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Review – What went down at Miami Music Week 2024

If the world seemed a bit quiet at the end of March, it’s because the entire electronic music community had descended on Miami for Music Week, when Vice City reached its pulsing pinnacle. This year I got to live the dream right on South Beach.
“It’s not rained like this in months,” said the bartender as she mixed me another lethal Mescal Marg. The water on Collins Ave was above ankle height. Car horns were blaring. Down at Bay Front Park, Ultra Festival had wisely been evacuated. 100,000 ravefugees were stomping the streets seeking out afterparties. Fortunately, there were plenty of other shenanigans to keep Friday night cranking. I maybe just needed one of the giant flamingo-shaped inflatables sitting atop the Sagamore Hotel from the Epic Pool parties to float my way there.
Taking decadent to the next level, the Faena Theatre was our first stop, where a decidedly soggy red carpet had been rolled out for the Martinez Brothers and their uber-glam entourage, who I expect glided down the flooded Collins Avenue on a diamond-encrusted jet ski to make their grand entrance. The crown princes of DC10 spanked out a cheeky set of Latin-infused booty bangers as a decadently dressed crowd posed and ponced in their roped-off VIP bottle service pens; while I danced like a maniac in General Admission.
Down the road, it was time to up the ante with my first of the Ultra Resistance parties. This stellar series had opened with Reinier Zonneveldt’s savage Filth on Acid party smashing open five nights of house and techno at the throbbing behemoth club M2 on Wednesday, and Joris Voorn presents Spectrum showcase on Thursday. My baptism of fire came on Friday from Ukrainian techno duo Artbat, who were throwing down the drama underneath a symphony of emerald lasers. Brooding vocals, searing drops and fully charged melodic techno blew the roof off the seething mass of M2 for another sell-out show. “Return to Oz” and “In Your Arms” were among goosebump-inducing moments of a cinematic set that just didn’t quit. And neither did we, holding on til the bitter end until the VIP balcony chuck out time at sunrise. 
Day 2 and the weather gods were still tinkering with the taps upstairs, but it was going to take more than a few grey clouds to stop playing again. Ultra was back in full swing down on Bayfront Park. My first Don Julio of the day began with a quick stroll down the road to the fancy AF Sagamore Hotel, where a double whammy billing of legends was ready to kick off another day of hedonism distilled at the Epic Pool parties. It had all kicked off on Wednesday with DJ Mag presents Joseph Capriati and Louie Vega, followed by Defected on Thursday with the likes of Eliza Rose and Sam Divine and Friday’s Knee Deep in Sound with Hot Since 82 and Kerri Chandler – stacked lineups for days. 
My first taste saw Damion Lazarus kick off with some classic Crosstown Rebels sounds to chase the clouds away from Saturday. Epic Pool parties’ founder Jonathan Cowan jumped on for a set under the palm trees as we began slipping into darkness. The money shot was a signature mammoth set from Danny Tenaglia who rounded out an astronomical journey of house music all night long to once again answer the question of why his music never fails to be the answer. Next year, the maestro will celebrate a jaw-dropping 50 years of DJing and it was as always an honour to be in his presence in a kaleidoscope of piano house and classics under rose pink lasers.
Accelerating into the evening back at Club M2, Saturday was not for the faint-hearted. The speakers were copping a pounding from techno titans Pan-Pot, who paved the way for some heavy artillery from the incredibly talented Amelie Lens, who made her debut at Ultra Resistance this year. I’ve wanted to see Siberian-Italian icon Anfisa Letyago for a long time and she did not disappoint, dropping a deliciously deadly barrage of bangers as ice cannons pummelled the rowdy crowd.
The sun finally showed its full face on the last day of Music Week and set the perfect backdrop for a pre-rave walk for tequilas and tacos in the pastel buildings lining Ocean Drive. Away from the look-at-me workout junkies and BBLs on muscle beach, a saunter from the main drag took us to admire the art Deco architecture down the backstreets. A drive downtown brought us to the impressive murals and street art of Wynwood Walls, where bars and clubs that never close had a decidedly grungier feel. But for the final round, it was back to the skyscraper hotels, swagger, basslines and fluorescent Ferraris for one last South Beach skirmish.
The last day kicked off ducking our heads into The National Hotel to see one half of Solardo shaking South Beach back to life with some quality jacking house and classics. Then we headed next door to see our old friends at The Sagamore.
After their debut last year, Epic Pool Parties was happy to welcome Glitterbox back to the podium for a sequin-encrusted sunshine Sunday session at the Sagamore. And who better to spin the sugar out of the last day than Roger Sanchez. The S-Man brought a set of classics to a sparkly crowd at Glitterbox, with shiny happy people kicking back on cabanas next to the turquoise pool.  
Eric Prydz and Kolsch took the helm to close Ultra Resistance at M2 at the Official Miami Music Week Closing Party, but not everyone took the finale as read.
Back at Wynwood, a marathon session was kicking off at elite sesh club Space, who were setting the challenge of a marathon 36-hour Music Week death throes party kicking off Sunday from 11 pm. A drool-worthy lineup for rave tragics was studded with heavyweights like Marco Carola B2B Paco Osuna, king of the bender Seth Troxler, and Dennis Cruz B2B Pawsa. For all I know, they are probably still going.
Miami really is the elite in raving royalty – what brain cells I have left will reminisce this weekend with rosy tint heart-shaped sunglasses for a lifetime. It’s such a great city, which may be shiny and scene queen on the surface, but not too fancy to get its hands, feet and other appendages gleaming dirty with disco gunk.
If you’re sold on a trip you don’t have to wait for Music Week 2025. A man noticeably missing from March’s billing was Carl Cox, who is heading back there for race Week on Friday 3 May when Resistance will awaken from its disco nap to blow the roof off of M2 again. More here.
The post Review – What went down at Miami Music Week 2024 appeared first on Decoded Magazine.
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Skrillex to Headline Open-Air Summer Music Festival in Paris

This summer, Paris is heating up with an epic open-air soirée headlined by Skrillex.
He'll be joined by WhoMadeWho, horsegiirL, EDM.com Class of 2022 star Anfisa Letyago and many more at the 2024 Peacock Society festival, which is taking over a beautiful public park in Paris, Parc de Choisy. Scheduled for July 13th, the fest will also feature a rare collaborative performance by influential electronic music producers Âme and Marcel Dettmann.
Peacock Society is now in its 11th installation and this year's "Open Air XXL" offshoot is bigger than ever. 25 artists will perform across four stages in the storied Parisian park, including the surging DJ and house music producer Chloé Caillet, who will perform a momentous hometown set.

Peacock Society organizers called the festival "an opportunity to celebrate our love for electronic music together with an eclectic lineup," on Instagram, translated from French.
Fresh off the release of a long-awaited collaboration with Ahadadream, who is also performing at Peacock Society this year, Skrillex will DJ on the mainstage. He follows last-year's massive lineup, which featured sets from Richie Hawtin, Dixon, Ben Böhmer, Nina Kraviz and many more.
Tickets for Peacock Society 2024 are available here. Check out the full lineup below.
View the original article to see embedded media.
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Wiwek Announces Long-Awaited Return of "Jungle Terror" EP Series

Wiwek's beloved EP series, Jungle Terror, is clawing its way back.
The Dutch DJ and producer ushered in a movement a decade ago, when he released the first Jungle Terror EP in 2014. Its groundbreaking music took on a life of its own and spawned a new genre as Wiwek inspired legions of artists in his wake to produce big room bangers with a tribal twist. Prized collaborations with Skrillex, Hardwell and many others poured gasoline on his patented sound, leading to its explosion on the festival circuit at the time.
Wiwek will now resurrect the series by virtue of Jungle Terror V, its fifth installation and first since September 2020. The new EP is scheduled to release on May 3rd via his longtime home of Barong Family, Yellow Claw's record label, he announced this week.
Wiwek recently dropped the EP's first single, a vintage, four-on-the-floor jungle terror track called "Sirens." You can listen below and find it on streaming platforms here.
Follow Wiwek:
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Ashley Paul & Luv Foundation (UK) Deliver With Hands Up Summer Smash ‘Hearts Up’

Just one month removed from the release of ‘Bingo Baby’, a single that has amassed over 800 thousand streams across all platforms, Ashley Paul & the duo of Julian Napolitano and Mark Loverush, known as Luv Foundation (UK), offer up their next single titled ‘Hearts Up’. Much like what came before, this new single is an emotional hands in the air summer smash that will be an instant hit with dance music lovers across the globe.
Not the first time these artists would work together, Ashley Paul and Luv Foundation (UK) have previously proved to be a match made in heaven with the releases of ‘Love Light Me Up’, ‘Blindfolded’, ‘Bingo Baby’, and now they add ‘Hearts Up’ to that list of hits. For this one they linked up with the super successful songwriter Lucas Marx and the amazing results are there to be heard.
‘Hearts Up’ begins with a four on the floor house beat that sets the tone for what’s to come. It doesn’t take long for Ashley Paul‘s tremendous vocals are introduced and take center stage. As the single progresses, Luv Foundation (UK) pair those vocals with euphoric synths and melodies that build hype towards the drop. When the drop comes we are hit with a massive wave of uplifting energy that you can’t get enough of. The remainder of the single keeps delivering with those euphoric and uplifting vibes, making this the perfect summertime anthem.
Available to stream on Soundcloud below, ‘Hearts Up‘ will be available on all streaming platforms on May 17th via Dauman Music & Xelon Digital and can be pre-saved here.

Ashley Paul x Luv Foundation (UK) · Ashley Paul x Luv Foundation (UK) – Hearts Up Extended
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Justice, Jamie xx, Sara Landry and More to Play Miami's III Points Music Festival 2024

The organizers of Miami's III Points Music Festival have revealed the first phase of artists to perform in 2024.
Propelled by the city's vibrant music and arts scene, III Points is an ode to Miami's diversity. The alternative festival, now in its 11th year, fuses an array of different genres like hip-hop, techno, indie and many more across multiple curated stages.
III Points 2024 will take place on October 18th and 19th from 3pm to 4am at the Mana Wynwood Convention Center, which is located in the heart of Miami's art district. This year's fest will feature performances by Justice, Jamie xx, Arca, Mochakk, Rick Ross, Jungle, Toro y Moi, Yung Lean and EDM.com Class of 2024 star Sara Landry, among others. Over 100 additional artists have yet to be announced.
c/o Press
Over 10 stages with state-of-the-art audiovisual design will be curated this year, according to a press release issued by organizers, as well as immersive art exhibitions to explore. Last year's installations included a skate rink, as well as Danny Daze's "BLUE," an otherworldly audiovisual experience inside a massive geo-dome. Mokibaby's "Mokiworld" transformed the warehouse space into an Instagrammable atmosphere with rainbows, red velvet and retro chrome.
Beyond the two-day festival, III Points will take over Miami with their satellite parties. Over 60 artists will perform at five venues during the week.
For tickets and more information, visit the III Points website.
III Points 2024 Phase One Lineup:
ARCA
BAD GYAL
CLOONEE
JAMIE XX
JUNGLE
JUSTICE
MOCHAKK
PAWSA
RICK ROSS
SAMMY VIRJI
SARA LANDRY
TORO Y MOI
YUNG LEAN
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Released 17 Years Ago: David Guetta & Chris Willis – Love Is Gone

Seventeen years ago, David Guetta and Chris Willis released ‘Love Is Gone’, a track that would become a seminal anthem in the evolution of electronic dance music. Released in 2007, this hit single from Guetta’s third studio album, ‘Pop Life’, captured the essence of the late-2000s dance scene and helped catapult David Guetta to international fame.
‘Love Is Gone’ featured the powerful vocals of Chris Willis, whose dynamic range and emotive delivery perfectly complemented Guetta‘s driving beats and catchy melodies. The track was celebrated for its energetic rhythm and became an instant favorite in clubs around the world, significantly influencing the mainstream acceptance of EDM.
The success of ‘Love Is Gone’ was pivotal for David Guetta, establishing him as a household name in the music industry. It showcased his ability to blend catchy pop hooks with dance-floor-ready production, a formula that he would continue to refine throughout his career. The song not only dominated charts globally but also became a defining track of the era, often credited with helping to bridge the gap between electronic music and mainstream pop audiences.
Today, ‘Love Is Gone’ remains an iconic track in David Guetta’s discography and a beloved classic among EDM fans. Its enduring popularity underscores Guetta‘s impact on shaping the sound of contemporary pop and dance music, highlighting his role as one of the pioneers of the global EDM movement.
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DJ Holographic launches label Through The Veil

Detroit house and techno staple DJ Holographic launches her new label, Through The Veil, with the release of her newest single, “Taurus.” The track, a mystical, groove-laden house jam (following the release of “Aries” last month) with influences that trace back to the Detroit funk of the ‘60s, is part of a new body of work that will channel Holographic’s deep ties to astrology.

DJ Holographic’s spiritual journey has taken her deep into the practice of shadow work, a type of psychotherapy that allows her to access and heal repressed parts of herself, finding answers about everything from her childhood experiences to romantic relationships to creative blocks. This experience of inner exploration has educated and empowered her and serves as the inspiration behind her new project.

“This new musical endeavor that I’m embarking on channels the healing power of music. Over the course of a year, I’ve decided to release one song per month, resulting in a collection of twelve emotionally charged songs that resonate with the unique energy of each zodiac sign. Drawing upon my own personal experiences and connections with these signs, I aim to positively impact and rejuvenate their conventional traits within the depths of my own houses and the dark night of the soul. This isn’t just about creating music; it’s about expressing my voice and embarking on a transformative journey.”    — DJ Holographic
Holographic will debut this extremely personal work entirely uninhibited on her new label. The releases correspond to each zodiac house and will arrive monthly alongside her globe-trotting tour dates as she pays tribute to the heart and soul of the city where she was born and raised, Detroit, through global electronic music’s most regarded spaces/parties. A celebrated DJ whose talents have taken her to Berlin’s Panorama Bar to Pitchfork Music Festival in Mexico City, Holographic has upcoming stops around the globe at Time Warp, Movement Festival, London’s fabric, and Red Rocks.
DJ Holographic Tour Dates
April 27 – Radio Estrella – Bogota, Colombia
April 30 – Matiz – São Paulo, Brazil
May 3 – Time Warp – São Paulo, Brazil
May 4 – Luque, Paraguay
May 11 – Red Rocks Amphitheatre – Denver, Colorado
May 17 – Sandbox Festival – Hurghada, Egypt
May 18 – Fabric – London, United Kingdom
May 23 – Lightning In A Bottle – Bakersfield, California
May 25 – Movement Festival – Detroit, Michigan
May 25 – Defected x Detroit Love Movement After Party– Detroit, Michigan
May 26 – House of EFunk – Detroit, Michigan
June 1 – Ferndale Pride – Ferndale, Michigan
June 7 – Department Festival – LĂ„ngholmen, Sweden
June 8 – Docklands Festival – MĂŒnster, Germany
June 9  – Glitterbox at Hï – Ibiza, Spain
The post DJ Holographic launches label Through The Veil appeared first on Decoded Magazine.
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Twenty of the most influential Drum & Bass tracks

In the early 1990s, a growing nightclub and outdoor event culture gave birth to new genres in the rave scene, including breakbeat, hardcore, darkcore, and hardcore jungle. The music combined sampled breakbeats, and samples from a wide range of music genres including reggae, jazz, funk, soul, house, techno, hip hop, electronica and even film scores; basically, any sounds that provided the right vibe when it was underpinned with a heavy rumbling bassline and rolling breakbeats. From the early ’90s, tracks were beginning to strip away some of the heavier sampling and “hardcore sounding noises” to create more bassline and breakbeat-led tracks. Some tracks increasingly took their influence from reggae and this style would become known as hardcore jungle (later to become simply jungle), whilst darkcore (producers such as Goldie, Doc Scott, 4hero, and 2 Bad Mice) were experimenting with sounds and creating a blueprint for drum and bass, especially noticeable by late 1993. The shift in sounds and styles was all part of the fragmentation of the rave scene as we knew it, where sides were being determined by those who still loved the uplifting piano-led sounds (what we now know as happy hardcore) and those who favoured the more forward-thinking and darker sounds of what was referred to as “jungle techno” and “hardcore jungle”. Both phrases proliferated to describe that shift of the music from breakbeat hardcore to jungle.
By 1994, jungle had begun to gain mainstream popularity, and fans of the music (often referred to as junglists) became a more recognisable part of the youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Although jungle can be defined by the tempo of the music and the use of breakbeats, identifying the first-ever jungle record is not a straightforward task by any means. Some very good contenders would certainly be the likes of early Shut Up & Dance, Lennie De Ice, and Rebel MCs. Despite the affiliation with the ecstasy-fuelled rave scene, jungle also inherited associations with violence and criminal activity, both from the gang culture that had affected the UK’s hip-hop scene and as a consequence of jungle’s often aggressive or menacing sound and themes of violence which were usually reflected in the choice of samples used on the tracks. However, this was developed in tandem with the often positive reputation of the music, as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London. By 1995, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled drum and bass.
As the genre became generally more polished and technically sophisticated, it began to expand its reach from pirate radio to commercial stations and gained widespread acceptance around the mid-’90s. It also began to split into recognisable subgenres such as hardstep, jump up, ragga, techstep, and what was known at the time as intelligent. As more melodic and often jazz-influenced subgenres of drum and bass called atmospheric or intelligent (Blame and Blu Mar Ten) and jazzstep (4Hero, London Elektricity, Roni Size) gained mainstream appeal, additional subgenres emerged including techstep in 1996, drawing influence from techno.
The emergence of related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting the continual evolution of the genre. To this day, drum and bass music makes frequent appearances in mainstream media and popular culture including on television, as well as being a major reference point for subsequent genres such as grime and dubstep, and producing successful artists including Chase & Status, Netsky, and Pendulum. It is not really an unreasonable opinion that drum & bass has changed the perception of what could be done with dance music forever. As a genre, it has certainly evolved over the years with a variety of trends and sub-genres coming and going, but it is a genre that still holds huge attraction for those clubbers and music collectors looking for something very different from the norm. Once you have the bug for this music, it never really goes away
 once a junglist, always a junglist.
We take a look back at some of the most influential drum & bass tracks over the years, as well as the sounds that influenced the very sound we all know and love today.
01. Lennie De Ice – We Are I.E.
02. Metalheads – Terminator
03. 2 Bad Mice – Bomb Scare
04. Goldie – Inner City Life
05. Codename John – The Warning
06. A Guy Called Gerald – 28 Gun Bad Boy
07. Nookie – Shining In Da Darkness
08. Origin Unknown – Valley Of The Shadows
09. Omni Trio – Renegade Snares
10. UK Apache & Shy-FX – Original Nuttah
11. D.R.S featuring Kenny Ken – Everyman
12. Marcus Intalex – Temperance
13. M-Beat feat. General Levy – Incredible
14. Roni Size & Reprazent – Trust Me
15. Dillinja – The Angels Fell
16. J.Majik ‎– Your Sound
17. Peshay – Piano Tune
18. Goldie (Metalheads) – Kemistry
19. Alex Reece – Pulp Fiction
20. DJ Hype feat. MC Fats – Peace, Love And Unity
The post Twenty of the most influential Drum & Bass tracks appeared first on Decoded Magazine.
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A History of Pirate Radio: The Jazz Cafe announces June residency

Deeply rooted in the story of underground culture, past and present, the iconic venue will showcase a programme of pivoting artists emerging from the golden era of modern music. Each week centres around the evolution of four trailblazing genres, with both live performances and DJ sets from the era’s finest exports.
On Friday 7th June, the godfather of jungle music Roni Size meets the Metalheadz boss lady DJ Storm in an unmissable match-up. Size’s pirate radio appearances date all the way back to 1993 and beyond on stations like Bristol’s Raw 101.1 FM. Known by many as the ‘first lady of drum & bass’, Storm is recognised as one of the most influential women in the scene. Expect an extensive catalogue of DnB and Jungle records – old and new.
Dive into the sounds of UKG on Friday 14th June with an esteemed trio – DJ Spoony, Wookie and Lady Passion. Born in Hackney, the epicentre of East London culture, Spoony began his career on stations such as London Underground. Wookie earned his status as UKG hero with an impressive record working with some of the greatest names in the scene. Representing South London’s electronic scene, Lady Passion takes to the decks with her collection of exciting Garage tracks.
The series wouldn’t be complete without paying homage to Grime and Dubstep icons. On Friday 21st June, a line up of huge names including Slimzee & Flowdan, Coki and Loefah will take over the intimate venue. Powerful duo, Slimzee, the co-founder of Rinse FM and Flowdan, leading Grime pioneer, join up for a performance like no other. DJ and Producer Coki, alongside Loefah, named one of Dubstep first founders, will also head up the night.
Moving into the grooves of UK Funky for the final instalment of the series, Crazy Cousinz, Roska, and Cooly G join The Jazz Cafe on Friday 28th June. Famed for Drake’s sampling of his remix one “One Dance”, which reached number one in the charts for 15 weeks, Cousinz has led the way for the genre from the early stages of his career. UK Dance icon Roska will be completing the lineup is multi talented singer, rapper, DJ and Producer Cooly G.
Since its origins in 1990, The Jazz Cafe has been home to some of the UK’s most groundbreaking performances from up-and-coming talent, now legends in their own right with the likes of Wookie, Ray Keith, Skepta, and Roy Davis Jr playing throughout the decades. Today, the venue continues to showcase the next wave of emerging talent, alongside appearances from established artists from around the globe.
Simultaneously, the 20th-century pirate radio phenomenon, at its glorious peak during the 90s, also forged a platform for artists paving their own way against the mainstream. Well loved stations of today, such as Rinse FM, Kool FM and Eruption FM, began underground, transmitting unheard records to thousands of listeners across London and the UK.
Join The Jazz Cafe in honouring three decades of pirate radio’s innovative place in modern musical history. For the full 2024 calendar, tickets and restaurant bookings, please visit: https://thejazzcafelondon.com/whats-on/ 
The post A History of Pirate Radio: The Jazz Cafe announces June residency appeared first on Decoded Magazine.
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Warner Music Group Team Up With Ensis Records To Launch EDM Label Balkan Electro

Warner Music Group with it’s division Warner Music South East Europe (WM SEE) has launched Balkan Electro, a new EDM-focused label.
Balkan Electro was formed in collaboration with Ensis Records, whose roster will now be distributed, up-streamed and marketed through the Warner-owned label. WM SEE, Warner Music Poland and Ensis Records will work together to sign local talent to Balkan Electro.
Balkan Electro will tap into Warner Music Group’s global network, collaborating with Amsterdam-based Spinnin’ Records and the dance-focused teams at Warner Music Central Europe and Warner Music France. 
The label has three global releases in the schedule: Prisko and TBX’s ‘Back to 95â€Č (out now), Melli’s ‘Losing My Mind’ (April 26) and Kevin’s Palacios & Jordan Grace’s ‘Bright As You’ (May 10).
Izabela Ciszek-Podziemska, general manager, WM SEE, said: “It’s a proud moment for me launching Balkan Electro alongside Alex [Cristian]. EDM music has no geographical boundaries, so we’ll strive to find the next local superstar and take them to the world stage with the help of Warner Music’s global network.”
Alex Cristian, founder and owner of Ensis Records, added: “There are so many unknown talented producers and DJs across Eastern and South Eastern Europe, so I’m looking forward to working with Iza, Warner Music and its team to make Balkan Electro a big success. EDM is already present locally in this part of Europe thanks to local festivals such as Untold, Sziget and Ultra Europe, so I want to showcase our local talent and music to the world.” 
Ensis Records was established by Alex Cristian in 2013 to bring together a group of Romanian producers. The label’s focus expanded to cover global producers and DJs, and the team discovered and signed Norwegian global superstar DJ and producer Kygo. 

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Carl Cox releases “ASW Is Live” Mix featuring the Awesome Soundwave catalogue

A Carl Cox mix is always a special experience, his dancefloor sensibility and innate musicality, sense of groove and funk come together in a way that no other DJ can replicate. And, when he chose the challenge of mixing together the diverse range of releases from ASW last year we knew something unique and special was going to come out of it! 
Listening to Carl’s mix of 25 tracks from 25 artists really highlights the range of talent and diversity of output from the Awesome Soundwave family. Each of these live electronic artists brings their unique voice to the label with artists ranging from afrohouse act Digital Afrika to experimental electronic house artist Stimming, from the legendary and prolific Robert Babicz to the spiritual explorer and player of modded toys Giorgia Anjiuli, and from the french superstar Vitalic to the underground live concept artist Hybrasil, they each bring a flavour that is unique and diverse and yet, they come together through the love of live electronic performance and production. 
Now, Carl has brought us all together with this mega mix of exclusively ASW releases. 
Some, like Marc Romboy and Andre Winter’s amazing remix of An On Bast’s “Climb the Tree” are brand new.. Other tracks, like Christopher Coe’s “My Dark Materials” would initially seem unmixable due to it’s dark and uncompromising improvised form.
There are some special treats along the way like the mysterious Klauss Tejger’ “FIRE!!” .. an acid banger from an artist that we still know nothing about! (they anonymously delivered a whole swag of amazing stuff that we are planning on releasing as the year progresses)
Every artist on the label is represented here and we are so proud to have them all as part of the ever growing family. Carl has given them all a warm embrace with this deep, funky and beautifully curated mix. We start the year with this and we welcome you to come with us as we dance our way into 2024 with many new and amazing records lining up to come your way! 
ASW is Live, mixed by Carl Cox is a testament to the curation and care taken by Carl and Christopher to build a label that really does transcend genres. We hope you enjoy listening as much as we enjoy putting this together for you. 
Pre-order here
Track Listing:
1. Ehsan Gelsi – Take me to your leader
2. Julien Chaptal – To Be Ob
3. An On Bast – Climb the tree (Marc Romboy remix)
4. Harmonik Kontrol – Pablo Assan
5. Hannes Bieger – Poem for the Planet ( Christopher Coe remix)
6. Marc Romboy – Gangwon
7. De Sluwe Vos – Subterranean Cloud
8. Christopher Coe – My Dark Materials
9. Charlie Thorstenson – Handlingskraft
10. Robert Babicz – Magic Club Nights
11. Hannes Bieger – Pacana
12. Giorgia Anguili  – Purple Eye
13. Stimming – DFAM on the Field
14. Momec – Wormhole
15. Hybrasil – Tailtiu
16. Mat Playford – Shifu
17. Honeysmack – Fortunate
18. Digital Afrika – Lavapies
19. Monolith – Cowdry
20. Vitalic – And it goes like
21. Cox and Coe – Nocturnal (Rebuke Edit)
22. Klauss Tejger – FIRE!
23. Nancy Live – Cressick
24. Jani Ho – Angry Minimal
25. Saytek – Non Stop
The post Carl Cox releases “ASW Is Live” Mix featuring the Awesome Soundwave catalogue appeared first on Decoded Magazine.
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Halogenix Talks His Debut Album ‘Passions’

Photo Credit: Riya Hollings
With what has been a career filled with many eclectic styles of drum & bass, Laurence Reading is widely accepted as one of the most creative producers within the community. Halogenix has immersed himself in a foray of sounds throughout his production journey containing some of the most soulful, futuristic, and forward-thinking showpieces out there. A background in classical music combined with a sharp ear for thought-provoking concepts very readily transformed him into one of the most complete artists in the game. The unique innovation throughout the body of work he possesses is thoroughly recognised by everyone associated with the genre, holding him in the highest regard amongst some of the best creatives to grace the scene, over the course of the last decade. 
The notable spell with supergroup Ivy Lab essentially put Halogoenix on the map, signed by Kasra’s infamous Critical Music label, they went on to release some of the most iconic projects in the scene. Their drive took them right to the very top of the experimental game, till the North Londoner decided to part ways and crucially embark on a solo career that would ultimately make him stand out from the crowd. To focus on his solo output, it felt necessary to take these steps, especially off the back of two exceptional EP releases, ‘Velvet’ released on Critical Music, which contains ‘Blej’ , one of the standout tracks on his discography. Whilst the other was the ‘Jumpsuit’ EP on Alix Perez’s hard hitting 1985. Having consistently worked with these two heavyweight labels over the years, this highly esteemed producer has been able to refine his sound and showcase some of the finest constructed sound design in the electronic sphere. 
During his time as a solo artist he’s been able to work with some of the greats including the likes of Noisia, Goldie, dBridge, and Alix Perez – a real testament to the respect he’s earnt. In the early stages of this new chapter he’s currently embarking on, we can already denote that high calibre production is a given. In addition, the desire to release what he wants and market it how he pleases has now become a luxury he can afford. With the launch of his label Gemini Gemini he finds himself in a period of euphoria where he can unapologetically express the music to his taste. More recently, the ‘Lost Friends’ EP which pays homage to his close friend Ebow Graham who tragically passed away in 2020. This series of production demonstrated an empathy in his songwriting that is able to touch on trauma, creating a distinctive, immersive, sonic experience. 
Looking ahead, we are all eagerly anticipating his debut solo album ‘Passions’ on 26 April for what can only be described as a body of work that challenges the parameters of electronic music in every sense. The album holds thirteen tracks, and includes collaborations with dBridge, Steve Spacek, and Liam Bailey going on a journey that explores the depths in which he is able to express his songwriting through variations in range, sub-genre and tempo. Using his 2 year old son’s painting as the artwork for this project is a true testament to embracing things as they are, marking this curation of tracks a meaningful one on a personal level. The ability throughout the album to merge soulful and minimal sounds is impressive, interwoven in a way that will work seamlessly in a multitude of settings – from the bedroom to the nightclub. 
How’s life going at the moment?
I’m doing well. Aside from being a fulltime musician, I recently got a role as a product developer at Apple, which I’ve been doing since last May – and that’s three days a week. I’m really having to structure my week. The accountability side of things took a bit of getting used to as I’ve been my own boss for the last 14 years of my life. I thought I’d struggle with that, but it’s been great. I’ve also enjoyed spending time with my little boy, taking him to nursery and stuff like that. Getting that balance right in terms of spreading my time out is very important to me.  
Growing up, what was influencing you?
Heavy metal and drum & bass. My brother was big into heavy metal and we’d often go to gigs together, he had a big influence on me growing up. One day he came back from the shops with my Mum and had bought a Grooverider Mix CD ‘Pure Drum & Bass’. I used to swipe it from his room all the time. It’s what started me on my obsession with D&B.It had tunes from the likes of Ed Rush, Optical, Dillinja, and Die. I would listen to them all on repeat. A year later when i was 11 I got an ‘Underfire’ CD mixed by Mampi Swift mixed CD called ‘Dangerous Drums Vol.2 Underfire’ which I also didn’t stop listening to. It had loads of really early techstep on there; Konflict, Stakka & Skynet, K-Tee. It was a darker and techy sound. I went to my first rave at Fabric at 15 and I was going most weeks after that. It blew my mind. I was hooked from the first rave so I went to a venue called Herbal the week after where Grooverider, Storm, and Goldie were playing – I realised then that I’d arrived. 
So how did the idea of the Album come about?
I guess the idea was born through me trying to be organic in my music production. The idea took shape over the course of lockdown when I was stuck at home. There was no theme per say in terms of theme, it just kept evolving with the musicality.  Being immersed in club music, and then suddenly having no clubs was a challenging time. So I started experimenting with my songwriting, making things a bit more musical. I took some online piano lessons to keep my skills up. I also listen to a lot of R’n’B and hip-hop in my spare time, when I’m not writing music, so when I had the idea of making an album it took a lot of cues from that kind of sound. I was very sample-based before, but there’s only so far you can go with samples. You have clearance issues, on top of that you can only manipulate the samples to a certain point. I took inspiration from watching young sample makers create hip-hop samples online and I thought I could do that too. Then I’d have ownership over the whole thing. Before I knew it, I had a playlist with twenty tunes on it. Only then did I think this could be an album. I played it to a few people and came to the conclusion that there was still a bit of work to do. The irony is, that how the album plays now is nothing like how it first sounded. Two songs survived from the first draft. The oldest tune on the album is nine years old from my Ivy Lab days. 
Really loving the collaborations on the album!
Thanks. So the dBridge tune ‘Take Me Away’ was written online. We were sending each other bits back and forth. I’ve known him for a long time, so we have been sending each other music for a long time. When he sent me a bunch of samples one day, I was able to write the beat in like a day. dBridge has been one of my biggest influences in drum & bass, so it felt very full circle. After he left Bad Company, he was the guy for some of the most iconic minimal and melodic sounds in the scene. I’d borrowed a lot from his production ethos, with sampling chords and reese baselines – a lot of my earlier tunes carry that influence. So when he sent me these stems I wanted to see how close I could get to recreating his classic ‘True Romance’ without being a copy. He loved what I’d sent him back, but I suggested it needed a vocal so he sent it to his brother Steve Spacek. Within a week it was done, the whole process was very organic. 
The Liam Bailey collaboration was so intriguing. I obviously knew who he was already, he’s been on some big d&b tunes over the years, he’s a wicked vocalist, and we have a lot of mutual friends within the scene. I released ‘Satisfy My Soul’ as a single last May before the album idea was finalised. That came about because I was just jamming, messing around with all my synths, on instagram live and he saw this. He messaged me asking if he could come round the studio. He’s got such a charismatic energy about him, being in the studio with him was an experience. He laid down a bunch of different ideas. 
The album has a variety of down tempo and experimental numbers. 
Yes, well there are a bunch of vocal samples on the album as a whole. I also like to take vocals and really chop them up so it doesn’t even sound like words. ‘Keeping you close’ was actually my vocals, I thought I needed to go big for the album. It’s a soulful slowed down tune, I was writing lyrics, had the mic on and just started singing. I can’t sing well but I whacked the autotune and just played around with it. ‘Peng’ was the other slowed down tune. This was nine years old from the Ivy Lab project. It sums up what I like about music in terms of its sound and tone. I had an emotional connection to the tune due to where it came from, putting it out really showcases my journey. To be honest, the whole album shows off the musicality I wanted to achieve. I’ve always tried to make music that’s different from trends, making it a bit more deep and thoughtful. 
Why the name ‘Passions’?
It’s a very emotional project. I discovered that before the 1800’s there was no word for ‘emotions’, it was just described as ‘passions of the mind’. So that’s why I named the album ‘Passions’. The name resonated with me because I tried to challenge a lot of my feelings through music from a young age. The whole experience was very cathartic for me, I could get lost in it and make sounds that make me understand myself more. Making me come to terms with my feelings better and helping me combat different emotions like sadness and fear. Using my two year old son’s paintings as the artwork added to this idea. Just watching him paint and not care about constraints and boundaries inspired me. With just a raw passion to paint. The idea of making something perfect doesn’t exist, it’s a discipline I need when approaching my own production. I was going crazy about trying to figure out what the artwork was going to be, watching him paint made me understand my own music more – it was the perfect idea.  
And how did the ‘Gemini Gemini’ side of things come to fruition? Was it always on your mind to release this album on a label you created?
Creating the label has been on my mind since before Covid. It seemed a good idea as part of maintaining my growth since Ivy Lab and becoming more independent away from Critical. I launched in January 2023, so releasing this album that I knew would be coming out around this time meant it was always in the plan to release on my own label. I wanted to create my own ecosystem. I’ve seen it through different projects I’ve been involved in and now I think it was time for me. I was very lucky with Critical as Kasra gave me license to do what I wanted because he trusted me. Overall, I believe that having my own label makes things a lot easier moving forward not only as an artist, but as a creative. I felt that if I didn’t take the risk and do it then, I may never have done it. I would love for the label to co-exist with the likes of 1985 and Critical.
Your first release on the label was the ‘Lost Friends’ EP. How much did it mean for that to be the first release?
It was really special. It wasn’t the complete intention, but things just fell into place at the right time. I wrote most of it during lockdown, and ‘Amé’ was written with Alix Perez when he was able to come over to the UK. Starting a label had crossed my mind throughout lockdown, especially because there were no gigs. When my friend Ebow died, I wrote the ‘lost friends’ tune. We’d had many conversations about our feelings towards music and starting the label then with the ‘Lost Friends’ project to kick things off seemed like the right thing to do. The vibe with this EP was similar to the album, I was feeling very musical at the time and just really wanted to honour my friend. 
What is your approach with the label moving forward?
I definitely don’t want to rush it. Starting everything from scratch has been a long process. Kasra was a big help, pointing me in the right direction he was able to guide me with who to contact about certain bits. I did sign a bunch of projects last year, but realised I was doing it for the sake of it. They were brilliant demos, and they still would’ve been the stuff I wanted to sign had I ended up taking on demos. I had time to realise that I need to take things a bit slower.  I had to let the relevant artists know I was no longer taking their songs on and that I would hit them up again when the time is right. I just need to see how this album goes, and if it resonates with people. Everyone has their own little lanes and niches, I just need to work out mine with the label. In the grand scheme of things the label is one years old which is no time at all. After the album I want to showcase the broad range of sounds I can do. I touch on a wide range of sub-genres.  
It really does seem like the pieces are coming together not only in your production, but in your label pursuits. It must be a nice feeling!
Yes, it has felt good. I have to add, however, that there’s an internal conflict that I have about pursuing personal passions whilst also feeling a moral obligation to address larger social issues, particularly in light of current events in Gaza, I have a sense of conflict and guilt about focusing on my artistic pursuits when there is so much suffering and injustice in the world.
Music has such an extraordinary power to connect with others and evoke emotion, but I question whether it’s enough to justify the pursuit of personal goals in the face of global crises. I feel like as a society we may be too self-absorbed and distracted by our own experiences to pay attention to the suffering of others. I think it’s important, now more than ever, that we speak out and take risks to stand up for basic humanity. Otherwise what’s the point in all of this?
Music throughout history has been a form of rebellion against the status quo, from the revolutionary spirit of Hip-Hop to the defiant energy of Punk and Jungle, it can be a vehicle for social change, it has the potential to inspire positive and meaningful transformation in society. 
I hope that others use their platform and influence to address pressing social issues rather than being solely focused on personal success or validation.
Really refreshing to hear! You’re obviously known for your minimal & soulful sound, but as you’ve said already you can dip into heavier sounds. Talk to me about how they’ve fed into your career so far. 
Yeah for sure. I guess ‘Blej’ was the first notable one. It was an anomaly at that point. I’d never written a track like that before. I then started getting bookings for more heavier nights. That side of my sound evolved and became a cool part of what I do. The next big dance track I did was ‘Dragon force’ in 2020 followed by my remix of ‘Shella’. It’s something I want to showcase more, I’ve written so many over the course of my career I think it’s time some more of them came out. There was a point where the album actually had some in, but I get it was more appropriate to save them for a bit further down the line. Of course, it might have made the appeal of the album broader, but I’m at a point in my career where I’d like to follow what I want to do. 
How were these tracks to write?
They are good fun. Thinking back, ‘Blej’ was a bit of an accident. I was just messing around really, and when Kasra heard it he loved it. He played it in a rave and I saw everyone lose their mind. Was a really cool moment for me. With ‘Shella’ Hospital Records asked me to do the remix and I initially said no, I really didn’t know what I wanted to do with it. A few days later I emailed back saying I wanted to take it on, and they immediately sent me the stems. I’m a big overthinker so I think the worry of not being happy with the final product got to me. In the end I’m glad I did it.  
We’ve touched on this label a fair amount during the interview. But as you now move forward with your own endeavours, a final word on Critical and what it’s done for you and for the community.Critical have championed the underground like no one else. Consistently putting out great music that caters to more niche tastes within drum & bass. Kasra is a great A&R and business man. He knows how to run a label, promote events, how to build artists and get the best out of them. It’s created an incredible ecosystem for people like myself to get to where I’m at now. I wouldn’t be where I’m at now without Critical, like many other artists. It’s making the underground a very fertile place. Allowing other great labels to grow such as 1985 and Overview, ensuring the scene lives on.
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Are There Still More People Going to Music Festivals?

*Featured Cover Photo Credit: Do LaB / Jamal Eid
Attending a music festival is a joyous occasion that any music fan regardless of race, gender, ethnicity, sexual orientation, or socioeconomic background loves to attend. However, with difficult times throughout the world such as hyperinflation and significant conflicts in Eastern Europe and the Middle East, prices have increased at various music festivals. Additionally, more people have not been attending music festivals, particularly major ones such as Coachella and Glastonbury, because of the lack of global icons such as Taylor Swift and Beyoncé performing there.
To make things clear, whether if the fests are mainly hip-hop/rap, pop, rock, EDM, jazz, country, classical, and so on, music festivals still pack in huge crowds. However, some could say that since the COVID-19 pandemic ended a couple years ago, music festival promoters have increased the prices, plus extra fees, which then lead to less people attending. Perhaps if festival prices gone down, even by a little, perhaps more people will packing in like they were in the pre-COVID days.
The factors that discuss why there are not a lot of people going to music festivals
According to an article from Canadian news outlet, Global News, it reported that multiple factors that count toward a lesser attendance at music festivals. Those factors include the end of “funflation” (the post-COVID period where many music festival goers bought passes to make up for lost time during the pandemic), Gen Z music fans being less likely to attend fest, high interest rates for festivals since the end of the pandemic, and less global music superstars (see paragraph above) performing at fests. Even people who are Boomers, Gen X-ers, and older Millenials are going to fests less since they have gone enough in their younger years.
The ‘funflation” times happened when many attendees spent as much money for the tickets and for the amenities at the music festivals since they had missed out on a lot of great memories because of the COVID lockdowns. Regarding Gen Z-ers not going to fests more than their older counterparts, they are more likely to have a great time with their small circle of friends and less likely to be open to meeting other strangers at a festival (not to mention that Gen Z also has a vast access to tons of music so there’s not a really a need to go out much). About the high interest rates in the past few years
well, that’s one major reason why more music fans are less likely willing to attend a festival due to extra costs.
Photo Credit: Andrew Allcock The near future of fests
Top headliners, even electronic music icons such as Tiësto and Swedish House Mafia, would most likely headline their own world tours rather than performing alongside multiple fellow stars at a large fest. Headlining their own world tours will allow the music superstars to earn vast amounts of revenue in comparison if they perform at festivals like Tomorrowland or Ultra. There were times, even in past decades, where top superstars performed at multiple fests even while they were still on their respective tours. Having not just the decreasing fees at music festivals, alongside the appearance of multiple superstars irrespective of the genres they perform in, will for sure bring more attendees like before. Not to mention, lowering prices for amenities such as food, drinks, and souvenirs will definitely help out a lot as well.
The post Are There Still More People Going to Music Festivals? appeared first on EDMTunes.
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Chicago to Premiere Indoor/Outdoor New Music Venue in June 2024

Outset, a highly anticipated new live music venue located on the outskirts of Lincoln Yards in Chicago, set to open this spring. The 750 person capacity, 10,000 square foot venue is ready to make an impressive impact on Chicago’s rich live music scene. The space is just north of downtown area and extremely close to The Salt Shed which has been an amazing addition to the city just about 2 years ago.
Outset has been designed to offer the production value of a large-scale venue coupled with the vibe of anintimate and up-close setting. Outset provides the perfect atmosphere for established artists, while creating a new room for rising talent and, above all, will offer an unparalleled experience for Chicago music fans.
We already have the artist schedule for the coming season! Outset’s initial show calendar features two-night runs from Parliament Funkadelic ft George Clinton w/ Dumpstaphunk, Thievery Corporation, Rawayana, and Unknown Mortal Orchestra, followed by a wide reaching program featuring Pussy Riot / Nadya, Gyedu-Blay Ambolley, Princess Goes, Franc Moody, Conway The Machine, Ekkstacy and many more.
Prior to events, attendees can enjoy the venue’s 10,000 square foot outdoor space, which will host a rotating variety of local food trucks, beverages, artist merchandise, fan focused activations, and community events.
Check it out. Also, sign up for their newsletter to make sure to receive more information as it comes.
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Jason Derulo Joins R3HAB On Latest Feel-Good Collaboration, ‘Animal’

This one is for all of you looking for a track which matches any situation better than a chameleon does its surroundings.
Get ready to crank up the heat! DJ and producer R3HAB teams up with singer Jason Derulo for their infectious new Dance Pop piece ‘Animal‘. This genre-bending song portrays a perfect blend of R3HAB’s energetic Electronic sound and Derulo’s smooth vocals, guaranteed to get you moving, and warming up for summertime.
As heavyweights as they have been for years in their own musical niches, this isn’t the first time these two artists have joined forces, though, as R3HAB remixed Derulo’s tracks ‘Goodbye‘ alongside David Guetta, Nicki Minaj, and Willy William in 2018, then ‘Take You Dancing‘ two years later, and, just recently, ‘Spicy Margarita‘, his collaboration with none other than Michael BublĂ©.
About the track, R3HAB recalls: “Jason and I have been tossing ideas back and forth for a few years in search of a perfect match. Then he sent me ‘Animal’ and everything quickly fell into place. This record is a perfect bridge between my dance vision and Jason’s uplifting pop touch. Jason is one of the defining artists of our generation. He’s passionate about his work and has a clear artistic vision, which makes the creative process flow“.
(Left to right) R3HAB, Jason Derulo. ‘Animal’
‘Animal’ contains soulful singing and groovy House beats, an ideal going-out aura. R3HAB builds on this energy with shimmering melodies and a driving rhythm, making it a fun song for both singing along to or dancing the night away.
The track has an upbeat, uplifting energy, and at the same time is such an easygoing composition, that it doesn’t really ask for a special place or occasion to give it a play or spin. It works on any aspect of life, driving back from work, having a Sunday morning walk by the beach, you name it.
Listen to R3HAB and Jason Derulo‘s ‘Animal‘ below for your beloved Spotify play. Also, check the lyric video by following this link, and support the release anywhere you like by clicking here.
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Jakke arrives with a ‘Reckoning’

Jakke’s inaugural original track “Reckoning” marks a compelling fusion of atmospheric progressive house with lyrical singer-songwriter flourishes, where he not only produces but takes on vocal duties. ‘Reckoning’ dives deep into the emotional, seamlessly transitioning from tranquil, meditative states to soaring, ethereal crescendos. Aimed at fans of Emmit Fenn and Lane 8, and evoking the lyrical introspection of Chris Martin from Coldplay, the single emerges as Jakke’s musical manifesto against the backdrop of global unrest, inspired by the harrowing images and narratives that have permeated the news. Through this song, Jakke channels his artistic energy to acknowledge and empathize with the victims of war, conflict, and adversity around the globe. His vision is clear: to provide a soothing anthem of comfort and awareness, making a heartfelt appeal to those who hold a deep-seated yearning for worldwide peace and understanding.
The post Jakke arrives with a ‘Reckoning’ appeared first on Dancing Astronaut.
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A State Of Trance Top 1000 Broadcast Running Now Through This Thursday

Over the last few weeks, A State of Trance has asked listeners to vote for their 10 favorite tracks ever played on A State of Trance, and out of that list came the A State of Trance Top 1000! Now, the full top 1000 list is being revealed via a live broadcast on YouTube.
The broadcast began last Saturday, April 20th, and will run through this Thursday, April 25th, finishing with a spectacular FOUR HOUR live show starting at 18:00 CET!
Previous A State of Trance Top 1000 lists have featured many classic producers like Above & Beyond, TiĂ«sto, Paul van Dyk, Gareth Emery, BT, ATB, deadmau5, Sasha, and Armin van Buuren himself. Tracks like Armin van Buuren and Susana’s collaboration, ‘Shivers,’ have appeared in the #1 spot while the likes of TiĂ«sto’s ‘Adagio For Strings’, Ferry Corsten and Gouryella’s ‘Anahera’ and GAIA’s ‘Tuvan’ have been featured among the top 10.
Previous countdown streams have attracted more than 50 million people hailing from 121 countries, spread across more than 100 radio stations, YouTube, Twitch, Facebook and VK live streams.
You can tune in to the broadcasting channels here to see if your pick made the list and which track will take the #1 spot!
The post A State Of Trance Top 1000 Broadcast Running Now Through This Thursday appeared first on EDMTunes.
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Listen To Porter Robinson’s Second Single, ‘KNOCK YOURSELF OUT XD’

The next stop in Porter Robinson‘s new era has arrived. After announcing yesterday the release date and album name for his third artist album, many flocked to YouTube and streaming platforms today to welcome the second single from his upcoming album, SMILE! . ‘KNOCK YOURSELF OUT XD‘ is upbeat, lyrical, and fun. Click play below!
The music video is airy and bright with ‘Cheerleader‘ similarities! It’s definitely a Porter that we have not heard before; it’s continuing with the emo pop vibes alongside the celebrity narrative. We also have discovered that the album will most likely be 10 tracks total. 20% of the way there – excited for more of this new era to unfold before July 26th!
“B*itch, I’m Taylor Swift.”
Now that we’ve heard the song, we can’t help but think about the Notes that he posted yesterday as well. Infer what you want, but maybe the next release will showcase this pivot that he describes below.
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Discover the Hottest Acts at III Points 2024: Phase One Lineup Revealed

Following last year’s sold-out tenth-anniversary celebration, Miami’s beloved III Points Festival unveiled the Phase One lineup for its 2024 edition today! Set to return to the Mana Wynwood Convention Center on Friday, October 18th, and Saturday, October 19th – the festival continues its tradition of creating a mesmerizing world within the vibrant heart of the Wynwood district.
III Points is coming in HEAVY with their Phase One. Jamie xx and Justice are the first to catch our eyes after coming from SPECTACULAR performances at Coachella. Justice’s upcoming release of their next album is also turning heads in the early reviews.
The billing is continued with equally massive DJ sets and performances from Solid Grooves mainstay PAWSA, industrial techno enchantress Sara Landry, Hellbent Records label head Cloonee, Venezuelan-born DJ and producer Arca, CircoLoco Records staple Mochakk, and breakout UKG-act Sammy Virji. Lastly, we also have Yung Lean & Rick Ross, singer Bad Gyal, and chillwave pioneer Toro Y Moi.
With the full lineup announcement to come, tickets are slated to go on sale Friday, April 26th at 11:11 AM ET for presale and 1:11 PM ET for general on-sale, sign up HERE. Additionally, limited quantities of full-priced tickets will be accessible via DICE on Friday, April 26th, at 11:11 AM ET for presale and 1:11 PM ET for general on-sale. GA tickets will begin at $199 plus fees, GA+ tickets at $299 plus fees, and VIP tickets at $499 plus fees.
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Space Ibiza 2024 Lineup Revealed: 24-Week Residency at Eden Ibiza

Space Ibiza has announced a fittingly historic lineup for its monumental 24-week residency at fellow clubbing giant Eden Ibiza, beginning April 26th and culminating on October 4th, 2024.
The summer kicks off with Space’s big Opening Fiesta from 9pm on Friday 26th April, with Armand Van Helden, Chris Liebing B2B Nicole Moudaber, Davide Squillace B2B Matthias Tanzmann, Jason Bye, Kesia, Richy Ahmed and Simon Dunmore raising the curtain on the Discoteca, while Daniel Orpi, Detlef, Federico Grazzini, Jesse Calosso, and Niteplan open the Redbox room. 
A carefully curated wave of internationally loved artists welcome Space back to its spiritual home in the heart of San Antonio, with friends old and new uniting in celebration of the Ibiza spirit. High profile highlights include father of German techno Sven VÀth, acclaimed British house DJ Hannah Wants, Berlin techno punk Boys Noize, and New York Strictly Rhythm house legends Todd Terry, Armand Van Helden and Roger Sanchez.
Not to mention groundbreaking, mask-donning EDM artist deadmau5, UK legends Sasha and John Digweed, Iranian-American DJ Dubfire, techno and flamenco-fusing Spanish duo Mëstiza, imperious DJ and label head Fatima Hajji, Australian underground icon Partiboi69, in-demand New York DJ Nicole Moudaber, legendary Jo Mills and breakout UK techno star Charlie Sparks, and many more.
Taking place every Friday, Space and Eden’s joint celebration signifies a profound homecoming to San Antonio town – the birthplace of Space’s founder and visionary, Pepe Roselló. San Antonio, a town with a rich legacy within the clubbing community of Ibiza, serves as the perfect backdrop for Space Ibiza’s next chapter, weaving the past, present, and future of electronic music into the fabric of the island once more.
The choice of Eden Ibiza as the venue for this monumental residency stems from a deep-rooted connection and shared ethos between the two clubbing giants. With a fittingly legendary lineup under the stars and strobes of Eden, prepare to immerse yourself in a season of unforgettable nights each Friday from April 26th to October 4th as we open a new chapter in the ongoing story of Space Ibiza.
Tickets: https://www.edenibiza.com/events/space-ibiza 
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Dance Music Industry Now Firmly In Its Post-Pandemic Growth Phase IMS Reports

IMS Ibiza, the annual thought-leadership platform at the intersection of culture, education, industry, and wellness in electronic music, announces today full details of the annual IMS Business Report 2024. Presented live (Wednesday 24th April) at the IMS Ibiza summit the new report builds on the success of previous editions to present the definitive vision of the global dance music industry of today. Now in its tenth edition, the report is authored by MIDiA Research’s Mark Mulligan for the second year running. MIDiA Research is a leading provider of research, analysis and data for the digital entertainment business, with a team of analysts and consultants focused on everything related to where tech and entertainment meet.
“2022 was an unusual year, in that it reflected the post-pandemic bounce back effect for live. There was a risk that 2023 would struggle to live up to those inflated expectations, but instead the electronic music industry grew strongly once again, with impressive growth across virtually all of its constituent parts. What is more, electronic music culture grew its fan bases faster than other leading genres, in part due to the rapid rise of African music and fans, illustrating the growing cultural footprint of electronic music culture and its vibrant global scenes.”
Mark Mulligan (MD & Analyst, MIDiA Research) This year’s report features a number of exclusive MIDiA datasets including a survey with Association For Electronic Music (AFEM) aiming to be the definitive account of electronic music business and cultural music trends covering every aspect of the industry. AFEM is an independent, not-for-profit, democratically run global trade association created to connect, and represent the common interests of, those companies and individuals whose business is Electronic Music and stands at over 270 member organisations across 29 countries. With many key financial, economic and cultural findings in this year’s analysis broken down in detail highlighting major emerging themes which can help to guide and inform the industry. The global dance music business is now firmly in its post-pandemic growth phase with 17% revenue growth in 2023 and a total industry valuation reaching $11.8 billion with notable growth particularly across festivals / clubs, recordings, and publishing. “The new IMS Business Report reflects how deeply electronic music is now integrated into mainstream culture – from festivals to films, finance to fashion – with the genre now ever-present in society. We had shifted from segregated stages or one-off moments to an always-on culture that is hard to get away from! It’s testament to the industry that the valuation is now showing continual growth post-pandemic. The pent-up demand experienced in 2022 is also reflective of a new generation coming through who are proving to be passionate, loyal, and keen to experience everything possible. We are pleased to see the IMS Business Report also grow in stature and impact with all eyes on the genre like never before.” IMS Co-Founder Ben Turner  Festivals and clubs continue to dominate revenues (nearly half of the industry total) while music hardware and software was the next biggest segment (around a quarter of total). After a slower 2022, the global recorded music market returned to strong growth in 2023 up 10% coupled with a return to growth across most formats including physical, with streaming growing 10% yet still outpaced by licensing and expanded rights.
The report reveals that Non-major labels increased their market share for the fourth consecutive quarter, reaching 31% hinting at a newer generation of independent future-focused labels.  Despite a slowdown in catalogue acquisitions due to rising interest rates, music publishing continued to perform well in 2023. Electronic music fandom and consumption is thriving and growing its share of global culture, far outgrowing other major genres, and with Mexico, India, and Brazil representing the newer wave of global electronic music markets there is no question that South Africa emerged as a leading hotspot for electronic music fans.
While the impressive growth the electronic music industry experienced in the previous year of 2022 was skewed by the live sector enjoying its post-pandemic rebound. There was a risk that 2023 growth would struggle to maintain the pace – instead, 2023 was another strong year of growth.
Find the full business report here The post Dance Music Industry Now Firmly In Its Post-Pandemic Growth Phase IMS Reports appeared first on Electic Mode.
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Marc Rebillet to Take His Unpredictable Live Show to Over 15 Countries for 2024 World Tour

No country is safe from the chaos of Marc Rebillet.
Beloved for throwing down sets that comprise whatever comes to mind in the moment, the energetic Rebillet has become a viral sensation with performances on the stages of the world's biggest festivals. With his trusty loop station and strict "no setlist" approach, he acts out hilarious skits, comes up with absurd and often explicit melodies, and interacts with fans all on the fly.
Now, these improvisational talents will take him all over the world for his a 2024 world tour, "We Outside." Rebillet, fans of whom affectionately call Loop Daddy, will take over venues across the United States, United Kingdom, Canada, France, Italy, Germany, Spain, Belgium and beyond from spring until winter. He'll kick off the tour on May 4th at the Netflix Is A Joke Festival in Los Angeles.
Check out the official trailer below. Pre-sale passes are on sale now and the general ticket on-sale begins this Friday, April 26th at 10am local via Rebillet's website.
Follow Marc Rebillet:
Facebook: facebook.com/marcrebillet
X: x.com/marcrebillet
Instagram: instagram.com/marcrebillet
YouTube: youtube.com/marcrebillet
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