipated and sold out Zedd B2B Knock2 afterparty. My mind as blown by how well the two artists’ styles meshed together for a cohesive sound and unbelievable energy as they weaved in and out of almost every genre on the EDM spectrum.
As expected from an Insomniac event, stage design and production was impeccable and the sound quality of every stage was stellar, despite some small sound bleed issues in the VIP areas. Hats off to the tech and lighting team for a job well done. Medical services were easily accessible, and food was moderately priced.
Opportunities for Improvement
Photo Credit: Jordan Sabillo My main gripe for this festival has to do with entry/exits and the bathrooms. It was a long walk to and from the rideshare lot. It took my group of New York paced gays and girls almost 20 minutes to get to the entrance of the festival and even longer on the trip out. Cars were difficult to call and could not be relied on due to surge pricing and traffic. To have a smooth exit, you had to leave pretty early and miss quite a bit of the headliners. What I think could work in the future, is a system similar to Ezoo, where a queued up line of city busses are ready to take large amounts of attendees to downtown DC free of charge. The goal should be to move as many people off site as possible to areas where cars are more accessible. The only other option for leaving was relying on the metro which was inconsistent around the hours the festivals closed.
The security line also tended to bottleneck due to the fact that this was a 18+ event, meaning ID checks and issues with entry held up a lot of people and caused delays. Project Glow being an 18+ event also meant that the crowd skewed on the younger side and I noticed a general lack of crowd decorum at times. But the kids will learn as time goes on.
Finally all the bathrooms were a bit chaotic, but the worst issues came from the GA+ bathroom trailers. There was only one trailer per area, meaning the girls line for the airconditioned “premium” bathrooms were always disproportionately long and I felt bad that people paid extra for that particular experience.
However, all things considered, I am happy with my personal experience and am excited to see what the future holds for Project Glow.
The post [Event Review] Project Glow’s Third Edition: A Success Story of Continuous Improvement appeared first on EDMTunes.
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Reflections from the last decade: EDC Vegas

Electric Daisy Carnival (EDC) Las Vegas, the world’s largest electronic dance music festival, has come a long way in the last decade. What started as a modest gathering of electronic dance music enthusiasts in 2011, has now evolved into a global phenomenon, attracting millions of ravers from across the globe.
The Early Years: 2014 – 2016
In 2011, EDC Las Vegas made its debut at the Las Vegas Motor Speedway, following the festival leaving its original location of Los Angeles. Fast forward a few years later to 2014, EDC Las Vegas broke the record for having the largest structural stage in North America.
That same year, Insomniac released “Under the Electric Sky,” a cinematic masterpiece that encapsulated all the magnificence EDC had blossomed into. As the years progressed, the festival’s popularity skyrocketed, attracting an ever-growing number of attendees. The organizers, Insomniac Events, recognized the need to expand and enhance the festival experience.
In 2015, Insomniac launched the first-ever EDC Week Charity Auction, giving the public a chance to bid on once-in-a-lifetime EDC and artist-driven experiences while supporting local charities.
The following year, a gimmick of epic proportions took place, when the iconic DJ Marshmello removed his helmet and underneath was DJ Tiësto.
The Rise of a Phenomenon: 2017 – 2020
The years 2017 to 2020 marked a significant turning point for EDC Las Vegas. With each passing year, the festival continued to push boundaries, introducing new stages, art installations, and immersive experiences that left attendees in awe. Downtown EDC became a standout addition to the imaginative playground that EDC embodies, featuring a speakeasy, post office, schoolhouse, theater, and two wedding chapels where attendees could legally tie the knot. In fact, hundreds of couples have gotten married at the festival since its Las Vegas beginning.
In 2017, EDC Las Vegas won the coveted ‘Festival of the Year’ award at the Electronic Music Awards, beating out fellow nominees Tomorrowland, Electric Forest, Movement, and Lightning in a Bottle. The festival’s live stream on Twitter also attracted an impressive 3.4 million viewers in just two and a half hours, showcasing its global reach and popularity. That same year, Clark County and the city of Las Vegas even commissioned a street on the Las Vegas Strip to be named “Electric Daisy Lane” during EDC Week, further solidifying the festival’s presence in the city.
One of the most notable additions during this period was the introduction of the campEDC experience in 2018. This revolutionary concept allowed festivalgoers to camp on-site, creating a true sense of community and enhancing the overall festival experience. The campgrounds became a vibrant hub of activity, with impromptu dance parties, workshops, and unforgettable moments shared among like-minded individuals. 
The festival’s production value also reached new heights, with mind-bending visuals, intricate stage designs, and cutting-edge sound systems that transported attendees to a world of pure euphoria. Iconic stages like the neonGARDEN, quantumVALLEY, and circuitGROUNDS became synonymous with the EDC Las Vegas experience, each offering a unique and unforgettable atmosphere.
The Pandemic Era and Beyond: 2021 – 2024
The COVID-19 pandemic brought unprecedented challenges to the world of live events, but EDC Las Vegas emerged stronger than ever. After a brief hiatus in 2020, the festival returned with a renewed sense of purpose and resilience in 2021.
Adapting to the new normal, Insomniac Events implemented comprehensive health and safety measures, ensuring that attendees could enjoy the festival in a secure environment. Despite the challenges, the spirit of EDC Las Vegas remained unwavering, with revelers embracing the opportunity to reconnect and celebrate the power of music and community.
As the world slowly emerged from the pandemic, EDC Las Vegas continued to evolve, introducing new stages, attractions, and interactive experiences that kept attendees spellbound. From mind-bending art installations to cutting-edge technology, the festival pushed the boundaries of what was possible, solidifying its position as a trailblazer in the world of dance music festivals. The week leading up to EDC has turned the entire Las Vegas Strip into one big rave, with A-list artists welcoming attendees to Sin City by performing at select pool parties and nightclubs.
Throughout its journey, Insomniac has remained committed to giving back to the community that took them under their wing, partnering with over 50 local charities and organizations, including the Nevada Childhood Cancer Foundation, Rock the Vote, and Families for Effective Autism Treatment. Insomniac Events is one of the more socially responsible festivals, donating a percentage of their ticket sales to a whole host of causes to promote awareness to important issues.
Looking Ahead: The Future of EDC Las Vegas
As we look towards the future, one thing is certain: EDC Las Vegas will continue to captivate and inspire millions of attendees from around the globe. With its unwavering commitment to innovation, creativity, and community, the festival stands as a testament to the enduring power of electronic dance music.
Whether you’re a seasoned raver or a newcomer to the scene, EDC Las Vegas promises an unforgettable experience that will leave you craving more. As the festival continues to grow and evolve, it remains a beacon of unity and celebration, bringing together people from all walks of life to dance, connect, and create lasting memories. 
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Shifting Into Transcendence: A Review of Teho’s Deeply Emotional New Album

For electronic music fans seeking a transcendent journey through the full spectrum of human emotion, look no further than “Shifting” – the stunningly intimate and sonically impressive new album from producer Teho.
His most fully realized artistic statement to date, “Shifting” takes listeners on an introspective exploration through Teho’s deepest fears, anxieties, and traumas. Yet it represents not just an exercise in melancholy, but a quest for inner healing and peace.
Who’s Teho?
But who’s Teho? Originally hailing from the south of France, Teho discovered his calling for melodic techno production after being inspired by acts like Daft Punk, Stephan Bodzin, and James Holden as a teenager.
He quickly made waves in the melodic techno scene, catching the ear of pioneer NTO who helped nurture his early career.
Teho’s soaring, hypnotic sound earned him a deal with mentor Bodzin’s label for classics like ‘Kabuki.’
Driven by artistic integrity, he launched his own imprint Labo T. His albums ‘Polytone‘ and ‘Infinity‘ established him in the global panorama, blending techno might with acoustic delicacy.
Teho The new album: Shifting
From the opening dreamlike mystery of “Hypernova” to the gently idyllic comedown of the closing title track “On My Way,” “Shifting” unfurls like an epic narrative – one movie traveling through radiant phases of hope only to plunge into shadowy bouts of fury and darkness.
It’s a courageous reckoning with the dichotomies that exist within us all, leaving no crevice of the human psyche unexplored.
What’s most remarkable is how Teho translates these interior emotional landscapes into such an aurally transfixing album.
Melodically rich and possessing dancefloor-ready energy, “Shifting” abounds with progressive, euphoric journeys and breath of tempos and tones.
Tracks like the shimmering progressive masterclass “Rising” and trance-tinged melodic beauty “Continuum” showcase Teho’s mastery of grand, cinematic harmonies and ethereal atmospheres.
Yet the album is far from one-dimensional atmospherics. With the acid-flecked dancefloor destroyer “Day Off” and industrial-edged techno prowler “Disorder,” Teho flexes ample muscle for peak-time club moments. “Five – O” is a hugely infectious synth pop-adjacent gem, with soaring vocal melodies embedded in a groove compelling enough to ensnare the most discerning music fans.
More than just a collection of disparate tracks, “Shifting” is a fully immersive listening experience – one that demands devoting quality time to its seamless emotional ebb and flow.
The depth and nuance Teho achieves, both sonically and thematically, positively dazzles. One moment you’re awash in the sumptuous melodic escapism of “Pixels,” the next you’re shaken by the intensity of “Collapse“‘s stormy underground sonics.
What unifies it all is the exquisite artfulness through which Teho builds tension, sculpts narrative arcs and ultimately provides cathartic release. Much like braving the torrent of life’s upheavals, “Shifting” requires opening oneself to moments of discomfort and confronting inner shadows. But in doing so, it unveils stirring beauty and profound solace on the other side.
Too often, electronic albums – even wildly accomplished ones – can feel like collections of songs optimized for dancefloor deployment or zoning out.
“Shifting” magnificently transcends any such compact description. It’s nothing less than an immensely creatively ambitious multimedia experience, fusing hypnotic grooves with powerfully evocative compositions and vivid storytelling. The captivating dynamic between whispery confessional intimacy and surging, even euphoric escapes and emotional purges reflects Teho’s own journey to understand “the reasons for his unhappiness when everything seems to be smiling on him.”
By album’s end, what’s clear is that Teho has located his center – his core source of inner light – and magnificently translated it into what represents electronic music’s most absorbing and emotionally resonant album experience of the year thus far.
More than just another masterful collection of productions, “Shifting” is a whole-hearted artistic statement as brave as it is beautiful.

The post Shifting Into Transcendence: A Review of Teho’s Deeply Emotional New Album appeared first on The Groove Cartel.
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Deadmau5 Celebrates 25 Years With ‘Retro5pective’ Performance At The Hollywood Bowl

Deadmau5 just celebrated two and a half decades of creating music with a sold-out anniversary show of epic proportions this past Saturday, April 27th at the Hollywood Bowl in Los Angeles.
The three hour-long retro5pective show highlighted some of the greatest and most beloved material from the iconic producer’s illustrious 25-year career, ranging from his first ever production ‘Bored Of Canada‘ to hits like ‘I Remember,’ ‘Ghosts ‘n’ Stuff,’ and ‘The Veldt.‘ The sold-out crowd was treated to a selection of never-performed-before edits and a visual array of mau5 visuals from performances past, as well as new graphics and lighting styles unique to each segment of the show.
Deadmau5′ Retro5pective Performance in LA
The show kicked off with BSOD, his early project with producer Steve Duda, adding in DJ Aero and Tommy Lee for the fourtet that is WTF? Following came the tracks that solidified deadmau5’s spot as a dance music legend: mid 2000 cuts ‘Faxing Berlin’ and ‘Sometimes Things Get, Whatever.’ German techno marching band MEUTE then took the stage for a rump shaking brass rendition of classic mau5 cut ‘Slip.’
Next came the reveal of deadmau5’ massive touring production Cube V3, which has not been seen since 2020. From there the show continued elevating every fans delight. SOFI performed mau5 cult fave ‘Sofi Needs A Ladder.’ Kiesza enchanted fans with her futuristic fairy, glitter dusted dance moves with Joel for ‘Bridged By A Lightwave.’ LIGHTS performed her outstanding tracks ‘Drama Free’ and ‘When The Summer Dies,’ and HAYLA displayed her soaring vocals on ‘Escape.’ For the show’s encore, deadmau5 surprised audiences with a performance of ‘The Truth,’ his upcoming collaboration with Los Angeles hip-hop collective Coast Contra. Details on the song will be announced soon.
Deadmau5′ Upcoming Retro5pective Performances
Missed the LA performance? deadmau5 and friends will be heading east for ‘retro5pective’ celebrations at The Brooklyn Mirage in New York City this Thursday, May 2nd and Friday, May 3rd. Tickets for the Friday show are sold out, but limited tickets remain for the Thursday show here. deadmau5 will also be making an in-store appearance at Rough Trade NYC on Thursday, May 2nd.
The post Deadmau5 Celebrates 25 Years With ‘Retro5pective’ Performance At The Hollywood Bowl appeared first on EDMTunes.
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Inside Tomorrowland's Nature-Inspired CORE, Where Techno Dreams Take Root in the Real World

The electronic dance music scene has never been more escapist, and Tomorrowland serves as a prism, refracting anxieties into core memories.
In an era of mental health awareness, today's ravers consider wellness their personal headliner—and the unfiltered euphoria of dance music festivals comes with a toll. So today's tickets need to hold the promise of much more than just music.
CORE certainly fits the bill. By harnessing the power of nature's metaphors, Tomorrowland's visionary event brand creates a symbiotic relationship between music and its environment. Through its storytelling and stage design, the brand offers a plunge into the sublime interplay of electronic music and the wondrous complexities of the natural world.
Born from the iconic festival's desire to cultivate deeper connections between attendees and their surroundings, the offshoot emerged in 2017 as a renegade stage tucked away in a forest on its grounds. Now, after unveiling a spectacular new stage, CORE has now become so popular that it lives independent of Tomorrowland itself, carving out its own universe in the helixes of the festival's DNA.
As the fabled Tomorrowland brand celebrates its 20th anniversary, CORE stands tall as a bastion of its deep-rooted ethos, which says their events aren't as much festivals as they are vehicles for memories. We've teamed up with them to explore its evolution and celebrate its enduring impact on the global dance music community.
2017
CORE at Tomorrowland Belgium, July 21-23 & 28-30
The first-ever CORE stage debuts at Tomorrowland Belgium with performances by Tale of Us, Richie Hatwin, MK, Jax Jones, Loco Dice and Paco Osuna, among other illustrious techno and house music producers.
2018
CORE at Tomorrowland Belgium, July 20-22 & 27-29
CORE returns to Tomorrowland Belgium after its successful unveiling. Stage takeovers by Jamie Jones' Paradise and Claptone's The Masquerade fan the flames with massive sets by Nicole Moudaber, Claude VonStroke, Patrick Topping and more.
2019
CORE at Tomorrowland Belgium, July 19-22 & 26-28
CORE emerges as a hotbed of techno and house music in its third year. Techno legend Sven Väth closes the stage on its final day in the wake of performances by many influential artists, including the late Vigil Abloh, who tragically died two years later after battling cancer.
2020
CORE at Tomorrowland Around the World, July 25-26
In a virtual world with no semblance of COVID-19 concerns, CORE goes digital at Tomorrowland's groundbreaking "Around The World" event after shelving its flagship festival in Belgium due to the impact of the pandemic. Charlotte de Witte, Adam Beyer, ANNA and more throw down underneath the stage's giant, intricate face.
2021
Launch of CORE Radio Show
Tomorrowland launches the monthly CORE Radio Show on its native station, One World Radio. Described as a "hub for alternative electronic music," the hourlong show is curated by host Dino Lenny and features a special guest each month.
CORE at Tomorrowland Around the World, July 16-17
After attracting one million viewers from an exhaustive list of countries, Tomorrowland's virtual festival returns along with CORE, now a fan-favorite. Tomorrowland diehards dance in their homes to DJ sets by Amelie Lens, Mind Against and the Keinemusik crew, among others.
2022
CORE at Tomorrowland Winter, March 19-26
CORE heads to the snowcapped mountains of southeastern France for Tomorrowland Winter, an offshoot of the fabled Belgian EDM festival at the idyllic Alpe d’Huez ski resort. Donning a dazzling design with the CORE logo, the stage hosts performances by Vintage Culture, Kölsch, Kevin de Vries and EDM.com Class of 2022 star Anfisa Letyago.
CORE Festival Brussels, May 27 & 28
The first edition of CORE Festival, a two-day boutique fest in Brussels with five stages, takes place at Ossegem Park. A collaboration between Tomorrowland and Rock Werchter, the festival attracts 40,000 visitors and features performances by Peggy Gou, Sam Gellaitry, Nina Kraviz and more as well as hip-hop luminary Nas.
CORE at Tomorrowland Belgium, July 15-17 & 22-24 & 29-31
With its stunning face design, the CORE stage makes its real-life debut in the enchanting forests of Tomorrowland in Boom, Belgium. London's iconic Printworks venue takes over the stage with a performance by Detroit techno legend Kevin Saunderson, who is followed by Âme, Maceo Plex, Marcel Dettmann and more.
CORE at Tomorrowland Belgium 2022.Tomorrowland
2023
CORE Tulum, January 14
The CORE stage departs Belgium for the first time ever and lands in Tulum for its debut in the heart of the Quintana Roo jungle. Maceo Plex, Brina Knauss, Vintage Culture, Channel Tres and more perform.
Launch of CORE Records
Tomorrowland launches CORE Records, a boutique label "crossing and fusing boundaries, cultures and genres," by virtue of releases from Afriqua, Mosley Jr and more.
CORE at Tomorrowland Brasil, October 12-14
The CORE stage travels to the lush Parque Maeda in Itu for its debut at Tomorrowland Brasil. Nina Kraviz, Âme and Vintage Culture b2b ANNA headline each day after performances by a slew of major artists, including TSHA, Skepta and Jaguar.
The debut of CORE in Tulum.Tomorrowland
2024
CORE Tulum, January 13 & 20
The world premiere of the revamped CORE stage, a marvel of design due not only to its remarkable split human head, but also its inflatable composition. A feat of sustainability and efficiency, the groundbreaking stage deflates and compactly fits into a single container, making it portable and adaptable to locations around the world.
The world premiere of Tomorrowland's revamped CORE stage in Tulum.Tomorrowland
CORE at Tomorrowland Winter, March 16-23
The brand-new CORE stage heads back to Alpe d’Huez to make its debut in France. Italian duo Mind Against stun with a mystical closing set underneath the stage's stupefying split human head.
CORE Medellín, May 11 & 12
CORE turns the page of a new chapter with a sold-out two-day festival in Medellín. The new CORE stage prepares to take over perhaps its most unique venue yet, the luxuriant Jardín Botánico de Medellín—more commonly known as the Botanical Garden of Medellín—and its famed centerpiece, the "Orquideorama." Bicep, Agents Of Time, ANNA, Chet Faker, Brina Knauss, Kevin de Vries and HAAi will perform.
CORE at Tomorrowland Belgium, July 19-21 & 26-28
The CORE stage will land in Boom for its biggest appearance yet: Tomorrowland's 20th anniversary festival. 400,000 people are expected to dance the nights away at the fest, which features an epic lineup with Alesso, Swedish House Mafia, Afrojack, Hardwell, Amelie Lens, John Summit, NERVO, Armin van Buuren, Tiësto, Dom Dolla and many, many more.
CORE at Tomorrowland Brasil, October 11-13
The CORE stage will travel to Parque Maeda for its debut in Brazil. Heading to São Paulo in 2024 are Hardwell, Axwell, Alesso, Charlotte de Witte, Afrojack, Armin van Buuren, NERVO, Steve Aoki and Krewella, among over 100 others.
Follow Tomorrowland:
X: x.com/tomorrowland
Instagram: instagram.com/tomorrowland
Facebook: facebook.com/tomorrowland
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U.S. Justice Department Plans To Reschedule Marijuana As Lower-Risk Drug

Another step towards federal legislation of Marijuana might be on the way. This week the Biden administration moved to reclassify marijuana as a lower-risk substance. The historic move would finally acknowledge the medical benefits of cannabis that so many studies have determined already.
The US Department of Justice recommended that marijuana be rescheduled as a Schedule III controlled substance, a classification shared by prescription drugs such as ketamine and Tylenol with codeine. It currently sits as a Schedule I substance. The same category as Heroin, LSD, and MDMA. The formal rulemaking process is lengthy, typically includes a public comment period, and could take months to complete.
The rescheduling of marijuana might mark the beginning of the end of the war on drugs. It could open the doors for Psilocybin and MDMA, which also have had many studies for medical benefits. Last fall, members of the FDA’s Controlled Substance Staff wrote in the documents that the agency recommended rescheduling marijuana because it meets three criteria: a lower potential for abuse than other substances on Schedules I and II; a currently accepted medical use in treatment in the US; and a risk of low or moderate physical dependence in people who abuse it.
Currently, 24 states have legalized cannabis for recreational use. This has led to a multi-billion dollar industry with dispensaries everywhere you look. State-licensed cannabis dispensaries and retail shops are expected to generate $32.1 billion in sales this year.
The post U.S. Justice Department Plans To Reschedule Marijuana As Lower-Risk Drug appeared first on EDMTunes.
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[EDITORIAL] The Album Experience: What It Was Then Versus What It Is Now

Earlier this morning, I was listening to this video while cooking some breakfast. The author, Mic The Snare, purposefully went an entire month without using any music streaming services — no Spotify, no Tidal, you get the idea — and resorting to CDs instead. I won’t spoil the video to you if you wish to watch it, and, thankfully, the seed that germinated this idea I’m about to propose came very early on.
About fifty seconds into the video, Nick said something that got me thinking: “I figured that limiting myself to only physical media might force me to listen more consciously”. This fired my inner engines. As an artist (eeyup, I’m a producer and a DJ outside of journalism), I’ve always decided very consciously on what I want to listen to, because I believe I can learn from it. “But that’s not always the case“, I figured. Shook the thought off my head, kept cooking.
But then, at exactly the 4:00 minute mark, the following line was printed into my brain: “It was nice to feel more of a reason to listen to an album all the way through or to treat them in my mind as just one cohesive whole”. Now that’s food for thought. Suddenly my stomach didn’t feel nearly as hungry as my mind. In a heartbeat, my attention went from “Don’t burn the food” to “What happened to the album experience?”. And that brings me to this very piece of text.
Disclaimer: you are likely NOT to find any answers here, only questions. Tons of them, for that is my style of writing. So, yeah, there’s that.
Albums: Ties, Analogies, and Romanticism
Credit: Andrea Piacquadio I find the current vision on albums a bit like how wearing a tie feels in today’s era: they are often overlooked. They don’t feel like a must anymore, and, for certain industries or companies that are a bit more laid-back (“modern” as they claim), it’s even a bit odd. But they do have their fair share of romanticism to them. Matching a tie to your outfit elevates your look. It demonstrates you’re going the extra mile on complexity and you care about how you look, that you look after your IRL cover letter. Please note, “matching a tie to your outfit” as in “taking the time to put on a tie that goes well with the colour palette you’re wearing”. But even if you take the time to put an outstanding formal look together, nine out of ten people will not even notice it (source: me). So, does that make it a useless item? Does that make me a romantic for caring about the tiny, so-called useless details?
(Ties, outfits, matching colour palettes… next thing you know I’m moving on to fashion journalism!)
Back down to Earth. Albums seem to serve no purpose today. They’re only a collection of songs, and nothing else. You, the artist, take your time to compile a number of tracks and pour them onto a conveniently sized package, for what? For your audience to skip to song number 6 and play that and only that, then switch to TikTok for an hour of procrastination? Yeah, that’s our jam today.
Albums Used To Be Milestones
They still are, by the way, but only from a CV perspective. If you read about a given artist, and they have released albums — extra point there: albums are not the primary vehicle for delivering music anymore, as singles and EPs have taken that spot —, you WILL find out how many they’ve put out. But they don’t feel like accomplishments anymore, do they?
On the artist’s side, it is of course a huge deal, because it is, at least, a large number of original tracks of your collection coming out at once. But the modern listener doesn’t care about that: an album is simply a packaging, a container. One very tasty, mind you, for the number of tracks included, but not much else.
I’ll go as far as to say, without exposing names, that there are an alarming number of artists who don’t see the album as a product anymore, and just as a container. So, who should we blame?
Back When — Back Whom — Albums Were Something Special
Credit: Mati Mango Having a bit of an extensive background in Trance — which is a refined way of saying I’ve listened to way more Trance than I probably should have —, albums from 20 years ago felt much more special than today’s. The album was a product on its own. Yes, tracks were lifted ahead of time. Yes, you had your favourite pick(s). But the album was meticulously built to impact the listener. It used to be the standard that the album was a journey.
The Album Was A Journey
Looking back, Track 2 was meant to be there. Track 6 was meant to be there. The opening and closing tracks served a purpose. Everything served a purpose.
I always come back to the one band which has impacted me the most: Above & Beyond. Let’s forget for a while that their ‘Blue Monday’ cover went massively viral on social media, and dive into the LPs.
The first time I listened to their debut long play Tri-State, something clicked inside me. I won’t go into detail about how I feel when listening to it, but one of the crucial things I can recall from that experience, is that over half of the album went by before I realised I was listening to a different track other than the opening. And this still happens today, years after I hit ‘Play’ for the first time: I really struggle to pause the listening session at any time between the opening track ‘Tri-State’, and ‘In The Past’, the eighth track.
If there’s something that really makes me think about this whole experience and journey concept I’m trying to portray is that very thing, the fact that, in my ears, that album is so perfectly crafted that I literally stress over when to stop listening. That’s where the bar is for me. And that’s what I would absolutely love to see come back in today’s era. The whole intention of this article is for me to try and get to the consciousness of my fellow readers and say “Hey, this is achievable!”, and “An album is much more than what we think of today!”.
The Whys And The Hows
The Whys
Let’s make a little exercise here. Let’s assume a given artist does not believe in the way I see albums, and they only use them as a fancy way to promote their singles. Instead of putting out twelve singles a year, this artist decides they’ll just put everything inside a blender, seal it shut, and there you have it, an album a year. No roles for any of the tracks either, it’s just a collection of his most recent tracks. All fair and square.
Why, Felipe. Why would you want an album to be a product by itself? Because it ups the experience by a thousand percent. An album with purpose makes you feel a closer bond to the artist who composed it. Now that tracks are expected to be under five minutes in length — a topic for ulterior discussion —, I really want to see artists put out hourlong content that can be your companion, your friend, and your confidant on your worst days. I make memories by listening to albums. When artists I love have put out albums (A&B, Marsh, Leaving Laurel, Paavo), I grab my ever-busy schedule and make a space to listen to that piece, from beginning to end. That’s why I put so much of me into reviewing them. I digest them as a four-course meal. No skips, no random order. I listen from Track 1 to Track N, in the order that they were meant to have, in full. I trust the artist and I like to think they thought every aspect of the compilation through, from beginning to end. So in short, I enjoy the ride, and I’d love others could do the same.
The Hows
Unfortunately, I have little to no answers here. How could we make a shift in the industry so that albums had their starring crown back? No idea. It’s a game of who to blame, and who should take the first step.
Credit: Jessica Lewis This is the comfort zone. Why should one, as an artist, step out of it? On one side of the spectrum, artists might say “I don’t need to put in the extra effort if it won’t retribute me accordingly. It makes no difference versus just throwing in these twelve tracks and calling it a day. No need to risk it”.
On the other side of the spectrum, the audience may say “I, as a consumer of their content, am not really inclined to ask them to change the way they pack their music. After all, I want music, they deliver music, and both parties are happy. I don’t need something new, I need more of what they’re doing now”.
So, who is at fault? Hard to say, right? There are arguments for and against both. Risk and reward, doing something new when your current formula is working, not wanting to waste time better spent, and so on and so forth.
My view on the matter is that change should come from both parties simultaneously, as a community. I say it because I see it. Living on the most emotional and open-to-feelings end of the Dance genres out there with Trance, Organic House, and so on, people often share their stories. People share the intimate stories they’ve had while listening to X, Y or Z artists, or W, V or U albums. This motivates the artist to produce content with a soul. But on the flip side, if an artist does it first, chances are, fans will be delighted.
Final Thoughts
It’s tough, I know. And the toughest thing of all is, perhaps, the only one making a huge deal out of this… is me. Maybe things won’t change at all. Maybe a couple of readers will leave this rant thoughtful, hopeful even. That’s my mission. I can’t change things, but I want you to think about what you consume, and how you consume it. Out of a passing fancy? Perhaps. But that fancy has forever changed the way music enters my body, mind and soul. And even if one person walks out of this post with a different mindset, that’s a job well done, and a pat on the back for yours truly.
*Cover image credit: Kelly
The post [EDITORIAL] The Album Experience: What It Was Then Versus What It Is Now appeared first on EDMTunes.
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Why Youth Groups In Music Matter

When Ezra Collective stepped up to the podium to collect the Mercury Prize last September, drummer Femi Koleoso was emphatic that this wasn’t just a win for the band, or even for jazz, but for something much bigger. “Ezra Collective represents something very special, because we met at a youth club,” he told the room. “This moment that we’re celebrating right here is testimony to good special people putting time and effort into young people to play music.”
If the awards seasons from the past couple of years are anything to go by, Ezra Collective are far from the only artists to travel this route. Young Fathers – who earned three BRIT Award nominations and a spot on the Mercury Prize shortlist for their album Heavy Heavy – met at Lick Shot, an under-16s hip hop night in Edinburgh. The rapper Bemz – winner of DJ Mag’s Breakthrough MC/Vocalist at the Best of British Awards – is an alumnus of Intercultural Youth Scotland. The channel between youth spaces and era-defining music is demonstrably strong. 
Yet these same spaces have been decimated over the past decade. Funding for local authority youth provision fell from £1 billion to £408.5 million between 2011 and 2021, according to government research published last month. More than 4,500 youth work jobs have been cut in that time and 750 youth centres have closed. “It’s heartbreaking because someone like myself saw first-hand in HD how important they are,” Koleoso told Channel 4 News last September. “I understand why cuts happen, but I just don’t think it should be in that direction because I think the youth of the country, the youth of tomorrow, everything like that, is the most important thing.” 
This loss of youth spaces, as Koleoso points out in the interview, has huge ramifications for communities. According to last month’s government report, decreased spending on youth services was consistently followed by increased incidences of bike theft, shoplifting and posession of weapon offenses (including knife crime). Young people who were engaged in youth groups and spaces, by contrast, “were less likely to engage in anti-social behaviour and crime.”
But the value of youth groups lies in far more than crime prevention. It is also about investing in the lives of young people, both on a personal and professional level – a mission that music is ideally placed to realise. More young people than ever are making music, according to a Youth Music report, with the proportion who play an instrument, sing and produce almost doubling from 39% to 67% since 2006. But what these young people lack is insight into the business of music. Youth Music has identified a gap between music education and the music industry which, if bridged, could help to ensure a strong and diverse pool of talent for years to come. Failure to make that connection, however, could allow music to fall into the culture sector’s old bad habits – namely, attracting a largely London-centric and affluent workforce. 
That is where charities like Young Urban Arts Foundation (YUAF) come in. Working from a portable media studio on a double decker bus, YUAF drops into communities living with varying levels of deprivation, where it trains local young people in skills like lyric writing, production and podcasting. Its YUAF Futures programme helps them turn those capabilities into the beginnings of a career, with a six week programme that demystifies the ins and outs of a professional life. 
“I do a lot of work with the young people to teach them how to network, how to write an email, or when’s it right to chase up? When should I ask for money? Should I ask for my travel?” says Laurie Charlesworth, YUAF Futures’ Project Manager. “All these things that you only learn through working in an industry.” These workshops are designed to give young people a sort of professional literacy, which allows them to advocate for themselves, make connections and, ultimately, get paid, before following up with work experience placements in the music, film and TV industries. “We’ve worked with everyone from SONY Music UK to Kiss FM and Hospital Records,” says Charlesworth. “We’re giving them almost a bootcamp-esque confidence boost, and then putting them in front of people where they can make a change for themselves.”
Projects like YUAF Futures are especially crucial right now, when the cost-of-living crisis has made it tougher for young workers to break into, and stay in, creative work. Where unpaid internships and balancing side hustles for exposure were once the norm, now rocketing rents, food bills and transport costs have made these unaffordable. In a Creative Mentorship report, 95% said their current role in the creative industries didn’t pay them enough to live comfortably. Another 78% have taken on additional jobs to boost their income. Many are choosing to leave the industry altogether in search of more secure work. ”We know that people with skills that went to uni are struggling,” says Charlesworth, “so these young people are fighting against skilled people with experience, with money, to get jobs.”
For the Soundsystem Project, a charity based in the Scottish Borders, increasing young people’s employability begins with showing them what’s possible in the first place. Teaming up with schools and youth groups in deprived areas all over Scotland, the charity introduces children to the graft behind running a sound system, including building a 12-volt battery-powered rig. “There’s not many examples of people who do this kind of work, especially not professionally,” says Tom Spirals, an MC and one of the project’s leaders. “It’s hard to imagine that you could do something like that if you can’t see it.” Whether they go into music or not, these workshops give young people a vital leg-up as they prepare for work or university. “They do all of the glueing and screwing and electronics. They see the whole thing come together,” says Spirals. “We make beats and write lyrics and get them performing their music, which they release on Spotify, and make music videos for their sound system and give them a sense that they can do something that they thought they couldn’t.”
But The Soundsystem Project’s real value, he continues, lies in the pastoral care it enables. Its first-ever project was at Platform, a community space in Easterhouse in Glasgow, which supported vulnerable young people in transition between school and college. Very often, the participants were carers for their parents, or their siblings, or were shouldering mental health issues of their own, and had outgrown the school environment. The platform gave them a place to work on their qualifications away from the traditional strictures of the education system. “Kids in these areas, in my experience, don’t really have the space where they can be a kid, because they have to deal with adult things,” says Spirals. “Through sound systems, we can create an environment where these guys can relax and experiment or express themselves.”
To keep the workshops free for their participants, the Soundsystem Project relies on a variety of different money pots, including Creative Scotland’s Youth Music Initiative – a chronically precarious setup, with multiple rounds of cuts besetting the funding body in recent years. More than once, Spirals tells us, rumours have circulated that the Youth Music Initiative could be scrapped – the last time being when the Scottish Government released their post-COVID emergency budget. “There was a period of three months where we didn’t know if we’d be able to continue doing what we do, with six different ongoing projects that would just stop,” he says. “It’s never stable, which is ironic because what we want to create for young people is something consistent that they can rely on to access music.” For now, the Youth Music Initiative is safe, though with Creative Scotland recently announcing that demand for its funds has swelled, the Soundsystem Project’s future is far from assured. “We are very lucky and we’re able to work this year,” Spirals tells us. Next year could be different. 
Other groups have been less fortunate. In another round of funding applications, the Young Urban Arts Foundation learned that its budget would be cut, leaving it unable to continue its YUAF Futures programme. “There’s just so many people that need it,” says Charlesworth. “We met other people that have funding and there were so many projects, from LGBT projects to refugee and asylum seeker projects.” The solution, she suggests, lies in governments and local authorities digging deep and restoring spending for youth services. “More funding and more opportunities, that’s what we need,” she says. “But also, the work needs to stop falling in the hands of charities and youth workers that are going above and beyond and being paid very little money to run these projects.”
With government provision for youth services in such short supply, it’s groups like YUAF and the Soundsystem Project that are propping the sector up. It seems a cruel irony, then, that the very same cost-of-living crisis they are helping to tackle is also threatening their survival. “I’d love to be able to do it for free,” says Charlesworth. “But unfortunately, the amount of young people that we help, which has been, I think, over 350 so far across the three years – that’s one-to-one work, meeting every week – that just won’t be a thing anymore.” 
Losing the services that help young people into employment is bad enough. Without them, we stand to lose a valuable pipeline for tomorrow’s artists, where young musicians might become inspired (and even form award-winning bands). But as Spirals points out, even those who only choose to dabble in music have much to gain from a meaningful investment in youth spaces. “How important music is as an adult for community is just the same for them,” he says. “We need to create real spaces for young people to have real interactions together, especially when times are hard.”
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Inside deadmau5's "retro5pective" at the Hollywood Bowl, a Dazzling Homage to His Career

deadmau5 has launched "retro5pective: 25 Years of deadmau5," a series of shows honoring his remarkable quarter-century journey as a pioneer in electronic music.
Set against the iconic backdrop of the Hollywood Bowl on April 27th, followed by the Brooklyn Mirage May 2-3 and a doubleheader at Colorado's iconic Red Rocks Amphitheater November 1-2, the series promises an all-encompassing chronicle of deadmau5's influence.
We attended its kickoff performance at the Hollywood Bowl performance and can attest—it's an unforgettable experience.
deadmau5 performs at "retro5pective: 25 years of deadmau5" at The Hollywood Bowl on April 27th, 2024.Jake West
Kicking off the night was an electrifying performance by Meute, a techno marching band whose dynamic act set the stage for an extraordinary evening. Following their stellar performance, deadmau5 took center stage alongside his longtime friend, Steve Duda, for a special DJ set under their BSOD alias.
The longtime friends cracked open some beers together and performed while memories of the pair projected behind them. The sudden appearance of Tommy Lee and DJ Aero transformed the stage into a rare quartet performance as WTF?.
Tommy Lee, DJ Aero, deadmau5 and Steve Duda perform for "retro5pective"at The Hollywood Bowl.Stevo Rood/Live Nation Hewitt Silva
After WTF?'s performance drew to a close, deadmau5 returned to the stage, ready to mesmerize atop his iconic Cube. Over the course of three exhilarating hours, he treated us to an incredible show, dropping classics such as "I Remember," "Strobe" and "Ghosts 'n' Stuff."
Joined by a lineup of talented vocalists, including the high-energy SOFI for "Sofi Needs a Ladder" and the kinetic Kiesza for "Bridged By a Lightwave," the atmosphere crackled with excitement and energy. Longtime collaborator Lights graced the stage and captivated the amphitheater for a scintillating performance of "Raise Your Weapon" and later reappeared to sing "drama free."
Hayla's hypnotizing performance of the hit Kx5 track "Escape" further enraptured the audience while Meute's brief return added an unexpected twist to the show. deadmau5 even previewed a new track, "The Truth with the hip-hop group Coast Contra.
Hayla performs with deadmau5 for "retro5pective" at The Hollywood Bowl.Jake West
deadmau5 flaunted an array of different mau5heads, each one bringing a new dimension to the performance. Meanwhile, the art on the Cube transported us into a vortex of trippy imagery, including imagery of past performances and an array of dazzling visuals.
At one point, deadmau5 delighted fans with a nostalgic nod to his early career by seamlessly weaving in the iconic 2008 HARD Haunted Mansion "Ghosts 'n' Stuff" intro.
In a poignant moment towards the show's end, deadmau5 invited the audience to raise their lights, transforming the amphitheater into a twinkling sea of stars as he delivered an emotive live rendition of "Strobe." This introspective, stripped-back performance was one the concert's most surreal, an aching homage to the enduring legacy of his music.
At the time of this article's publication, Friday's "retro5pective" show in New York is sold out and few tickets remain for Thursday, May 2nd, when deadmau5 will also make an in-store appearance at Rough Trade NYC. Fans can keep an eye out for further updates by subscribing here.
Follow deadmau5:
Facebook: facebook.com/deadmau5
X: x.com/deadmau5
Instagram: instagram.com/deadmau5
Spotify: spoti.fi/3otTHVp
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Above & Beyond Reveal Fall 2024 Return to Red Rocks Amphitheatre

Above & Beyond, one of the world's most influential trance acts, is returning to the iconic Red Rocks Amphitheatre this fall.
Scheduled for Friday, October 25th, the trio's return comes almost exactly a year after their doubleheader last fall. Joining Jono Grant, Tony McGuinness and Paavo Siljamäki in Colorado is a cast of talent who have all been featured on the group's Anjunabeats label family. Attendees will be able to take in the sounds of Alex Sonata & TheRio, Amy Wiles, anamē and Genix before the label bosses take the stage just days before Halloween.
In other Anjuna news, the venerable imprint and its sub-labels recently released three "planet-inspired" mixes to celebrate Earth Day. Royalties from each compilation will be donated in perpetuity to the Ocean Conservation Trust to support the environmental advocacy nonprofit's efforts to protect our oceans.
Tickets to Above & Beyond's 2024 Red Rocks concert will go on sale Thursday, May 2nd at 10am MT. Check out their announcement below and register for the pre-sale here.
FOLLOW ABOVE & BEYOND:
Instagram: instagram.com/aboveandbeyond
X: x.com/aboveandbeyond
Facebook: facebook.com/aboveandbeyond
Spotify: spoti.fi/3fHhX1z
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Jon Hopkins' Next Album Is a Continuous, Eight-Chapter Epic

Grammy-nominated producer Jon Hopkins has announced RITUAL, his seventh album.
The follow-up to 2021's Music For Psychedelic Therapy, the next album for Hopkins will be a 41-minute-long, continuous story spread across eight chapters, according to a press release issued by Domino Recording Company.
Hopkins also released the album's first single, "RITUAL (evocation)," a hypnotic track that was "designed to give listeners a window into the full experience." The music video features an aerial performance by Bryony Louise Fowler as she glides through the sky to Hopkins' bass-heavy, darkened soundscapes.
Hopkins said he goes into the recording process with an open mind and no goal or objective, ultimately hoping to generate a unique experience for each listener.
"I have no idea what I'm doing when I'm composing. I don't know where it’s coming from, and I don't know where it's going, nor does it seem to matter," he explained. "I just know when it is finished. So all I can really do is feel my way to the end, then try and retrospectively analyse what might be going on, and try and figure out what its purpose is. What is clear is that this one has the structure of a Ritual. I know what that Ritual is for me, but it will be something different for you. It feels important not to be prescriptive about what this Ritual actually is."
Those looking to experience RITUAL before its summer release will have the opportunity to attend a special listening event at London's Institute of Contemporary Arts later this month. He will also preview the new album with fans at Glastonbury in June.
RITUAL is slated to arrive on August 30th, 2024 via Domino. You can pre-save the album here.
Follow Jon Hopkins:
X: x.com/jon_hopkins_
Instagram: instagram.com/mrjohnhopkins
Facebook: facebook.com/johnhopkinsmusic
Spotify: tinyurl.com/2dfkdthx
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DJ Gryffin Wants To Play At Your Wedding

In a delightful twist for fans and soon-to-be-wed couples, DJ Gryffin, known for his electrifying electronic music performances, has recently expressed his interest in playing at a wedding in the near future. This unique offer came shortly after he performed at the wedding of Erika Hammond and Ankur Jain, a spectacular event that highlighted his versatility and broad appeal beyond traditional concert venues.
Gryffin, whose real name is Dan Griffith, took to Instagram to share his excitement and a snippet of his performance at the Hammond-Jain wedding. The video not only showcased his ability to adapt his high-energy style to a more intimate setting but also served as a heartfelt invitation to his fans. Accompanying the video, Gryffin wrote a caption that extended a warm offer to his followers: “So grateful that my tracks can be a part of so many people’s special days—maybe even yours. Tag anyone you know that’s getting married soon (enter as many times as you want) and I’ll pick an upcoming wedding to perform at.”
The post has since garnered significant attention, resonating with his fans who dream of adding a superstar touch to their special day. It reflects a growing trend among artists who seek to connect with their audience in more personal and memorable ways. Gryffin‘s approach not only amplifies his presence in the music industry but also builds a unique bond with his audience, making pivotal life moments even more magical with his music.
Aspiring couples and wedding planners are encouraged to tag their engaged friends or even themselves in Gryffin‘s post, hoping to win what could undoubtedly be termed as a once-in-a-lifetime musical gift. The opportunity to have Gryffin perform live, with his hits like ‘Feel Good’ and ‘All You Need to Know’ potentially part of a wedding playlist, is an alluring prospect for many.
This initiative by Gryffin stands out as an innovative way for artists to engage with their fanbase while providing an unforgettable experience that goes beyond the music itself. It’s a testament to his dedication not only to his craft but to creating profound experiences that resonate on a personal level with his audience. As the responses continue to flood in, it remains to be seen whose wedding will next feature this talented artist.
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Exploring the Emotional Resonance of Ceas’s “Grain De Sable”

Last month, French producer Ceas rocked Sinners‘ show at the famous Le Bikini venue. Now, he’s back on the prestigious label with his latest mesmerizing track, “Grain de Sable.”
For those who don’t know, Ceas has put out a lot of great music over the years on important labels like Anjunadeep and his own Purified Records. His skill at creating lush, emotional soundscapes and expertly manipulating vocal samples is once again on full show in “Grain de Sable.”
Deep, echoing piano chords set the mood for the whole song right away, making you think and feel reflective. As atmospheric pads build in the background, broken voice cuts hint at a human presence amidst the growing synthetic sounds. Ceas skillfully adds each part one at a time, like a wavy bassline, hypnotic arpeggio patterns, and complex percussion rhythms, gradually luring the listener deeper into the sound trip.
The movie-like beauty of “Grain de Sable” really shines around the two-minute mark. The intimate warmth of the pianos blends perfectly with the beautiful vocal slices, all supported by a pulsing but stable groove. Ceas‘s sound design and musical arrangement skills come together to create an all-encompassing, emotionally powerful euphoria.
It becomes clear that “Grain de Sable” is short-lived as the eight-minute journey slowly fades away. The name of the track comes from a tiny particle. It’s a short-lived spiritual experience that is beautiful in its temporariness.
With tunes like this latest Sinners album, Ceas keeps building his reputation as a master at taking listeners to otherworldly soundscapes. “Grain de Sable” is a beautiful getaway and a great addition to Sinners’ discography. Do not ignore this.

The post Exploring the Emotional Resonance of Ceas’s “Grain De Sable” appeared first on The Groove Cartel.
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sander baie Makes His Debut With Stunning New EP ‘SERENTY OF EARLY DAYS’

Making your debut in the electronic music world can be a daunting and challenging task, with many up and coming producers buckling under the pressure of forming a positive first impression. One artist who is taking that task and using it to springboard his career is sander baie. With the release of his EP, ‘SERENTY OF EARLY DAYS’, sander baie makes his debut in the world of electronic music and in the process makes the perfect first impression as this 5-track EP is not to be skipped.
Consisting of 5 tracks, ‘SERENTY OF EARLY DAYS’ is a showcase of the sound that sander baie has been working on for a number of months. Each track with it’s own identity, but connected as a story, this EP was formed through both experience and reminiscence, inviting listeners into a serene and richly textured sonic landscape. The album is steeped in simplicity and nostalgia, each track meticulously crafted to evoke specific emotional landscapes.
The use from sounds like nature reserves, busy roads and racing circuits subtly integrates sander baie’s inspirations from nature, alongside an homage to cultural touchstones like the Gran Turismo video games series, which resonate in the rhythmic precision and dynamic progression of tracks like ‘morning at sepang international’. ‘sounds of koel’, where the naturalistic elements are at the forefront, brings the listener to bask in the soothing yet complex layers of sound that mimic the calm and unpredictability of wildlife. ‘saturday in may 2012’ offers a reflective, almost introspective journey through sander baie‘s personal memories, when he experienced his favourite football player Dider Drogba scoring the winning goal for Chelsea in the Champions League final.
‘SERENITY OF EARLY DAYS’ marks a foundational position in sander baie’s discography. This release is soon to be followed by more dance-centric tracks later this year, hinting at an evolution from serene and introspective to lively and engaging.
Stream this EP below.
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Let’s Talk About Samm

Meet Samm, the young genius whose catchy beats, smooth transitions, and melodic, deep workings have quickly caught the attention of big names in the music business and music fans alike.
Samm is ready to take his art to new heights now that he has signed with One World Artists, Tomorrowland‘s well-known management and booking agency. His official remix of Lost Frequencies and Bastille’s “Head Down,” which came out just weeks ago, is already getting a lot of attention from fans and reviewers.
Combining afro-house with upbeat dance music melodies, Samm’s unique style has caught the attention of big names in music, like Solomun, who named the track they made together “Does It Matter” the track of the year. With help from big names in the business like Adriatique, CamelPhat, Keinemusik, and Themba, Samm’s rise is clear to see.

That’s not all, though. Samm started Magnifik, a new record label and community. He is hosting his own ‘Magnifik’ stage at the Belgian festival Extrema Outdoor, including performances by Amémé, Sona, Avangart Tabldot, and more.
Samm’s journey is just getting started. He is getting ready to play at some of the world’s best events and clubs, like Tomorrowland, Pacha Ibiza, and Extrema Outdoor. We sit down with the rising star for an exclusive chat to talk about his musical roots, how he comes up with new ideas, and his hopes for the future.
 
So sit back, and enjoy our exclusive interview with Samm.
How did you first get into producing music, and what inspired your unique sound?
Fifteen years ago, I started my journey into music as a producer. I began experimenting with FL Studio and soon transitioned to Logic. Growing up in a musical family, there was always music in the air. I picked up a guitar at age 12, which led me to explore house music and other genres. For the past decade, I focused more on producing for other bands and acts. However, after my child was born, I felt a strong urge to create my own project. That’s when ‘Samm’ came to life.
Can you tell us about the creative process behind your official remix of ‘Head Down’ by Lost Frequencies & Bastille?
It was quite challenging because the original track has a very poppy, radio-friendly sound, so I needed to adapt it to fit my sets. To achieve this, I incorporated my signature bassline and added some chords. Next, I focused on creating a strong drum groove to keep the record going. Felix and Bastille’s vocal creation during the breakdown provided the perfect lift, bringing the energy back into the groove.

Your music blends afro-house and melodic dance music elements. What drew you to these particular genres?
I love percussion that’s not too basic, which is why I’m drawn to African and Latin grooves, but at the same time, I’m a fan of melodic elements like chords and harmonies.
Can you share some details about your new record label and community, Magnifik, and your collaboration with Ajna?
We both began our solo careers around the same time and wanted to create a party that reflected how we would like to party. We had been working on music, so it felt natural to take the next step and build a complete atmosphere around it. That’s when “The Magnifik” concept popped in our head. What defines us is our focus on warm vibes and our type of mellow, yet still clubby music. We aim to connect with our fans on a personal level. Our goal is to make it feel like we’re partying alongside them, not just performing.
What are you most looking forward to about playing at Tomorrowland this summer on the Keinemusik stage?
Since this is the first time Keinemusic will be hosting a stage, I’m eager to see what kind of crowd it attracts. Of course, I’m excited to the set as well.

How did the opportunity to make your debut at Pacha Ibiza as part of CamelPhat’s residency come about?
When Camelphat performed ‘Does It Matter’ and we heard they had an album coming out, they reached out to us for a remix. They’re super friendly and open-minded about discovering new talent, and we were excited about the opportunity. I think their label, When Stars Align, does a fantastic job of shining a light on other artists.
Tell us about the experience of hosting your own ‘Magnifik’ stage at the Belgian festival Extrema Outdoor.
Extrema was one of the first to recognize the potential in what we are doing so we’re forever grateful that they allowed us to curate a line-up like this. This year we have Moojo, Avangart, Tabldot, Sona, Mosoo, Bastin and Ameme on the schedule. We’re excited to see how it all unfolds!
Last year, you shared the Atmosphere stage at Tomorrowland with artists like Black Coffee and Dixon. What was that experience like?
The weather gods were very kind to me. It started raining so badly that everyone at the festival ran to my stage, giving me a packed house! It was my first big festival as ’Samm’ so I enjoyed it every minute of it. Despite the weather, or maybe because of it, the energy was incredible, and it turned out to be a fantastic experience.
How do you approach crafting a setlist or a live performance?
I don’t hahaha — I always look at the crowd and randomly put new tracks on my usb. This is what keeps me fresh as a dj and lets me adapt to the energy of the crowd.
What’s the most challenging aspect of being a DJ/producer in today’s music industry?
I believe consistency is key in the music industry nowadays. The days of releasing an album and then going quiet for four years are over. To stay relevant, artists need to maintain a steady presence, whether it’s through new music, live performances, or social media engagement. It’s all about keeping the momentum going and continuously connecting with fans.
How do you balance the creative process of producing music with the demands of touring and performing live?
It can be challenging, but I’ve developed some techniques that help me generate ideas quickly, allowing me to polish and finalize them later.

Are you more of a hardware or software guy when it comes to producing music? What are some of your go-to tools or gear in the studio?
I used to be more of an ‘in the box’ guy but I recently got myself the Project 6 which I plan to set up in MIDI mode to make my productions more expensive. As for in the box, I’m a big fan of Soundtoys and RC10 to tweak and give an analog feel. My favorite synth at the moment is Repro.
Do you have a particular routine or process when it comes to writing and producing tracks? For example, do you tend to stay in the studio until you land on an idea you want to pursue, or do you wait until inspiration strikes and then head into the studio?
Most of the time, I start with an idea in my head, which for me is already about 50% of the work done. If I’m stuck without a clear concept, I pick a random number from 1 to 12, which determines the musical key I’ll start in. From there, I let things evolve and see where the creativity takes me.
How important is sampling and incorporating organic sounds or field recordings into your productions? Can you give an example of an interesting sample source you’ve used?
I always add something ‘real’ to my productions to create a layer that sets the mood right away. This adds a sense of realness and prevents the track from sounding too computerized.
Can you share any details about upcoming projects or releases you’re working on?
The next release is called “Everybody Get Up,” a collaboration with my good friend Maxi Meraki. However, the exact release date is a secret—no one knows when it’s coming! Keep an eye out for it!
How has your sound or approach to music evolved since you first started producing?
My sound and approach to music have evolved enormously since I first started producing. It seems to change every year, partly because I never use templates. This approach forces me to be creative and continuously push myself.
How important is maintaining an active social media presence for you as an artist, and which platforms do you tend to focus on the most?
Maintaining an active social media presence isn’t a top priority for me as an artist, but I don’t stress about how to approach it either. I prefer to keep it simple and focus on just being myself. I like to post or say things that feel genuine rather than making it all about me. This way, I stay true to my personality and connect with my audience in a more authentic way.
What advice would you give to aspiring producers or DJs who are just starting out?
Share your music with others and ask for feedback—don’t overthink it. Just release what you like. To grow as an artist, you need to keep evolving, and the best way to do that is by putting your work out there. So, make sure to finish your tracks and let them see the light of day!
If you could collaborate with any artist, living or dead, who would it be and why?
If I could get Tom Mish on guitar, FKJ for the musical elements, and myself as the producer, I’d be able to die happy J
The post Let’s Talk About Samm appeared first on The Groove Cartel.
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Wassu, Phonic Youth, and Axenity Debut Hypnotic ‘Solace’ EP

Colorize has a truly hypnotic release with all the stars are in the right place. The ‘Solace‘ EP is the result of Wassu, Phonic Youth, and Axenity working together with spiritual forces to create two transcendent songs that will put you in a state of pure aural bliss.
The first track is called “Solace,” and it’s a beautiful composition between Wassu and Axenity. Smooth pads and jumbled synths wrap you up in a warm hug right away. There is a smooth flow to the music that rises and falls with your breath. Phonic Youth’s sultry voices melt over the wavy basslines, making it sound like sirens are singing.
On the other side, “Clarity” brings Phonic Youth and Wassu back together for another magical journey. The Bay Area duo’s touching words and smooth production skills mix with Wassu’s love of deep rhythms and rich melodies. The end effect is a vortex of hallucinations that will turn your mind into a puddle of happiness.
‘Solace‘ is a beautiful journey into the deepest parts of melodic bass, from the opening swell of the heavens to the final sounds of happiness. Wassu, Phonic Youth, and Axenity have used all of their combined powers to make something truly amazing happen here.
Do yourself a favor and let “Solace” take over your mind. When you come out, you might be in a higher state of awareness, or at least have a huge amount of euphoric sound running through your body. No matter what, you’ll be thankful for the short break from the wild real world.

The post Wassu, Phonic Youth, and Axenity Debut Hypnotic ‘Solace’ EP appeared first on The Groove Cartel.
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San Pacho teams up with Buitano, Fatboi for vibrant new single ‘Afloja’

The continuously rising tech-house talent San Pacho aligns with Miami-based producer Buitano and Mexican-American rapper Fatboi for “Afloja.” Released via Matroda’s Terminal Underground, the track adds another layer of Latin-infused energy to San Pacho’s already-dynamic discography.
Recognized for his energetic blend of Latin rhythms and club-centric beats, San Pacho has been making waves since his debut (the double-sided single, “Work/God Damn,” released via Tchami’s Confession in 2019). “Afloja” is a flavorful addition to San Pacho’s series of Latin-minded productions, including the much-loved “La Pasion,” produced alongside Matroda.
“Afloja” is San Pacho’s fourth single of 2024, following the success of “Taka” with SIDEPIECE in March. Stream it below.
The post San Pacho teams up with Buitano, Fatboi for vibrant new single ‘Afloja’ appeared first on Dancing Astronaut.
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Of Love And Lust Break The Mould Yet Again Releasing ‘Calm in Your Eyes (Bleep Bloop Remix)’ Before The Single

Innovative production meets daring marketing in this exciting new track.
Oh, the wonders of thinking outside the box. In an industry saturated with template tracks and music that can hardly be told apart from one another, it’s quite refreshing to acknowledge we’ve got people pushing the boundaries of production. Not only from an arrangement point of view, but really, from the get-go.
For all those craving for new roads to be paved, we’re really excited to introduce you to a massive band, comprised of massive members. Meet Of Love And Lust (OLAL).
Of Love And Lust (OLAL)
(Left to right) Kuzman, Rush, Skunk. Credit: Ryan Monolopolus We’ve already shared one of their recent endeavours, so if you’ve been an avid reader you should remember them. OLAL is an Alternative Rock / Electronica hybrid-focused band, whose sound pays tribute to the golden era of the 80s. Not only do they have a sound that can take you back there, but their members truly embody the spirit of that beautiful decade.
Let me make myself a bit clearer: they were a part of the 80s. Each on their own lane. And have now come together for a music project in today’s era, with today’s technology, but with the magical touch of yesterday.
Members like Gareth Jones have a long history of being at the forefront of music history, even from that era. He’s worked with the likes of Erasure and Depeche Mode, and back in the day, he pioneered the whole synths-samples-Dance fusion. Fusion, mind you, that is basically the foundation of the genre we all know and love here at EDMTunes. Wild.
The band’s members are currently based all over the world: Rush (vocals) in Berlin, Kuzman (guitars, keyboards) in Macedonia, Gareth Jones (keyboards, production) in London, Christie McCarthy (vocals) in California, Alex Baum (drums, keyboards) in North Carolina, and Skunk (keyboards, songwriter) in Arizona.
‘Calm in Your Eyes (Bleep Bloop Remix)’
Now, notice I started this post mentioning “daring marketing”. Why? Here’s why. OLAL have recently unveiled their next sonic chapter, ‘Calm in Your Eyes’. But they have NOT shared the original track. Instead, playing with the order so core to the industry, they’ve decided to first release a remix of the original. In this case, Glitch and Bass producer Bleep Bloop’s.
To understand why, let’s dive a bit into the backstory of the single itself.
Bleep Bloop. The Backstory
Skunk, OLAL’s sound designer and keyboardist, comments that the bond between both parties has its roots an entire six years back in time. He stumbled upon Bleep Bloop’s set while he was playing at the Shaky Beats Festival in Atlanta in 2018. From then on, he was hooked. A couple of years later, more sets watched, and some conversations started, ‘Calm in Your Eyes’ finally served as the spark for Bleep Bloop and OLAL to join forces on a track.
Unlike many remixes that only use fragments of the original, Bleep Bloop retained nearly all the lead vocals of the single, while infusing the song with his distinctive flair throughout and beyond. The result was so powerful that, instead of releasing it as a secondary remix, the band felt it deserved to lead as the first release.
“Bleep Bloop has utterly transformed our upcoming single with his signature electronic twists, prompting us to premiere the remix a month before the single itself, which will drop on May 10th”, says Skunk.
The Track
Quite following the whole breaking the mould essence of the band, this song was not only sung but also written by Christie, traditionally OLAL’s backing vocalist. Her voice is not only a main focal point of the arrangement from the beginning, but also a pretty versatile weapon of choice for Bleep Bloop. Several glitched-out washes can be heard throughout, playing with effects such as bitcrush, gates, repetitions, and even some sort of source for other signals to adopt her waveform. No wonder why the band loved this version so much. To me, it aligns perfectly with their vision of the project!
Christie McCarthy. Credit: Ryan Monolopolus Listen to Bleep Bloop’s remix of Of Love And Lust’s ‘Calm in Your Eyes’ in full by clicking the Spotify button we’ve provided. Also, be sure to follow the artists on their socials (OLAL | Bleep Bloop). And don’t forget to stay tuned to our page for the latest news and reviews from our beloved EDM industry.
*Cover art painting by Gary Paintin.
The post Of Love And Lust Break The Mould Yet Again Releasing ‘Calm in Your Eyes (Bleep Bloop Remix)’ Before The Single appeared first on EDMTunes.
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