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Caprices Festival Gstaad Returns for a Second Alpine Adventure

Nestled in the Swiss Alps, Caprices Festival Gstaad returns to the mountaintop of Eggli in Gstaad, Switzerland, from September 20-22 for its second edition. This nature-focused festival will offer a unique blend of music, travel, and culture against a stunning backdrop. Known for its exceptional dining, thrilling downhill runs, and sun-drenched terraces, Gstaad will provide an immersive alpine experience for music fans.
Gstaad’s charming village atmosphere, combined with its rich culinary scene—including first-class cocktails and raclette—adds to the festival’s appeal. With only two stages—the Chalet Stage and Yurt—the festival will maintain an intimate setting that fosters a closer connection to the music. Attendees can look forward to high-end sound quality and a lineup that promises unforgettable moments.
Headliners will include Âme B2B Jimi Jules, sure to bring their fresh collaboration of sounds to the Alps, and Blond:ish, who will deliver house and tech vibes straight from Canada. Carlita, a Turkish classical musician and multi-instrumentalist, will offer experimental sounds, while Lee Burridge, the maestro behind All Day I Dream, will captivate with his deep house music.
Accommodation options will range from premium hotels and wooden lodges to private chalets, catering to all budgets. Whether you’re drawn to the music, the breathtaking scenery, or the luxurious alpine lifestyle, Caprices Gstaad will be a must-attend event. Tickets are on sale now.
Full Lineup:
Alex Wann
Âme B2B Jimi Jules
Apache
Bedouin
Blond:ish
Carlita
Guy Gerber
Lee Burridge
Parallelle
Andera
Daaeeru B2B Gianundso
DadaDisco
Daughter In Law
Eli Light
Garance
L&MI
Natalie Wamba (Live)
Olivia
Polarny
Satin Jackets
Sound of Bam
Photo Courtesy of Caprices // Credit: Alex Negulescu
The post Caprices Festival Gstaad Returns for a Second Alpine Adventure appeared first on EDMTunes.
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Techno Powerhouse Eli Brown Releases New Banger ‘Remedy’

Techno’s most elusive sensation once again sends shockwaves industry-wide as he unveils his latest single, ‘Remedy’, arriving today under his imprint, Arcane. The adrenaline-fueled release showcases the dynamite’s technical expertise while unleashing an infectious, unbridled energy that captures the essence of the underground as seen through Eli Brown’s lens.
‘Remedy’ unleashes an atmospheric sonic experience that is anchored by its unrelenting heartbeat and rhythmic refrain. The raw cadence plunges listeners into the track while its hook entrances listeners more deeply into the realms of Eli Brown’s subversive universe. ‘Remedy’ blurs the lines of the veritable phenomenon’s typically sinister sound, sitting at the nexus of darkness and light, fated to mesmerize and revitalize audiences across the globe. Here is what the man had to say on this new release :
Known for his immersive and sonic experiences and dark, dynamic brand of techno, Eli Brown continues to push the boundaries of the genre with distinct and vigorous sounds. Coming hot off of high-octane performances at some of the most prestigious festivals like EDC Las Vegas and Ultra Miami, alongside his latest two-track EP Pyramid Rave with HI-LO, Eli Brown’s infectious energy continues to catch the attention of listeners around the world.
You can listen to Eli Brown’s new single ‘Remedy’ below and on all available streaming platforms.
Stay tuned for more news!
The post Techno Powerhouse Eli Brown Releases New Banger ‘Remedy’ appeared first on EDMTunes.
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Oliver Heldens, David Guetta, and FAST BOY: ‘Chills (Feel My Love)’

Debuted by Oliver Heldens and David Guetta together on the mainstage of the 2024 Ultra Music Festival in Miami – one of the festival’s most talked-about moments – their collaboration with FAST BOY, ‘Chills (Feel My Love),’ at long last sees its release July 26 on the renowned Ministry Of Sound Records.  ‘Chills (Feel My Love)’ is available July 26 across all available platforms.- listen here
Three superstars of songwriting, production, and DJing have come together to provide a masterclass in writing a summertime hit. Gorgeous, breathtaking, and inspiring are words that describe the feeling this bonafide smash exudes on the soul. Not only is this song the soundtrack for months of great memories to come, but it strikes the right balance between grooving on the dancefloor and all other leisurely settings. It’s a true singalong. 
All three artists will be touring throughout the summer – from the clubs to the biggest festival stages – in support of ‘Chills (Feel My Love).’ Fans in Ibiza will no doubt want to be in attendance at Ushuaia on August 19 when Oliver Heldens performs at David Guetta’s legendary “F*** ME I’M FAMOUS” party…simply unmissable. For the most current tour schedule for Oliver Heldens, David Guetta, and FAST BOY, please check the artists’ social media accounts below.     
The post Oliver Heldens, David Guetta, and FAST BOY: ‘Chills (Feel My Love)’ appeared first on EDMTunes.
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Kings Of The Rollers talk ‘Chin Swinger’ EP

Kings Of The Rollers talk ‘Chin Swinger’ EP
Back in 2016 Serum, Bladerunner, and Voltage embarked on a journey that would see them become a powerhouse collective within the world of drum & bass. Eight years on, their collective known as Kings Of The Rollers have shone in abundance, displaying a carefree yet pragmatic approach within the scene – which has seen them rise to the very pinnacle of the genre. Their standout sets full of variational flair and mastery behind the decks have ensured that this trio will go down as one of the very best to grace the electronic dance world. As a result, creating a loyal following that have sold out shows around the globe.
Undeniably, their solo careers have been long and successful ones. Individually, they moderately differ in styles. Acclaimed in the scene by most, their hard-hitting rolling drums and jump-up influenced past features heavily in their DNA. Alongside this is an embracement towards their jungle roots. Creating this euphoric rush throughout the abundance of sets they’ve performed over the years. Having worked with some of the most influential voices in drum & bass such as Inja, Maverick Sabre, Katy B, and Chimpo we have watched some of the finest collaborations the genre has to offer.
With what was a radio slot show that emerged by chance, the three DJ’s had separate slots with Rough Tempo on the same day but decided to join their sets together. The chemistry between the three was evident to see and the trio were sought after within a day of the show ending. Kings Of The Rollers were born. Fast forward eight years and this DJ collective has gone from strength to strength. Performances worldwide, an album, and several releases later, it’s safe to say we have already witnessed a legendary project within drum & bass. In 2018 they signed with highly distinguished label Hospital Records for a spell, marking a moment whereby one of the most prestigious labels within the community wanted to champion a different type of sound. A style that holds such variation, drawing inspiration from many sources throughout the world of music – the likes of which we rarely come across. Some would argue this has paved the way for even more cross sub-genre projects making the community even stronger and more accessible for a wide range of fans.
In what seems like we’ve been starved of regular Kings Of The Rollers sets and productions as of late, we are now entering a new chapter for the legendary trio. Their latest EP release ‘Chin Swinger’ contains two tracks including ‘Chin Swinger’ and ‘War Of The Worlds’. Both numbers are extremely weighty and ideal for the massive rigs up-and-down the country. Close your eyes to these tracks and you’d be whisked away to a 250-cap basement enjoying the melodic yet hefty melodies on a thumping soundsystem. Experimenting on new rave-like flavours in these productions is evident. It’s their first time releasing on Serum’s very own Souped Up Records – could this be the first of many with the label? With an arsenal of projects behind them, and numerous shows in the pipeline for their loyal fans to look forward to, we thought we’d catch up with the boys and look back on what they’ve achieved so far, whilst also finding out more about the ‘Chin Swinger’ two-tracker which was released this month. 
Before we dive into the new releases, let’s to go down memory lane and take a look back at the beginning. 
Serum: It was a radio show that started it all off. We all jumped on an impromptu back to back. We all had a radio slot on Rough Tempo, which at the time was a big deal. There were the three of us with individual slots. I’d played with both Voltage and Bladerunner before so we thought why not just all play together. I’d been working with Bladerunner since 2005. We were kind of like a double act already – some of the biggest tracks we both had were written together. A bit further down the line myself and Voltage started working together too. We enjoyed that set so much, after the show we wondered if anyone would want to book that. The interest in booking us as a trio went crazy after that. 
Voltage: We actually all had the same agent too which was Jon at Urban Agency. So on that front, it made the process even easier. Once we agreed on the name I wanted to get the artwork done and get the brand launched. Two days after that radio show our agent got in touch and wanted to know what we’d done on that show because his phone hadn’t stopped ringing with people trying to book us as a trio. We told him to sit tight because we were about to announce the Kings Of The Rollers collective.  
And why the name Kings Of The Rollers?
Serum: I guess the reason we’re called Kings Of The Rollers is because at the time those very stomping, regimented, kind of beats were the trend and we did jump up with that old-school flavour. A very Bristol rolling-type sound.
Voltage: And we definitely injected our own twist on it. We were all very much on the same page with the 96-97 sound. We wanted to bring that back up-to-date and we definitely weren’t short of ideas. Throughout our solo careers, there’d been a couple of articles before we’d even played as a three referring to us as that. In the end it was pretty easy to agree on the name. We did actually ring up Doc Scott to see if he minded us using the name. He had an EP out under that name. He was also another DJ who was dubbed with the title. Luckily, he completely agreed with the name for us and said he couldn’t think of a better name for our trio. After the launch it went mental for us. 
The term rollers might mean something different depending on who you ask.
Serum: Yeah. What some people feel rollers are now has really changed since we got involved with it. It has definitely become more of a vague term. Some people think it means the beats, some people think it’s those foghorn basses we’re known for. In the little place in time where we came into it, it was something we did that was different to everyone else. We sit in between a lot of genres, the music we make has been pretty varied.  
Voltage: Our sound definitely stuck out like a sore thumb. At the beginning we were just playing what we wanted at the many festival and club night sets we were getting. There was a space in the market for us. The ethos behind it was that we knew there was SASASAS doing their MC-driven project. They were doing huge things. We wanted to show the flipside of it and really push this DJ-driven collective showcasing a range of sounds that heavily featured rollers. 
Looking at how far you’ve come now from a DJ collective, did you expect to be releasing music together?
Serum: The original goal was that it was solely a DJ project. At the beginning we didn’t feel we even needed to be releasing music. What the shows were about early on was us just going at each other on the decks. No real plan behind the sets. Just 3 songs each on rotation and you’d only really know what you were playing once you heard what the person before you finished on. 
Voltage: Exactly. We’d all individually make tracks and the next day play it on the set, surprising one another at all times. We just made it as much fun as possible and the crowd can really see it and that’s a powerful thing. It is nice to come together and make music. It keeps things fresh away from the solo work. 
Joining Hospital must’ve been a big moment for the group. Almost a marker that your unique style was accepted by the wider drum & bass community.
Voltage: Yes, definitely. When we got the call from Hospital Records to make some music it felt really random. We’d all done our own things within different avenues but never touched the Hospital community up until that point in our careers. We definitely brought a new crowd to their events. Myself and Serum have built a big jump-up following over the years and Bladerunner was dominating the jungle sound – they all seemed to really take well to the Hospital events. This new crowd we built was really telling after the first Boomtown we did. They’d follow us everywhere. 
Serum: There was nothing bigger than Hospital within drum & bass at the time. Our music hadn’t really gone to that sort of crowd yet. As Voltage said, we had a lot of bases covered within drum & bass but Hospital definitely felt like new territory. I don’t think they had signed an act like us before so it really did feel like something new was being born at the label. I remember Hospital needed a tune fairly quickly. We finished this tune in a few days and it was ‘Burnt Ends’. It showcased this roller sound but with the huge foghorn-like noise, which reached this new area of the scene. This foghorn movement became such a big thing and caught so many people. Making the tune was a complete accident, but it worked.  
I think it’s safe to say you individually have different styles, but what influences the Kings Of The Rollers sound?
Serum: I think a lot of non drum & bass stuff influences us. We always look out for influences in other styles of music. We listen to a lot of different types of music and try to figure out how to make it ourselves. It’s a good way to avoid sampling issues too. That jungle culture of fusing different sounds is something we really like to use. Going through the history of the genre is something we are passionate about. We are open to anything really. 
Voltage: There’s always something that hasn’t been done. We try to draw inspiration from a wide range of things because that way we are more likely to find the innovation we need for our sound. With longevity comes that bit of know-how when playing in front of a crowd, sometimes the crowd takes to what you’re playing and sometimes they won’t, but after so long we can kind of work it out better. 
And Inja! He’s been a man that’s toured with you everywhere and has essentially been the voice to your many sets.
Serum: It’s just effortless! Every DJ has a few MCs they just work well with. Where you can just play to the MC and they know exactly the pace of the set. It just works with him. When we DJ with him as a group there’s this clear connection. We can all see where he’s going and he can see where we are going. He’s got bars for all of the big tunes we’ve got. We really are all just making it up as we go along though, so it’s great to see everyone believe that these are finely tuned, well practiced, performances. That’s partly down to how great Inja is and the way he can just make things up that goes so well with our mixing. 
Voltage: He’s an insane MC! We started with a few MCs on rotation. We had so many shows coming so it seemed like a decent idea to have a few options. We’d done a couple with Impact, a couple with Carasel, and a couple with Inja. But it just so happened that the promoters and the ravers were all requesting Inja. Every gig that came in was always asking for Kings Of The Rollers and Inja. It really took us no effort whatsoever. It was so easy to work with him. He makes it look like we’ve been practicing together for hours and hours. But it’s just not the case. He’s so attentive and in tune to the way we all mix. He knows which mixes and drops are landing in the rave. He just stores all these moments and executions in his memory. Making everything so cohesive
So you’re all back in the studio together again moving forward? 
Serum: Yes, I’d been building up my label Souped Up quite a bit beforehand. I’ve enjoyed doing that. Now we have ‘War Of The Worlds’ out on the label. It’s a tune we wrote during lockdown. We’ve written a whole album worth over lockdown to be fair. We couldn’t really road test any of these at the time, and then as I said earlier we shifted our attention to our solo production. Now seems like the natural time for us to get back together and put out these new tunes we’ve got.  
Voltage: Yes, and we have started with ‘War Of The Worlds’. We’re all working very effortlessly in the studio together again. Just very natural. We’d just been missing that togetherness in the time we hadn’t been performing with each other as much. When we were constantly playing shows, we’d be together every day and when we weren’t performing we’d be in the studio making tracks. That’s the period we find ourselves in again. When you have that kind of flow you feel unstoppable.  
The ‘Chin Swinger’ EP contains two tracks. Your first release in ages. ‘War Of The Worlds’ is already out as you mentioned. Tell me about why you put this together. And on Serum’s label! 
Serum: We’ve got a lot of different stuff we could’ve released to be fair. I’ve built Souped Up to a point where I feel it can do us justice now. It’s our first time releasing on the label. Having been with Hospital they were naturally the bigger label to release with. I actually started Souped Up at a similar time to when we started Kings Of The Rollers. What my label does really well is rave tunes. So I thought why not put out a couple of club bangers to begin with. Now we’re no longer in an exclusive deal we can release where we want. So it made sense for these tracks to be released on my label. It really is a privilege to be able to pull this off. In the rave these songs really work well I think. On a really good rig they both ridiculously go off. One of the hallmarks of our collective is the big cinematic intros. I think these tracks show that off incredibly well. That’s probably the biggest difference between our individual productions and a Kings Of The Rollers production. 
Voltage: I completely agree with that. We do actually spend a lot of time on the intros. Obviously, there is that big drop culture where everyones just waiting for that moment, and we do deliver on that too. But tracks like ‘You Got Me’, ‘Somebody Else’, and now these releases really do show off our musicality on the intros. I believe the trance type of sound is really landing on the intros, just pushing a different type of sound onto the production really gives it an edge.
And maybe this could pave the way for more releases on Souped Up?
Voltage: Yes, for sure. 
Serum: Definitely. Now we’re not tied down to a deal. We’ve already started to do different things like the release of ‘Paradise’ with Katy B. That was such a different project to what we’re used to. 
How was working on ‘Paradise’ with the iconic Katy B?
Serum: So cool. It was a very different experience to usual releases. We had our tune end up on the TV which was crazy to see. It had started off as a fairly typical tune of ours. But then morphed into something else. An instrumental version worked its way to her through Geenus who manages Katy  – we’ve been working with him for a while. He was looking for tunes for her. We gave him a folder of stuff and she really liked that one. The release also showed us parts of the industry we’d never experienced before which was cool. The sound was still us but it was definitely more of a commercial track, something we’ve not really put out before. 
Voltage: Katy was wicked to work with. She has a mad talent. She’s got an iconic voice, it’s as simple as that. She’s been on so many iconic tunes that when you hear Katy on a record it already sounds sick. It was a nice feeling when she decided to put her vocals down on it as she hasn’t been releasing much – so she must’ve really liked the track.
What’s your take on where the drum & bass scene finds itself at the minute? It has molded into a more global movement. 
Voltage: It’s in a very healthy place and it’s great to see. The sky’s the limit for sure. I guess there’s a risk of over-saturation with certain parts of the scene. I always reference when the scene peaked in 1997 you’d have people walking around with record bags on the off chance there was a set going round someone’s house. Now you have people on TikTok showcasing what they can do, and the power of social media has been able to explode this even more. The competitiveness of the scene definitely pushes people like us who have been doing this for so long. We’re always on our toes. Always trying to be better than what we did in previous years. Whether it be the kids on socials knocking out millions of views online or the heads who’ve been around for decades like Shy FX and Chase & Status still producing anthems, wherever you look in the scene everyones pushing each other. As I said, it’s great for motivation to do better, but it can cause a general over-saturation in my opinion. 
Serum: Yes, I mean there’s a lot of people going to see these drum & bass events, but like anything there’s winners and losers. The variation within the scene has suffered as a result. It can be difficult for us when we put on our nights because we love to show off diverse sounds. With all this competition means sometimes certain things won’t work out but you’ve got to learn how to take it on the chin and move on.  
We’d love to see more Kings Of The Rollers-led shows!
Serum: We haven’t put on a show in a while. We’ve had a year of trying to figure out what’s next. We had shifted back to our solo stuff for a while now because that’s what feeds it all. Our act was primarily based on being a DJ act, just about getting together and playing unplanned sets – having fun. Just so everyone can enjoy us enjoying ourselves. We feel we can offer a full rave experience and play a whole event from start to finish. It’s alway been a battle of our dubs. Sort of like a clash. When we do a show again we really want it to stand out. As good as our last ones. Our favourite shows are one’s where we’re close enough to connect with the crowd. They’re the ones you remember. We love engaging with our fans and getting in amongst it. I guess for our next big shows we’d like to achieve that. 
Voltage:  Yes, our sets are definitely like a clash. Although sometimes I’ll get to the end of a two hour set and feel like I could’ve played another four hours. We have so many tunes between us that cover so many bases. I think we’re coming back at a time that really suits us. People want a bit of personality from us at the rave. We can look back and appreciate that we’ve done the week in week out shows as Kings Of The Rollers, we’ve done the multiple hour sets, and played the big festivals. The next step for us is just trying to play shows that are constantly special for us and the crowd, if that means playing out less then that’s fine. Playing a good old fashioned rave setting is what we love the most. We put so much of ourselves into this brand and have made it become part of drum & bass history – no one can take away that from us. 
Talk me through your iconic Royal Rumble shows. I think they have etched you into drum & bass history. 
Voltage: It’d be mad to look out into the crowd. No matter what part you looked at, you knew their faces. They were just there all the time. When we started doing Royal Rumbles at Studio 338 was mad – that April one was incredible. There were these little moments where I’d stand back and think ‘this is very different’. The production from that event, and the Printworks event, was a notch up from what anyone had done up until that point. No ones got fans like us
Serum: Yeah, that was pretty crazy. The Printworks event got rescheduled so many times we weren’t even sure if clubs were ever going to open at the rate it was going at. Once it began though, it felt like it was ours because we personalised it a lot and the rig was great. We will always enjoy events with the massive rigs because that’s what we make this music to be heard on. 
And can you say what’s next release wise?
Serum: We’ve got a track called ‘Warrior’ coming out next month which has been doing the rounds at the parties. So we’re starting to get things moving along thick and fast. We’re getting in the mix again. Very exciting stuff. 
Voltage: Yes, that’ll be out on DnB Allstars. I feel like we are entering some exciting times. The mad thing is I can actually see where we’ll slot back in within the scene.
Listen to the Chin Swinger EP here.
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Adam Beyer & The Good Men – ‘Give It Up’ 

It’s new music Friday, out today is a Adam Beyer’s remix of a 1992 classic ‘Give It Up’. Originally produced by the legendary duo Chocolate Puma under their alias The Good Men.
Give It Up
Drumcode founder Adam Beyer transforms this classic track into a techno anthem. We are in peak festival season, and it’s safe to say this track lit the Tomorrowland dancefloor on fire. He has been playing his version throughout the summer. The original ‘Give It Up’ reached number one on the US Billboard Hot Dance Club Play Chart back in 1993. This track was named as one of the classic cuts. As if the original track wasn’t a percussive masterpiece, the remix has us knocking our boots off our feet.
Adam Beyer has been having a kick ass summer with his recent collaboration with Sharam, Layton Giordani and Green Velvet on their successful release of ‘PATT (Party All The Time)’. This song dominated the dance floors at Ultra Miami and topped the Beatport Top 100 chart. Let’s hope these are two of the tracks he will play up at Tomorrowland weekend 2 starting today. If you’re not there stay tuned for the live stream timings.
Let us know what you think of ‘Give It Up’. Enjoy festival season and keep up with EDMTunes for all your latest dance music news!
The post Adam Beyer & The Good Men – ‘Give It Up’  appeared first on EDMTunes.
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Listen to Calvin Harris and Ellie Goulding's Walk-On-Air Dance Anthem, "Free"

Calvin Harris and Ellie Goulding's latest anthem, "Free," reinforces the fact that some artistic partnerships are simply destined for greatness.
Their consistent ability to create chart-topping hits speaks to an innate understanding of dance music's role in human catharsis. That competency reaches crescendo in "Free," where Harris' production expertise and Goulding's gossamer vocals form a perfect alchemy and once again turn emotions into danceable gold. 
Much like the duo's prior work, "Free" is a dopamine-fueled escape hatch. With anthemic production and head-over-heels songwriting, the new single, their fourth collaboration, was designed for the walk-on-air rapture of a singalong moment in unison. "When I'm with you I'm free," Goulding sings with lilting falsetto accents.
The enduring success of their partnership proves that some artistic combinations are written in the stars. Harris and Goulding reunited last year to release their soaring track "Miracle," which the former said at the time marked the completion of a "trilogy" of bangers after teaming up for a pair of generational dance anthems: 2012's "I Need Your Love" and 2014's "Outside."
Listen to "Free" below.
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HAYLA's "Freefall" Is an Ode to Love's Most Precarious Moments: Listen

In a daring artistic dive, HAYLA embraces the tumultuous descent of love's uncertainty in her latest single, "Freefall."
Collaborating with Grammy-nominated producer Carl Ryden, her latest release marks a significant step in her journey as she embarks on her debut album cycle, with an exciting Los Angeles debut performance set for this December.
Lyrically, "Freefall" is a rollercoaster that mirrors the emotional highs and lows of a relationship on the brink. The song opens with rhythmic, percolating basslines that set the stage for HAYLA's powerful vocals, weaving a narrative of wanting to let go yet feeling irresistibly drawn back. Her lyrics echo the sobering realization that sometimes, no matter how hard you try, some things are just meant to fall apart.
As the track progresses, its high-energy production beams to the forefront. Melodic synth leads shimmer through a tense mix, like finding fleeting moments of clarity in a rocky relationship. In the crescendoing chorus, HAYLA's voice soars above a melodic techno-inspired sequence.
The intimate song, HAYLA says, was born from a personal place of realization.
"This song's story happens after the love has gone—when the realization hits that no matter how hard you try to make something work you can’t," she reflects in a press release shared with EDM.com. "The chorus, however, asks the question of gravitational pull… maybe in another time it would bring you back together."
"Freefall" is the final solo single to release from HAYLA's upcoming debut album, which she said will release sometime in November. You can find the track on streaming platforms here.
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Listen to Oliver Heldens and David Guetta's New Dance Anthem, an Ode to Unconditional Love

With their new single, David Guetta and Oliver Heldens prove that sometimes simplicity in lyrics can amplify the complexity of their emotion.
The chart-topping producers have joined forces for "Chills (Feel My Love)," a soaring dance anthem that's both familiar and refreshingly innovative. Guetta's signature production layers shimmering synths that spiral skyward while Heldens injects his playful touch with a bouncing bassline.
Meanwhile, Fast Boy's lyrics cascade atop their effervescent production like a tidal wave of emotion, evoking a raw honesty that cuts through the polished veneer of typical dance anthems. His lyrics, though simple, pulsate with a desperate devotion, conveying a plea for connection that will hang heavy in the air of music festivals.
Guetta and Heldens together debuted the track on the mainstage of Ultra Miami in March, and it's been sending shivers down spines ever since.
"When I first heard the demo I knew there was something with 'Chills,'" Heldens said. "In the summer of 2023, I started testing an early demo at some of my shows but felt it wasn't totally right, so I went back into the studio and kept reworking it until it got to a place where it sounded so big and fresh! I then sent it to David, who loved it. He put his touch on the record, and we all finished it up together."
"Chills (Feel My Love)" is out now via Ministry of Sound. Listen to the new single below and find it on streaming platforms here.
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Spotify: spoti.fi/3bbHLGI
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Kitty Amor and AWEN's New Afro-House Anthem Is a Rallying Cry for Sisterhood

With her latest track, Kitty Amor has crafted a musical balm for the soul, reminding us that we find our greatest strengths in our shared humanity.
The London-based DJ and Afro-house trailblazer has returned with "The Answer," out now under her own Mahaba Music banner, a part of Defected Records' family of labels. The empowering single features surging singer-songwriter AWEN, who has collaborated with Cristoph, Keinemusik's Adam Port and other influential dance music producers.
Propelled by a driving beat, the song's sparse yet poignant lyrics paint a vivid picture of climbing hills and the collective catharsis that follows when we reach the top together. AWEN's voice, tinged with both vulnerability and authority, carries us through a lyrical battlefield of suppressed emotions and societal expectations: "All those hours spent on thinking that I had to smile, hide and lie / God knows I tried," she laments.
But thanks to its chorus about the buoyancy of true sisterhood, "The Answer" is more than just a dancefloor filler—it's a timely reminder of the masks we wear and the liberation found in shedding them. As the track builds on that emboldening hook, Amor's potent Afrobeat production transforms its arrangement into a chest-thumping rallying cry for sisterly solidarity.
"The Answer" is the first single to release from Amor's debut album, which is still in development but expected to land in 2025, according to a press release issued by Defected. Check out the track below and find it on streaming platforms here.
Follow Kitty Amor:
X: x.com/djkittyamor
Instagram: instagram.com/djkittyamor
TikTok: tiktok.com/@djkittyamor
Facebook: facebook.com/djkittyamor
Spotify: tinyurl.com/4p5zuc9h
Follow AWEN:
Instagram: instagram.com/awen_lkmusic
TikTok: tiktok.com/@awen_ofc
Facebook: facebook.com/awenlkmusic
Spotify: tinyurl.com/mvdx8vmx
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Melodic Bass Meets Existential Angst in KDrew's Stunning Single, "Where Do We Go?"

KDrew is at his most vulnerable in "Where Do We Go?," his stunning new single out now via Hegemon Select.
The record arrives hot on the heels of the acclaimed producer and singer-songwriter's track "Hysteria," which dropped in late-June. And just like that release, it's a masterstroke of aching, vocal-driven bass music.
Entwining with guitar plucks awash in distortion, the lyrics of "Where Do We Go?" read like a survival guide for the metaphysically stranded. With evocative cosmic references, KDrew's voice surfs atop waves of synthesized chaos, a lone astronaut musing, "Are we in hell or under stars?"
Spoiler: it's both, always. KDrew asks big questions, but he doesn't shy away from the vertigo of it all: "We fought off the antidote that tried to pull us down below / But where do we go from here?" he belts.
Meanwhile, his production is as sharp as ever, swallowing listeners whole and spitting them out into an abyss of bass-powered introspection. The track's melodic drops plunge us into a wormhole of complextro sound design, their frantic synths mirroring the existential angst of its lyricism and leaving a trail of glitchy euphoria in their wake.
Listen to "Where Do We Go?" below and find the new single on streaming platforms here.
Follow KDrew:
Website: kdrewmusic.com
Instagram: instagram.com/Kdrewmusic
X: x.com/kdrewmusic
Facebook: facebook.com/kdrewmusic
YouTube: youtube.com/kdrewmusic
Spotify: spoti.fi/3z0GVm4
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EDC Thailand 2025: Bringing the Magic to Phuket

Electric Daisy Carnival (EDC) is set to reach new heights with its debut in Thailand. Yes, you heard that right! EDC Thailand is officially set to take place at Boat Avenue, Lake Front in Phuket, Thailand, from January 17th to 19th, 2025.
Organized by Insomniac Events, EDC has built a remarkable reputation over the years. Since its inauguration, the festival has consistently ranked among the top three festivals in the world. It’s a must-attend event on many ravers’ bucket lists, known for its vibrant atmosphere, stunning production, and unforgettable experiences.
EDC has spread the magic found under the electric sky across the globe through various international editions. Previous expansions include:
EDC Mexico (2014-present): A vibrant celebration that has become a staple in Mexico City’s festival scene, drawing over 100,000 attendees annually. EDC Japan (2017-present): Bringing the unique EDC experience to the heart of Tokyo, featuring a mix of local and international artists. EDC China (2018-present): Introducing the electrifying festival to fans in Shanghai and Guangdong, quickly becoming a favorite in the region. EDC Orlando (2011-present): A sunny Floridian edition that continues to grow in popularity, known for its energetic vibe and diverse lineup. Now, EDC Thailand promises to bring the same enchanting energy and world-class lineup to Southeast Asia. This is a significant milestone for Thailand, given the country’s rapidly growing festival scene. With festivals becoming more popular and drawing larger crowds each year, EDC Thailand is poised to elevate the local festival culture to an international level.
With the stunning backdrop of Phuket’s Lake Front, EDC Thailand is set to be an immersive experience filled with music, art, and a sense of community that only EDC can provide. 
As the countdown to January 2025 begins, excitement is building for what promises to be a landmark event in Thailand’s festival landscape. Whether you’re a seasoned EDC veteran or a first-time raver, EDC Thailand is set to deliver an experience like no other.
Stay tuned for more updates and announcements as the festival approaches, and get ready to join the global EDC family in celebrating music, art, and unity under the electric sky. To stay up to date, visit the official website, Facebook page, and Instagram.
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New EDM Friday: Calvin Harris, David Guetta, Oliver Heldens, Don Diablo & More

Calvin Harris & Ellie Goulding – Free
With previous singles ‘Miracle’, ‘Outside’, and ‘I Need Your Love’, there’s no doubt that Calvin Harris and Ellie Goulding have proven to be a match made in heaven. Now continuing that streak of hot releases, the pair of artists unveil ‘Free’, an incredible vocal driven summer anthem that will have you hooked instantly.
[link] Oliver Heldens, David Guetta & FAST BOY – Chills (Feel My Love)
Debuted by Oliver Heldens and David Guetta together on the mainstage of the 2024 Ultra Music Festival in Miami – one of the festival’s most talked-about moments – their collaboration with FAST BOY, ‘Chills (Feel My Love),’ at long last sees its release. Gorgeous, breathtaking, and inspiring are words that describe the feeling this bonafide smash exudes on the soul. Not only is this song the soundtrack for months of great memories to come, but it strikes the right balance between working on the dancefloor and all other leisurely settings. It’s a true singalong. 
[link] Malóne, Sounds Of Rituals, Jay Wheeler – Cuando Fue
[link]
Don Diablo x Lufthaus x Sofiya Nzau – Where Do We Come From

Honorable mentions:
Adam Beyer & The Good Men – Give It Up
Alok, INNERVERSE & FREY – Allein Allein
Andrew Rayel & Tensteps – I Need Some Lasers
ARTY feat. Jay Sorrow – In My Head (Club Mix)
Brooks – Monster
Burak Yeter & Le Twins – MOON
CID vs Spankox – To The Club
Dennis Sheperd x KITA – Outer Space
Dimitri Vegas & Like Mike x Bassjackers – Axel F
DJ Isaac – Rise
Dr Phunk – Forever Young
Dubvision – Another World (Album)
Eli Brown – Remedy
Hayla – Freefall
LTN pres. Ghostbeat & Adara – What Does Forever Mean?
Matoma & RUFUS – I Love You, Bye
MATTN & Mairee – Girlz Wanna Have Fun
Matt Nash – Dreaming
Mike Williams ft. Joe Jury – Alice
Miss Monique – Every Breath (feat. braev)
Nicky Romero, Öwnboss & Oaks – Love You for the Summer
Porter Robinson – Smile! 😀 (Album)
Seven Lions & Dabin ft. JIM – Ones I Used To Love
SMACK & JKRS – Unstoppable
Sonny Fodera, Jazzy & D.O.D – Somedays
Subtronics and Wooli – Hallelujah
Syn Cole – Crazy
Timmy Trumpet & GRAVEDGR – Drumroll Please
Tony Romera – LFO
Tungevaag & KRAIZ – Seven Nation Army
Ummet Ozcan – Lotus
VIZE, Tokio Hotel & FOURTY – Durch den Monsun
W&W x VINAI x Gabry Ponte – Axel F (Take It to the Floor)
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Pretty Lights Announces Rare Arena Concerts In Las Vegas

Six years ago, Pretty Lights dimmed. Now, after his surreal comeback flipped the switch back on, he's returning to Las Vegas for a pair of epic arena shows.
The influential electronic music producer stepped away from the industry and had remained out of the public eye since the summer of 2018, when he performed for a sold-out crowd at Colorado's Red Rocks Amphitheatre. With five years of pent-up creativity, he emerged with a momentous tour, "Soundship Spacesystem," and officially returned to the stage in August 2023.
Pretty Lights, whose real name is Derek Vincent Smith, has now announced a rare Vegas doubleheader as part of his "Soundship Spacesystem 2024 Check Your Vector Tour." The concerts are scheduled for Halloween weekend, October 25-26.
c/o AEG Presents
The twin bill in the nation's entertainment capital signals more than just another tour stop. For longtime fans, these shows offer a chance to reconnect with Smith's signature sound. And for newer audiences, it's an opportunity to experience firsthand an artist who helped shape the art of live electronic music performance.
Taking over the illustrious MGM Grand Garden Arena, Pretty Lights will command the same stage as The Rolling Stones, Madonna, Elton John, Bruce Springsteen, Paul McCartney, Beyoncé, Lady Gaga and countless other music icons have in years past. The arena has also played host to a number of boxing's most legendary fights, including the infamous 1997 championship bout in which Mike Tyson bit off a chunk of Evander Holyfield's ear.
An artist pre-sale will launch at 10am PT on Tuesday, July 30th. In an effort to mitigate bots and resellers, it will only be accessible via a password sent by Seated, according to AEG. Prospective ticket-holders can sign up for the pre-sale on Pretty Lights' official website to retrieve the password, which will be delivered via SMS and email 20-60 minutes prior.
Follow Pretty Lights:
Instagram: instagram.com/prettylights
X: x.com/prettylights
Facebook: facebook.com/prettylights
Spotify: spoti.fi/2GkoC5A
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Who The Hell Are Full Spectrum?

D.I.Y collectives and figureheads have long been integral to movements that drive changes in taste. They often invite exploration of more open-minded views, breaking the monotony that can, unfortunately, creep into scenes from time to time. In a post-pandemic world where any rule book that once existed has been tossed aside, the nightlife landscape of 2024 feels entirely different. This shift has been so challenging for many music industry workers that it has led to an unprecedented rate of nightclub closures in the UK.
Given this context, it’s heartwarming to see individuals coming together to create a valued and personal experience for others, driven purely by their love for it. One such Bristol-based collective, made up of core members Ffi, Kate, Al, Sal, and Row, exemplifies this spirit.
Known as Full Spectrum, this forward-thinking collective delivers excellently curated nights, delving deep into the dance music world with offerings from well-established artists and true underground names alike—from scene veterans to those just starting out. We caught up with the crew a few weeks back to discuss their birthday celebrations, ethos, and a refreshing mindset that truly deserves appreciation.

Let’s start by running through who’s who and what they do within the brand…
Ffi: We realised quite quickly that we are very collaborative. We wouldn’t say that one person has one designated role. We all lean towards our own skill sets. Kate does a bit more of the art, Al does a bit more of the tech, it is all very collaborative. If someone has an idea, we will all just pile into it. There are four of us sitting here right now, but there is a fifth member; Row who is not here as any day she is going to be giving birth to the first Full Spectrum baby. We are so unbelievably excited for this new chapter in her life and in our lives. We just wouldn’t feel right sitting here without making sure to mention her.
This feels really clear-cut. Does that mindset to the operation come from previous experience in the industry?
Al: I’ve always managed to find a project to involve myself with. When I first moved to Bristol I was part of a drum and bass collective called Fuck About. We did a mix series and put on a couple of nights and then after that, I became more involved with the running of another night called Collective. That’s where I met all the Sofa Sound crew who I regularly still help out. Mostly my experiences are with the actual running of events on the night. 
Ffi: I worked as a club promoter for multiple venues. It became apparent quite quickly in the drum and bass scene just how wrong things felt for me. That’s why we started Full Spectrum. Ultimately we all met from going on nights out and then during lockdown, we all had the time to digest what we wanted to change about the scene. We didn’t even realise how when we were in the swing of club land being open pre-pandemic, how white-cis-male-orientated nights on the circuit are. I think having the time in lockdown, especially with BLM at the forefront and a lot of promoters saying that they were going to be more inclusive in the future, but then falling short, we took stock of how backwards it all actually is. We also realised the opportunity in lockdown to educate ourselves. So when we started, we didn’t really see ourselves as promoters. I’d say we were very much activists I suppose. 
With that being said, how did you all come together to form the collective?
Kate: Sal and I don’t really have that background in events, we wanted to do something that was a bit different. We wanted to start from scratch with what we were doing with Full Spectrum. We didn’t want to just follow moulds or patterns that were already there, because we didn’t know what they were. Our background is more as activists.

Sal: That’s where we come from. That was our angle. The DIY aspect of it too.

Kate: Just trying things out and not being afraid to put yourself out there and make a change. 
What’s the unifying message for the brand that connects you all together and with the attendees at your nights?
Kate: For us, it is all about acceptance. We want to create spaces that are welcoming, supportive and safe for both artists and ravers to feel confident in expressing themselves. Being creative in an environment without fear of judgement. We want to push back against all forms of gatekeeping and exclusionary practices and barriers to entry that make so many people think that this scene isn’t for them. As a friendship group that’s very much how we operate anyway. We’re caring, we’re non-judgmental, and we’re open to anyone who shows that back to us. It really is just about having a safe space where people feel free to be themselves. We try to make each night as inclusive and as diverse as possible. I think you can see that reflected in the crowd that come to support. We put that energy out there and because we do that in a fairly friendly and non-confrontational way, we feel that a lot of people that come bring that energy back to us.
How do you find having this ethos present whilst still striving for the progression of the brand? 
Sal: I think it’s just something that happens to come really naturally. It’s not something we’re trying to shoehorn into an existing collective. It’s what we came from and it’s the foundation of everything and how we started. Having that ethos guides every decision we make and every discussion we have, whether it’s to do with Full Spectrum or just as friends anyway. It’s a driving force and it develops organically and progresses that way. I think it attracts people. We’ve found new talent through just being ourselves. 
I noticed that you’ve not opted for any headliners for your 4th birthday celebration at the end of July. Is this part of that forward-thinking ethos?
Kate: There has been a bit of a shift this year in how we’re addressing putting on nights. We started off booking bigger artists because that’s what we felt we should be doing. I think when we started, it was important to us to show that we were serious about the kind of collective we wanted to be and we were serious about pushing this message. We didn’t just want this to be a flash in the pan- throw a few little parties and then it never really progresses. We wanted to throw ourselves into it. Now we’re entering our fourth year and we’re more established, we’re thinking more about longevity and how we’re going to be able to keep doing what we’re doing in what is quite a challenging environment. When it comes down to us, first and foremost- we’re ravers. We recognise the challenges for ravers in terms of the money that they have. For us, it’s important for us to throw the best possible party that we can for the people and for us to enjoy. 
Right now, it’s really not value for money for ravers to see one headliner where they spend £15 at a 200-cap venue when they can see ten headliners play for £30 at Motion or something bigger. If we’re booking smaller artists we can book so many more. I guess we realised the people who come to our events are truly coming through the door to discover something new. That is why people show up to our events. Without having to pay a headliner fee, we have so much more scope for introducing new artists and getting more people involved. Ultimately, that is what we’re all about. It’s not that we won’t ever go back to booking headliners, we just need to make sure we’re booking them for the right reasons and it’s going to be something special.

Not being repetitive is important for us too. We want to be able to give these opportunities to as many people as possible. One of the reasons we started wasn’t because we couldn’t believe they [other promoters] weren’t booking all of these queer, black and female artists that we knew all about. It was actually how few queer, black and female artists that we knew all about. So it’s been an educational process for us. Now that we know so much more, we have so many more people that we feel we should be making space for. It feels like narrowing it down should be hard, but it’s not.
It’s also to be greatly appreciated that you find ease in moving around Bristol’s network of venues to provide everything from day-time parties to all-night sweat box raves. One such relationship to be championed is the one with To The Moon in Old Market, can you talk to us about how this partnership came about and why it’s so important to the brand?
Al: Well funnily enough, it’s actually my sister’s place. Big up to Jem and Chris. That’s my brother in law. He does such a good job of running all the events there. They’ve been open about eight years now and they’ve just turned the place into such a warm and welcoming venue. We’ve met so many amazing people through that who all share the same values as Full Spectrum. Chris does a really good job of a wide range of events on the roster. They have comedy nights in the week or folk music and poetry, and then they have space for us to do our open decks. They also do a liquid monthly event called Liquid Lunar and that’s how a lot of us make friends. That’s really the big thing, it’s all come from them opening that space its just been a great place to bring like-minded people together. 
Kate: All three of the venues that we regularly have events at The Plough, The Exchange and To The Moon all are venues that absolutely share our ethos. They share our values and they’re community places that go out of their way to promote diversity, inclusion and activism within the community. They’re all big on that and that’s why we that’s why we continue to work with them.

Ffi: I think it was really important for us as well with Old Market being the queer capsule of Bristol- it just reflects the audience we get. It’s  details like that do help to be more encouraging of our message.
Al: It was a nice idea to do a little pre-party at To The Moon. People could come along if they were coming along on their own. They could come and meet some people and get acquainted with the environment. To be able to actually talk in the club, it’s more sociable. We did it once and thought we should do this every time, plus It’s walking distance to The Exchange; it’s a great partnership. 
There really is an inoffensive in-your-face family affair vibe to your parties. How do you achieve this for your attendees?
Sal: I think naturally we are really sociable. We all like making friends. When we’re at a rave we will probably make some new friends that we’ll add to our group for whatever event we’re at. I think that’s organically grown from that. I don’t think I personally even really realised what effects it would have put on a diverse and inclusive lineup because it attracts a really diverse and inclusive crowd. It brings people who want to make friends and want to get involved or just create a really nice atmosphere. It’s all blossomed on its own in a lovely way, probably because of how we approach raves and socialising.
Ffi: When I first moved to Bristol before I met these lot I found it quite hard to meet people who were like-minded in the scene that didn’t want that weren’t lads at raves with their tops off. That’s why for me, having a space to genuinely make friends beforehand is so important. Online community groups and stuff are great for promoting yourself and having that online connection, but I think you just can’t take away from actually having the opportunity to just have a conversation.

Kate: We’ve chosen venues and we do things in venues that aren’t exclusively drum and bass or aren’t primarily drum and bass venues and that’s because we want to bring new people into drum and bass and jungle. We want to show that drum and bass and jungle don’t have to be that slightly laddy culture. By doing it in places that have a different crowd already where we’re performing to a crowd that might not necessarily have chosen drum and bass but they’ve chosen the venue and we’re showing them how we can fit in. 
You’re not seen in partnership with other brands too much, if at all. Is this a conscious decision or just something that’s fallen into place?
Ffi: We’ve got a very clear set of values and if we want to if we collaborate with a brand, we want to know wholeheartedly they’re already putting in the work to be more representative. We’ve been presented with opportunities in the past to work with large brands, however, it became apparent quite quickly that they wanted to work with us as a short fix to fulfil their diversity quota. We’re not here to fix people’s problems or to fix how they run their organisation. They need to be doing that themselves. Don’t get me wrong, we’re open to working with collectives with like-minded principles but I think most importantly; it can’t feel forced and it has to feel organic. I think the last thing we’d want is to go into partnership with someone and then after they have worked with us, they revert to not being inclusive.
Are there brands that you would like to work with in the future?
Ffi: The Mothership, Sisterhood, Swhsh, Headspace, Optimystic & Friends, Elysium, PTRNS & Bristol Mix Sessions. Obviously EQ50 would be amazing. We can’t do this interview without shouting out EQ50. Furthering that we are open to working with a plethora of brands, but I think that just needs to be a really open and honest conversation about our expectations of if we are going to work together. What are we aiming for?  We are completely open to working with other people. It’s just unfortunately, we just have had some experiences where it just hasn’t felt truthful. 
How do you decide who you’re booking and adding to your ever-growing resident artist roster?
Kate: For us, who we book often comes back to who is already playing an active role in supporting diversity within the scene. We put that ahead of any ideas of online clout or popularity or how people are presenting. We want to find artists that maybe wouldn’t necessarily find a platform in other spaces. That’s really exciting for us. We didn’t start out as a collective because we were the diverse DJs we wanted to see on lineups. We started out because we wanted to support the principle of diversity in drum and bass and so we love to bring in anyone who has that same mindset and has those same principles. Whilst we promote queer, black and female artists, we do also want to make space for cis white men who believe as strongly and inclusion and diversity as we do. That’s why we have our mix challenge and why some of our closest allies have been in some gorgeous B2Bs. We really don’t want anyone to think that because it’s not about them, it’s not for them. For us, it is always been about backing others and we want Full Spectrum to be a home for anyone and everyone who gets that. Those are the main things that really drive who we choose.
Some people who have started at your open decks nights have then gone on to have places on nighttime paid events; such a real attitude to nurturing your own local talent. Is this natural behaviour or something that’s developed and grown over time?
Kate: It’s just what we’ve always really wanted to achieve. That’s why we try and have such as broader spectrum of nights as we’re physically capable of doing. Having people come to the open decks, people who are open to coming and playing half hour at a small venue for us shows us a lot about who those artists are and what their attitude is within the scene. It’s just a great way of us getting to know them. It’s so much more important to us who they are as people than necessarily the tunes that they play. What we’ve learned from the open decks is that so many people have so much talent. The scene is brimming with talent and quality selectors that we couldn’t possibly choose just based on that.

Ffi: I think leading on from this its access to equipment and the opportunities to do so has proven to be so important. For example, at our last event at The Plough we had Haydee perform and it was her second time playing a digital set. Neon Pumps only started DJing last year. Asha Binx; it was her first time on CDJs. It’s just so important to be able to create the spaces for people so they can just give it a go.
Where do you see the collective over the next 3 years? Are you looking at taking the collective outside of Bristol?
Sal: We have so much going on here in Bristol at the moment but maybe if the right thing presented itself we consider it. Continuing to foster new talent, and finding new people. There’s an endless stream of people ready to get out there. They just need that opportunity. It might be perhaps we can do workshops and set up networking events to help people develop those skills or the confidence to be able to go out and do things and meet each other and share information and help each other. 
Kate: It’s not like we aren’t ambitious for the brand. We’re ambitious for the message and that comes first. If we get opportunities to spread that message, then we will take them, but we’re not looking to push ourselves to become massive. We just want to spread the ideas that we believe in. 
The battle of inclusivity for all and for this not turning out tacky is something that feels increasingly at the forefront of brands these days, how do you navigate this in 2024? 
Ffi: I think for us its because we’ve all come from a DIY background the foundations of it have made it easy for the message to come across, but I think in terms of navigating the landscape in 2024, people that really love the music can spot a gimmick from a mile off. Promoters can put out a campaign that will fix something for a month but then the hype falls off. We want to make sure what we’re saying and what we’re doing actually is serving its purpose we don’t want to miss the mark with our output.
Sal: I guess there’s a point with a lot of brands that during the pandemic made all these pledges but I went to a label night recently and it was a great night, but again; it was one woman on at the beginning and then and that was it for the whole day. It makes me think what really have you done? What have you changed? 
Kate, you mentioned that it was you that does the artwork for the collective. How do you find the inspiration for what you create and still work it to be in keeping with the brand? 
Kate: I come from an art background but I never really tried anything like this before Full Spectrum. I think maybe when I started out I tried to fit in more with the mould of what was out there already and struggled because I am not a natural on the computer. A lot of the art is me trying to make as much by hand as possible because that’s where my strengths lie. That I guess suits our DIY principles and our handmade personal touch. A lot of the inspiration comes from our lovely logo that was designed by my friend Lisa Williams. That was loosely based on the old TV waiting screen, which I guess was fairly apt for those pandemic years. That has led to lots of imagery of old, broken and obsolete tech, which is probably some kind of physical manifestation, breaking down the old to make space for the new. Mostly we like to keep it varied. We host such a range of different nights with all kinds of drum & bass being played, it wouldn’t seem right to present it all in the same way. We just want to create individual pieces that suit the vibe of the place and suit the vibe of us.
Outside of drum and bass, what do you all listen to? 
Sal: We all have quite varied music tastes, although this is what has brought us together and continues to keep us together as well. I’m enjoying some hard acid techno at the moment.

Kate: Me and my husband Larry come from DIY punk background. I listen to quite a bit of hip-hop as well.

Al: I’m really bad, I don’t really listen to anything that isn’t drum and bass. There’s just so many styles for every kind of mood you’re in.
Ffi: I’m a heavy metal and emo girl through and through, but my introduction to drum and bass was Enter Shikari. I gravitate towards musicians with a more political message anyway. 
Kate: I definitely think there’s scope within drum and bass for a more kind of political message. I think that’s definitely something that we appreciate in other music that doesn’t necessarily come through as much in drum and bass.
Do you think you’d showcase some of these non drum & bass styles at future events? 
Kate: Possibly not although one of the reasons or inspirations behind starting Full Spectrum is a punk collective called Eat Up. Who teach people to play musical instruments and form bands. They run workshops and then they put on nights at The Exchange with bands that have been made through these workshops. We have at points talked about doing a collaboration that might be a punk evening, followed by a night of drum and bass.

Sal: We have had people playing other types of bass music at our events before.  Someone might have opened with a bit of garage or some 140. We probably will return to do it again at some point but I think we’re all probably quite keen to keep Full Spectrum as a drum and bass and jungle label. Primarily because then people know what they’re coming for. People know what Full Spectrum is and what to expect. It is the one genre that we all really enjoy together as well. So even just for our own personal enjoyment of it, that’s a good enough reason.

Ffi: I think the imposter syndrome would really kick in if we started doing disco events.
Anyone you’d really love to have come through for an event? 
Ffi: I suppose that’s the beauty of what we do. We don’t really know who’s going to come through. We like to surprise ourselves. In terms of future headliners, we couldn’t possibly say because then that would be ruining the surprise. 
You’ve done specially curated a mix for the interview. Can you just share a quick thought on how it came together? 
Ffi: We have a special announcement for this and would like to welcome a new member Chaand who has been a big supporter since the beginning and we’re so happy he’s joining in helping spread our message. The mix is a reflection of all of our styles and we hope you like it!

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Kasablanca Announce Debut Album & Accompanying Tour

Kasablanca just announced the release of their debut album, Higher Resolution (Side A), set for October 2024, along with an album tour to kick off right after. If that wasn’t enough, they also gifted us with the first single off the album, a collaboration with Nordic duo anamē, entitled ‘Daydream.’  
Originally debuted on the Anjunadeep 15 mixed compilation in May, ‘Daydream’ has been a highly requested track from both acts, with many fans excited for the team-up of two rapidly rising heavyweight acts on the Anjunabeats roster. Featuring vocal samples from UK songwriters Harvey Kirkby and Rhys Kirkby-Cox (aka Everyone You Know), the summery melodic house track is a fun deviation from Kasablanca’s typically darker techno sound. Anamē debuted the single in June at Anjunadeep Explorations Festival in Albania, testing it out across several days of crowded dance floors.
The electronic duo has been on a hot streak in recent months with their Lane 8 collaboration ‘Remission‘ in April, their solo track ‘Terminal Feeling‘ in June, and now this collaboration with anamē. This pivot came after lead singer Micky started the year off with a hiatus from music after a cancer diagnosis in late 2023. With a massive return to full form alongside the aptly-named ‘Remission’ release, Kasablanca has since been busy introducing new Citizens to their epic live show at mainstages around the world, including Ultra’s Miami, Peru, and Chile; EDC; the Brooklyn Mirage; Bonnaroo and many more throughout the summer to come including their first European tour before the album release.
Equally as busy on the road, Scandinavian duo anamē are also playing out the new collab across their extensive tour. Finishing up a massive 2023 with their debut album Beautiful World and the album world tour reaching dozens of dates, anamē still have plenty more to come, with Summer shows lined up all across North America, Europe, India, and Australia.
‘Daydream’ is set to release tomorrow (July 26th) on Anjunabeats. You can pre-save the track here.
The post Kasablanca Announce Debut Album & Accompanying Tour appeared first on EDMTunes.
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Shaq and Son Myles O’Neal Make History at Tomorrowland 2024

In a thrilling surprise at Tomorrowland 2024, Shaquille O’Neal, better known in the music world as DJ DIESEL, and his son Myles O’Neal, who performs under his own name, unveiled their new double-act, the O’Neal Boyz. The father-son duo announced their unexpected collaboration during a live interview with Tomorrowland’s One World Radio, just moments before taking the stage at the festival’s intimate Rave Cave. This marks history as the first father/son duo at Tomorrowland.
The Rave Cave, a unique venue nestled beneath the brick arch of a bridge, provided a distinctive backdrop for the O’Neal Boyz’s debut performance. Fans were treated to a high-energy set, showcasing the dynamic synergy between the former NBA legend and his son.
The O’Neal Boyz’s appearance at Tomorrowland marks a significant moment for both artists. DJ DIESEL, known for his powerful presence both on and off the stage, continues to push the boundaries of his musical career. Meanwhile, Myles O’Neal is making a name for himself in the DJ scene, bringing his own style and flair to the decks.
Their collaboration at one of the world’s most prestigious music festivals highlights the fusion of their individual talents and the strong bond they share. The announcement and subsequent performance were met with excitement from the crowd, setting the tone for what promises to be an exciting future for the O’Neal Boyz.
As Tomorrowland 2024 continues to captivate audiences with its diverse lineup and immersive experiences, the debut of the O’Neal Boyz stands out as a memorable highlight, showcasing the unique blend of family ties and musical talent.
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Tiësto and Alana Springsteen's World Is On Fire In Smoldering "Hot Honey" Video: Watch

With his new single "Hot Honey," Tiësto proves that even in the realm of electronic dance music, there's room for a little Southern comfort.
He's joined forces with buzzing country artist Alana Springsteen, who is signed to Columbia Records/Sony Music Nashville, to infuse his anthemic sound with a touch of twang. "Hot Honey" emerges as a genre-defying confection where his pulsing beats intertwine with the dulcet tones of Springsteen's vocals, which explore the intoxicating allure of a love that's as fleeting as it is intense.
Springsteen's lyrics ooze with both desire and disappointment, her words dripping with the titular "hot honey"—sweet yet stinging. Meanwhile, Tiësto's propulsive production entwines with her emotional storytelling, much like the tempestuous push and pull of the relationship she's describing.
All said and done, "Hot Honey" is a bold step for Tiësto, who continues to prove that even the most tenured of dance music veterans can find new ways to surprise and innovate.
"I've always been drawn to fun/party side and the authenticity of country music, so when I had the opportunity to team up with Alana Springsteen to make a country dance song, I was super excited," Tiësto said in a statement shared with EDM.com. "Alana has an incredible voice, which is precisely the texture this song needed, and I respect her abilities as a songwriter as well as her artistry. This is a different sound for me but as you know by now, I like to explore and am inspired by all different genres when making dance music! I hope you enjoy this song as much as we did creating it."
"How often do you get the chance to collaborate with one of the most iconic DJs of all-time?" Springsteen added. "When Tiësto reached out to see if I'd want to get creative with him on 'Hot Honey,' I saw it as the most invigorating opportunity. I've always loved exploring sonically and being able to do that with dance music while staying true to my country roots—that's what excites me about being an artist and songwriter."
Watch the fiery music video for "Hot Honey" below and find the new single on streaming platforms here.
Follow Tiësto:
X: x.com/tiesto
Instagram: instagram.com/tiesto
TikTok: tiktok.com/@tiesto
Facebook: facebook.com/tiesto
Spotify: spoti.fi/3dVvySo
Follow Alana Springsteen:
X: x.com/alanaspringstn
Instagram: instagram.com/alanaspringsteen
TikTok: tiktok.com/@alanaspringsteen
Facebook: facebook.com/alanaspringsteen
Spotify: tinyurl.com/scbpm9sb
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DEF Reveals Lineup for New 360° Stage at 2024 Suwannee Hulaween Festival

If there's one thing Suwannee Hulaween is known for, it's the festival's ability to raise the bar with new experiences year after year.
Just when we thought the camping festival's captivating Spirit Lake area—which is loaded with mesmerizing art installations and jaw-dropping performances everywhere you look—couldn't get any cooler, its organizers have revealed a collaboration with DEF on a brand-new stage.
This year, the woman-led collective will debut their 360° "OFF LIMITS" stage at Hulaween to showcase the sounds of the underground. DEF in 2022 was named the best YouTube channel in EDM.com's list of the year's best industry leaders.
"We are excited to officially welcome DEF to the Hula Fam," said Michael Berg, founder and co-owner of Hulaween, in a press release. "Their unique curation and thriving community will be the magic that helps launch our new 360 experience OFF LIMITS at Spirit Lake. Their long standing history of attending Hulaween gives us great confidence and excitement in what’s to come."
From drum & bass and UK garage to techno and house music, the stage will highlight an array of genres and is designed as an intimate ode to underground dance music. Its inaugural lineup features Will Clarke, Taiki Nulight, Bou, EAZYBAKED, Justin Jay b2b Nala and Manila Killa and Hotel Garuda's CHROMEBODIES, among other artists and surprise guests. The stage will also include booming Funktion-One sound and Incendia's fire effects.
View the original article to see embedded media.
"This is truly a full circle moment for us," DEF added. "Our DEF team, friends and fans have all been a part of the Hulaween family for nearly a decade and now we have the opportunity to merge both worlds. We’re so excited to bring DEF energy to the magic of Spirit Lake, and showcase some of our favorite artists from across the world. We used to joke about a DEF360 stage at Hulaween and now it’s actually happening."
Beyond the "OFF LIMITS" stage, Hulaween's beloved Spirit Lake venue will include a massive spread of mind-melting art, including the festival's signature visual projections on the lake, large-scale sculptures and thespian performances.
Aaron Bradley
The festival's stacked 2024 lineup includes Tipper, Chris Lake, Chase & Status and many more. Plus, Grateful Dead co-founding member Bobby Weir will join The String Cheese Incident to debut a new collaborative alias, The Bobby Weir Incident.
Suwannee Hulaween will run from October 24-27 in Live Oak, Florida. Head here for tickets and more information.
FOLLOW SUWANNEE HULAWEEN:
Facebook: facebook.com/suwanneehulaween
Instagram: instagram.com/hulaweenfl
X: x.com/HulaweenFL
FOLLOW DEF:
Website: defineeverythingfuture.com
Facebook: facebook.com/defineeverythingfuture
X: x.com/wtfisdef
Instagram: instagram.com/defineeverythingfuture
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Look Inside Chris Lake's Surreal "Black Book on the Pier" Events at Brooklyn Army Terminal

Sunshine, cool breeze and a big city skyline made for one unforgettable weekend in Brooklyn for Chris Lake's Black Book Records.
The British superstar showcased the sounds of his beloved label on July 19th and 20th, transforming the Brooklyn Army Terminal into a house music haven. Fans there were treated to two days of pristine house selections on a waterfront stage with panoramic views of New York City's iconic skyline.
The first of Lake's two curated lineups featured Andruss and Jojo Lorenzo alongside a special performance by Lake's Anti Up partner-in-crime, Chris Lorenzo. The second evening featured the music of Harry Romero and Cole Knight as well as a special guest appearance by the legendary Green Velvet. This incredible cast of DJs provided an outstanding showcase of Black Book's ethos.
Check out a photo gallery from "Black Book on the Pier" below.
Eric Cunningham
View the 16 images of this gallery on the original article
FOLLOW CHRIS LAKE:
X: x.com/chrislake
Instagram: instagram.com/chrislake
TikTok: tiktok.com/@chrislake
Facebook: facebook.com/chrislake
Spotify: spoti.fi/3auKRRk
FOLLOW BLACK BOOK RECORDS:
X: x.com/blackbookrecs
Instagram: instagram.com/blackbookrecords
TikTok: tiktok.com/@blackbookrecords
Facebook: facebook.com/blackbookrecords

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deadmau5 Confirmed for Special Open-Air Summer Show at the Momentary

Fresh off the release of a massive EP, electronic music icon deadmau5 is now landing in Bentonville, Arkansas for a special summer performance.
Taking over the stunning Momentary Green, deadmau5 will land in Arkansas on August 24th to light up the venue's "Live on the Green" concert series on the Coca-Cola Stage. The sprawling, picturesque venue is the perfect host for his transformative live show, offering an intimate open-air experience. Tickets are are on sale now.
Fans attending the rare show will hear music from some EP, which deadmau5 released last week. The stunning project includes the first single released in 10 years from TESTPILOT, his shadowy techno alias.
c/o Momentary
The Momentary opened in Northwest Arkansas in early-2020 as an extension of Crystal Bridges Museum of American Art, serving as a hub for contemporary visual, performing and culinary arts.
The renowned team behind the Momentary launched the 2024 "Live on the Green" series in April with a performance by Jon Batiste, and has since featured John Legend and Portugal. The Man, among other contemporary music superstars. Forthcoming shows will include the likes of TLC and Shaggy, Gary Clark Jr., Omar Apollo and deadmau5's Kx5 counterpart, Kaskade.
You can find out more about deadmau5’s headline show at the Momentary here.
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EDM.com Fresh Picks: Cryptochronica, Boombox Cartel, Tisoki & More

The electronic music community is constantly evolving with new sounds inspired by the scene of yesteryear. EDM.com's weekly Fresh Picks series discovers new music and unearths influential tracks that help define the underground dance scene.
You can find the below tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here.
EDM.com Fresh Picks
Cryptochronica - Kill The Beat
Boobox Cartel, Nessly - Back Again
Bailo, Typhon - SICKA!
KLAXX - TUNNELVISION
Moody Good, Hamdi - Badman Season
Trail, Monty - Wraith
Tisoki - TURN ME UP
Slang Dogs - ill Intent
Nitepunk - Better Off (feat. Yianna) - msft Remix
Ahadadream, Prya Ragu, Skrillex - TAKA (PEEKABOO Remix)
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Rezz Reflects After Closing Tomorrowland With deadmau5: "Makes Me Believe Anything I Want Is Within Reach"

The collaboration between Rezz and deadmau5 reached new heights over the weekend, when they closed out Tomorrowland's Freedom Stage.
"If you told me that when I was 16 I’d laugh and say theres no chance," she said on X prior to the festival.
The duo's camaraderie was palpable onstage as they performed together under their collaborative alias, REZZMAU5, at the world's largest electronic dance music festival. Jaw-dropping visual production complimented their hypnotic set, which brought the crowd's energy to a peak.
Reflecting on the dream performance in its aftermath, Rezz couldn't help but rhapsodize about her ongoing collaboration with deadmau5, a prevailing icon of electronic music.
"Just 5 years ago I wrote in my notes pad 'make song with deadmau5' & I remember when I wrote it, it felt unrealistic even though my own career had already found success— it was a far out goal I’d plan to strive for," she wrote. "Crazy to think we have made and released 2 tracks and have played shows together now. Makes me believe anything I want is within reach."
Rezz and deadmau5 are now set to perform together at the 2024 HARD Summer festival in August. Other headliners include Disclosure, Zeds Dead, Subtronics and SOFI TUKKER,
In videos from Rezzmau5's Tomorrowland performance, the two can be seen soaking up the magic of the moment in a poignant interaction. Check out that clip and more footage from their set below.

Follow Rezz:
X: x.com/officialrezz
Instagram: instagram.com/officialrezz
TikTok: tiktok.com/@officialrezz
Facebook: facebook.com/officiallrezz
Spotify: spoti.fi/32DV4IY
Follow deadmau5:
X: x.com/deadmau5
Instagram: instagram.com/deadmau5
TikTok: tiktok.com/@deadmau5
Facebook: facebook.com/deadmau5
Spotify: spoti.fi/3otTHVp
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SVDDEN DEATH Announces "Heretic" 2024 Tour With Kill Safari, VAMPA and More

After wrapping a collaborative tour with Marshmello, SVDDEN DEATH is hitting the road for a solo tour in the fall.
The electronic music superstar has grown into one of the scene's most authoritative artists in recent years. He operates his own festival, Summoning of the Eclipse, and launched high-profile joint endeavors alongside Mello as well as Space Laces and Eptic, with whom he launched the MASTERHAND supergroup. Not to mention his headlining alter ego, VOYD, and house music project, DEADROOM.
Now, SVDDEN DEATH will travel across the country for a fall 2024 tour, "Heretic." The tour will feature special guest performances from Kill Safari, the collaborative alias of electronic music veterans Kill The Noise and Bro Safari, who also joined SVDDEN DEATH at the last iteration of Summoning of the Eclipse. The "Behemoth" producer is also set to bring out VAMPA, yvm3, PYKE and BEJALVIN on select dates.
You can view the full list of cities and dates on the first phase of SVDDEN DEATH's "Heretic Tour" below.
SVDDEN DEATH will kick off the "Heretic" tour on November 7th, 2024 in Buffalo, New York. Pre-sale tickets go on sale Thursday, July 25th at noon local time with code "HERETIC." You can register for the pre-sale here and check out the full list of dates below.
SVDDEN DEATH/X
Follow SVDDEN DEATH:
X: x.com/svddendeath
Instagram: instagram.com/svddendeath
TikTok: tiktok.com/@svddendeathdubs
Facebook: facebook.com/suddendeath
Spotify: spoti.fi/3yUw3Zn
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