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Deep down, we always knew T was of the kind to pull such a card trick with his brilliant composition skills.
Before Tony McGuinness was Tony McGuinness of Above & Beyond, he was another artist, another music industry professional, another man entirely. But that was a long, long time ago — nearly 30 years ago, for that matter. And you’d better believe the Tony who preceded ‘Blue Monday‘, ‘Sun & Moon‘, ‘Alone Tonight‘, a cute ’04 BBC Radio 1 Essential Mix, and even a Marketing Director for Warner Music Group, was already too far down the rabbit hole of music to even consider leaving that sensitive side of him behind.
In fact, our beloved Tony has been actively making music since the late ’80s, as a guitarist for the iconic British Indie-Rock band, Sad Lovers And Giants. And you’re going to tell me there wasn’t any solo project of him lying around? Well, there was, but it was living leap year after leap year in the dungeons of the unreleased stuff. And there it was, private and personal.
Salt
Back in the mid-90s, Tony met a special someone, who goes by the name Shelley. The two had a rather short-lived story in terms of time, but, according to McGuinness himself, it was a very intense, very fulfilling journey. By chance — as all good things seem to occur — a weekend in a luxury hotel put him in the same place as her, an American, member of a band’s entourage.
“I walked in and there was this skinny, grumpy-looking girl smoking a fag”, he recalls, “wearing a thin cotton dress, cardigan, black tights, Dr Martens. I said: “Do you want a game of snooker?” She was like: “Yeah, alright.” So we started playing snooker – and started a relationship over the three days that I was there. I really fell for her. When she smiled, she looked incredibly beautiful. When she didn’t, she looked like she might kill you! She had one of those faces and I was utterly smitten”.
Instead of returning to America, Shelley’s flight took her to London, alongside Tony.
Keeping it short-attention-span friendly — to my heart’s most utter discontent, for I love backstories —, the result of this gunpowder-like romance was Salt, a nine-track LP born in a six-month period, back in those times when not even Google was around. Shelley was Tony’s muse, and these creations simply poured from him. Once she inevitably left England to return to the U.S., this piece sat there, rather unfinished, in an old sampler.
The 2000s came, with it came Above & Beyond, and life would never be the same again for T. A busy lifestyle turned the potential album into a lost memory of some sort. Until a few years ago, when he decided to unearth a piece of his very history and, potentially, his very first chapter as a heartfelt composer.
And the complete album will see the light of day in just about a week.
‘Biker Babe’ / ‘Babydoll White’
Two of the nine singles have been lifted ahead of the release, ‘Biker Babe‘ and ‘Babydoll White‘. The latter, mind you, you might remember from those Lockdown times of Tony Stan-Lee-ing over to Anjunadeep for a few Fingerprint tunes, some Deep sets, and some curated compilations under his belt.
And regarding the former, I’ll leave you with its creator: “[One morning, Shelley recited] the immortal words, which I will never forget: “Go and get your guitar and sing to me”. And as a creative person, for whom the spark of creativity is always elusive, to have that excuse to play, and to have that willingness to hear – well, I think that’s what a muse is, isn’t it? So I went and got my guitar. She had a Triumph motorcycle T shirt on. And I just went twang on my guitar and sang: “biker babe, biker babe…”. And that’s how that song came”.
A highly personal chapter of his career, Tony is finally unveiling Salt next Friday, July 12th. In the meantime, head below to listen to the first two singles, by hitting the ‘Play‘ button on the Spotify player we’ve attached. Also, be sure to pre-save the album right here, and even, if you’re in that mood today, click here to watch the official video for ‘Biker Babe’.
Congrats, T.
The post Tony McGuinness Announces Release Of Long-Lost Personal Album ‘Salt’ appeared first on EDMTunes.
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BBC Radio 1 is thrilled to announce Vintage Culture as the newest member of the Radio 1 Residency line-up. Starting Thursday 4 July, Radio 1’s Residency will continue on the network and Radio 1 Dance with a fresh roster of world-renowned artists highlighted by the Brazilian DJ. Radio 1’s Residency offers listeners an immersive experience into the worlds of the biggest names in pioneering, high-energy Dance and Electronic music.
Vintage Culture will take over Radio 1 every Thursday for four weeks from 11 pm to 1 am, spotlighting the freshest, most influential, and emerging sounds from the international club scene. The influential producer and DJ shared his excitement about the announcement:
Celebrating the release of his debut album, Promised Land, Vintage Culture is a Brazilian DJ and producer known for his emotionally charged house sound and global hits ‘It Is What It Is’ and ‘Nightjar.’ Gaining international acclaim, Vintage Culture has collaborated with artists like John Summit and Moby and produced remixes for Rufus Du Sol, Maverick Sabre, Cassian, and Bob Moses. He has held residencies at iconic venues such as Hi Ibiza and Wynn Group in Las Vegas and headlined main stages at Tomorrowland, EDC, and Ultra Music Festival.
Listeners outside the UK may listen to Vintage Culture’s radio show Live, every Thursday in July from 11 pm-1 am GMT+1, online or by downloading the BBCSounds Mobile App.
Stay tuned for more news!
The post Vintage Culture to Join BBC Radio 1’s Residency appeared first on EDMTunes.
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Kevin Parker, known for crafting Tame Impala’s lush soundscapes, has ventured into the realm of Electronic music instrument production. Recently, fans browsing the band’s Instagram account noticed a new addition: Telepathic Instruments, described as “an electronic instruments company founded by Tame Impala and friends.“
The company has also launched a website, though it remains enigmatic in nature: “Are You Listening?”
Telepathic’s social media presence mirrors this cryptic allure. Currently, its Instagram page features just two posts: one showcasing the company’s logo alongside audio of a distorted, bitcrushed synth patch, and another presenting a pixelated image resembling Parker with the caption, “What is bro trying to tell us…“.
If I had to take a guess, I think they are creating at least a synthesizer with another company. It will probably feature some out there psychedelic sounds that resemble the band’s sound. I am sure it will be a producer’s dream to test it out. In other Tame Impala news, Parker announced in May this year that he sold his complete song catalog to Sony Music Publishing.
The post Tame Impala Founding Electronic Music Instruments Firm appeared first on EDMTunes.
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Fans of Illenium were disappointed to hear the news that he had to postpone his scheduled performances in Toronto. The artist took to social media to announce the cancellation of his shows at Rebel on June 30th and July 1st, explaining that he is dealing with health issues following a recent surgery. 
“Hey all, unfortunately I’m going to have to cancel my shows in Toronto tonight and tomorrow,” Illenium wrote. “I went in for surgery last week and I’m now experiencing some complications that I need to address immediately. I need to go to the hospital as soon as I get home. I hate missing shows and I’m so sorry that I can’t make it. I really just need to address these health concerns as soon as possible. Please see promoter statement for updates on these shows. I’ll recover. I love you guys.”
In response to the last-minute change, INK Events and Rebel Toronto released a statement confirming the cancellation and offering a solution for ticket holders. They announced that Gordo would step in to perform on June 30th, ensuring that the Canada Day Eve celebration would still go on. The promoters have rescheduled Illenium’s performances to September 1st and 2nd, 2024, with previously purchased tickets remaining valid for the new dates.
We’re wishing Nick a safe and speedy recovery!
The post Illenium Postpones Toronto Shows Due to Health Complications appeared first on EDMTunes.
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Above & Beyond's Tony McGuinness was not always an international headliner. 
Before he struck gold in the trance realm with bandmates Jono Grant and Paavo Siljamäki, McGuinness was a rock-and-roll artist inspired by legendary acts like Steely Dan and The Beach Boys. Those inspirations led to the creation of a solo rock album, Salt.
Despite working on nine tracks for six months, after he finished recording the album, he'd lock it away in his archives for close to 30 years. Now, after two decades of success with Above & Beyond and their label Anjunabeats, McGuinness is finally ready to unveil Salt.
McGuinness this week released the album's lead single, "Biker Bibe." T he combination of his bittersweet, romantic lyricism and sun-dappled guitar riffs will remind you of those summertime drives where your parents picked what was on the radio, long before the days of Spotify.
"Biker Babe" was inspired by a short-lived romance with an American girl in the 90s, according to McGuinness. He said the story he wrote saw him placing himself and his muse into the world of David Lynch's television show Twin Peaks.
"Which is where the mention of The Roadhouse comes from and ran with that all the way through to the ending," he explained in a press release. "I knew she was gonna have to go back to America because she had no visa, and she had a flat in America that she didn't want to lose."
McGuinness also shared another new single, "Babydoll White," which may sound familiar to fans of Fingerprint, his deep house side project. He remixed his unreleased rock single for Anjunadeep back in 2020 and now, with help from Bob Bradley, fans can experience the sounds of the 90s in its original format.
Fans can pre-save Salt here.
View the original article to see embedded media.
FOLLOW TONY MCGUINNESS:
X: x.com/tonymcguinness
Instagram: instagram.com/tonymcguinness
Spotify: bit.ly/3XNVKsa
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Before the LA Galaxy take on their rivals, the Los Angeles Football Club, on the Fourth of July, Afrojack has been tasked with bringing the energy to the stadium.
Due to the magnitude of the rivalry game, the teams will square off at the massive Rose Bowl Stadium, giving the Dutch dance music icon an even larger playground to perform new hits, like his recent reunion with Pitbull and Ne-Yo. In addition to the pregame performance, Afrojack will return to the spotlight at halftime to prepare the crowd for the final half of the matchup.
LA Galaxy's Chief Brand and Creative Officer, Will Misselbrook, stated their commitment to incorporating live music into the team's game experiences.
"This show continues to enhance our approach to creating an immersive fan experience with legendary musical acts," he said in a press release. "There is no better place for top-tier soccer and innovative electronic music to take center stage than at the iconic Rose Bowl Stadium."
LA Galaxy fans know this is not the first time dance music has invaded their club. Just this year, attendees were treated to the sounds of Alesso during the organization's home opener. Not long after that, TOKiMONSTA provided the soundtrack for the Galaxy's Women's History Month game from the club's all-new DJ booth.
Afrojack will take the stage at the Rose Bowl Stadium  on July 4th, 2024. Tickets are still available for purchase here.
FOLLOW AFROJACK:
X: x.com/afrojack
Instagram: instagram.com/afrojack
TikTok: tiktok.com/@afrojack
Facebook: facebook.com/djafrojack
Spotify: spoti.fi/2B06Di0
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All it takes is a bag of kibble and your pet will be better at writing music than all the ghost producers out there.
Have you ever wanted your pet to make even more noise when they're hungry? Neither have we, but what if it was a more pleasant sound than a whine or bark? That's the promise of the Pet Piano, a tiny instrument that exploits the power of insatiable hunger to train your pets to strike keys.
When the device is powered on, your pet can put their little paws on its keys to play notes, which triggers it to dispense kibble or treats in an attached bowl. This will incentivize your furry friends to fill the sounds of your home with random noise beautiful piano melodies as they learn the basics of creating music so you can eventually buy them Ableton.
You're probably wondering what would stop greedy pets from pressing the keys all day long to constantly receive food. The creators found a solution via the Pet Piano mobile app, in which users can change the volume of the piano, adjust the portion size, view when your pet has "played," change the sounds of the instrument and lock its use to a specific time of day.
The Pet Piano is set to be released in October and pre-orders are now live here. Its creators shared a YouTube video," I Taught My Cat to Play Mozart," which tells the story behind the gadget and features an adorable demo. Check out the clip below.
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What do you get when you mix the genre-defying production of Zeds Dead and the dark, brooding sounds of Moody Good? You get "Mad Ting," the ominous, otherworldly new track out now on Deadbeats.
Upon pressing play, we're met with a suspenseful, eerie arrangement paired with a sharp beat. Killa P then enters, spitting ceaselessly smooth lyricism as the bassline comes in full-force. The dubstep track maintains an ominous grace throughout, powerful in all of its wobbly ebbs, flows and dramatic pauses.
"Mad Ting" arrives amidst a busy tour schedule for Zeds Dead, who are gearing up for two nights of DeadRocks X followed by the fourth annual Deadbeats Backyard Jamboree on Independence Day, with a Mission Ballroom show to follow.
Moody Good is recognized for his sinister and gritty sound as well as being a former member of the bass music duo 16bit. Today's release of "Mad Ting" follows the April drop of "Bite Your Lip Pt. 2," which also released via Zeds Dead's beloved Deadbeats label.
Check out "Mad Ting" below and find the new single on streaming platforms here.
FOLLOW ZEDS DEAD:
X: x.com/zedsdead
Instagram: instagram.com/zedsdead
Facebook: facebook.com/danceswithwhitegirls
Spotify: tinyurl.com/4tjppc6p
FOLLOW MOODY GOOD:
X: x.com/MOODYGOOD
Instagram: instagram.com/moodygood
Facebook: facebook.com/moodygoodofficial
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FOLLOW KILLA P:
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HoYoverse, the minds behind the popular titles Genshin Impact and Honkai: Star Rail, are bringing in an EDM heavyweight for the launch of their next game.
Coming soon to console, PC and mobile is Zenless Zone Zero, a new action RPG from the creators of some of the most popular free-to-play games on the market. While the game has not yet been released, it's already become a hit in the industry as HoYoverse celebrates over 40 million pre-registrations, per Sports Illustrated.
Now, HoYoverse has announced their first-ever "global music collaboration" with Tiësto. The company recently revealed the rare collab before releasing "ZENLESS," a new single produced by the Dutch dance music icon alongside Lucas & Steve, Silent Child and Sān-Z.
"It's our second collaboration with Tiësto, and we are always super inspired to work with him," Lucas & Steve said in a press release. "It was always a dream to make an anthem for a game, so when HoYoverse asked Tiësto and us to make this song for them, it was a dream coming true."
Zenless Zone Zero is scheduled to launch on Thursday, July 4th on PlayStation 5, PC and mobile. You can learn more about the upcoming action RPG here and listen to "ZENLESS" below.
Follow Tiësto:
X: x.com/tiesto
Instagram: instagram.com/tiesto
Facebook: facebook.com/tiesto
Spotify: spoti.fi/3dVvySo
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We are excited to present a guestmix curated by Nonduality, an innovative DJ and Producer with a rich background in sound design and Electronic music. Starting his journey in 2009 with Dubstep under the alias Tenr, Nonduality has since embraced the House and Techno scenes of Berlin, drawing inspiration from a diverse range of genres and artists, his work reflects a deep commitment to both the craft of music production and the practice of mindfulness, which has been instrumental in his personal and professional growth. And in this exclusive mix, he showcases his unique style and his ability to blend deep grooves, intricate rhythms, and atmospheric sounds, taking listeners on a captivating musical journey.
So, get ready to enjoy the sounds curated by Nonduality for EDMHouseNetwork.
Tracklist:
1) Wilfy D – Like This
2) Saison – Want You
3) Kikko Esse, Emanuele Del Carmine, Pako Baldassarre – In the Club
4) Negrocan – Cada Vez (Grant Nelson Extended Vocal Mix)
5) Juicy Zone – Latino (Lupin’s Jazzy Mix)
6) Nicolas Duque – 2You
7) Fireground – Love Letter
8) 79.5 – B.D.F.Q. (Jubilee Remix)
9) Tifra – Coral Fractals
10) Spray – Ceathair
11) Thurlow Joyce – Lemon Citrus
12) Space Dimension Controller – Life Window (Extended Version)
13) Edmondson – Vanarama Ba
⇺ nonduality ⇻ · Nonduality EDMHN Guestmix Follow Nonduality:
Spotify | Instagram | Website
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Los Angeles-based Singer-Songwriter/Producer JiLLi drops her latest Indie Electronic track, ‘Pure Bread’. Known for her emotive voice and lyrical ingenuity, JiLLi adds a fresh and compelling production to her growing discography with this new release, showcasing her innovative approach that continues to garner her attention from genre enthusiasts across the globe.
JiLLi‘s journey from New York to Los Angeles has seen her evolve into a versatile Artist with influences spanning Rock, Pop, and Electronic genres. Her early start in music, playing guitar and singing in bands, laid the foundation for her varied musical talents, expanding her musical horizons with her education at the renowned music production school Icon Collective. Now, whilst continuing to inspire as a Staff Vocalist Instructor at Icon Collective, JiLLi seeks to make her own mark within Electronic Music, offering diverse vocals with the release of her sample packs, ‘Passion Vocals’ and ‘Rainbow of Emotions’, alongside notable performances with Artists like Muerte and at festivals like Countdown with Klaxx for their unreleased track ‘Dream’. Poised to cement a reputation on the scene, JiLLi now puts forward another unique soundscape, aiming to impress listeners and solidify her name high on the list of talents to be watched closely within Electronic Music today.
As ‘Pure Bread’ seamlessly blends JiLLi’s signature vocal style with dynamic electronic beats, creating a sound fresh and original, the track invites listeners to discover its unique energy, compelling in its engaging quality. With the potent bassline acting as the driving force behind the arrangement, supported by shimmering synth hits and vocal layers, ‘Pure Bread’ evolves into a distinct sonic journey punctuated by laidback rhythms, lyrical depth, and filtered details, resulting in an experience that is absorbing in vibes, immersive in the dynamic sound delivered.
With the versatility of JiLLi’s talents on display, encapsulating her journey and growth as an Artist, ‘Pure Bread’ comes as the ideal production to discover JiLLi’s creativity and experience the unique blend of emotion and energy she consistently brings within her music.
‘Pure Bread’ is out now and is available to stream and download across platforms.
So, showing no signs of slowing down, stay tuned to JiLLi’s news and upcoming projects by following her across social media.
Follow JiLLi:
Instagram | Spotify
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The lively Dutch pair W&W returned to Bangkok for their much-awaited Together Festival performance, and the city was abuzz with excitement. Fresh from a thrilling show at Ultra Korea, Willem and Ward sat down with us to talk about their recent tours, creative processes, and upcoming projects. Their passion for melody and innovation shines through as they discuss their musical journey and offer insights into both their W&W and NWYR personas, captivating audiences worldwide.
Join us as we uncover what makes W&W a global sensation.
Welcome, Willem and Ward! Delighted to have you back here in Bangkok. How have you been, and what’s been keeping both of you busy?
We’ve been very good. Yesterday, we played Ultra in Korea, which was a crazy show. We’ve also been very busy in the studio, making a lot of new music for both W&W and NWYR.
You guys have been on a roll with new tracks and performances. Can you share some highlights from your recent tours and releases?
Releases, obviously ‘Thank You’ is doing really well, even better than we expected. The crowd is still going crazy. We hear it everywhere. It’s definitely a highlight; the crowd loves it. Some people knew it initially, but now it’s like everybody is singing along to it. In the beginning, we played it in some countries where nobody knew it, and now it’s everywhere.
What is your creative process like for W&W? How do you keep your sound fresh and exciting?
We usually look at trends and new production techniques, see what’s going on, and identify what resonates with us that we can implement. We always stay up to date. There are two different aspects to it: staying fresh with what’s happening in the music world and also on the production side. You always need to be up to date with whatever’s coming out, like new plugins and new sample packs. There’s so much development on the technological side that it’s a lot of homework to keep up to date. We also love the old songs, try to do new versions and test it out in shows. We love remixing stuff and also stuff that people don’t expect. We always see what the songs other guys are playing, and we’re like okay we’re not going to do those. We’re going to do something different. We also have to look into our own youth, what we listen to when we were kids and so far, its good.
You guys have a massive following worldwide. How do you ensure your music resonates with such a diverse audience?
It’s just kind of luck with that. It wasn’t planned or something. I think it’s because we make very melodic, catchy music. It’s all about the melody, so it doesn’t even matter what language people speak. Most of the time, we do have vocals in the song, but the song doesn’t revolve around the vocal. Even if you don’t speak English, there might be an English part in the song, but it’s not the key element. It’s mostly the melodies; everyone understands the melody. I dont speak Italian, but the melody of the vocals (Pedro remix) is so good, the vibe is so good that’s why it catches.
Are there any exciting projects or collaborations coming up for W&W that you can tease us about?
Actually, a lot of collaborations. We have ones coming with Steve Aoki and Dimitri Vegas & Like Mike. We have one coming up with Armin van Buuren and a few other ones we can’t talk about yet, unfortunately. I was counting, and there are like 25 projects basically close to being finished, so like 90-99% done.
Now about NWYR, NWYR has made a strong comeback recently. How do you feel about the response you’ve received from fans globally?
I think it’s been pretty good because we’ve actually changed the sound up. It’s faster and more inspired by 2000’s trends. We took out a lot of the EDM Big Room elements and put in more of the old school trance elements. So far, we’re a bit nervous since we haven’t played a NWYR set in so long. That’s why tonight at Together Festival, we’re going to try and combine the old and the new. The reactions to the set we did at A State of Trance in Rotterdam were really good.
As you both look into the future, what are your main goals and aspirations for both W&W and NWYR, and how do you see both projects growing?
The most important thing for us is that we can keep doing what we love for as long as possible. That’s the goal. It’s also not like we go into the studio and say, “Okay, we’re going to make a W&W song or a NWYR song.” We just make music, and depending on how it turns out, we categorize it as NWYR or W&W. Sometimes it’s tough; we ask everyone if a track is NWYR or W&W, and nobody actually knows. For instance, with “Ready to Rave,” we thought it was NWYR, but Armin said, “No, it’s W&W.” We were like, “Yeah, okay.” Sometimes other people know better than ourselves.
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The renowned SXM Festival is thrilled to announce its first-ever summer residency in Ibiza. This series of three exclusive events will bring the unique SXM Festival magic to the iconic White Island, promising unparalleled electronic music community spirit.

The residency will take place at Akasha/Las Dalias, a venue chosen for its exceptional sound quality, exquisite design, and boutique size, perfectly embodying the off-the-beaten-path charm that SXM Festival is celebrated for. Attendees can look forward to intimate events filled with surprise performances and the signature decorations that have made SXM Festival a standout in the global festival scene.

Resident DJs for this residency are next level and include the talented Kadosh who is known internationally for his distinctive blend of melodic house and techno. He is joined by Julian Prince, the founder, artistic director, and curator of SXM Festival whose love of the culture fueled the desire to create this experience. Julian’s music reflects the festival’s visionary narrative and evident passion for what this music and movement always stood for—love and happiness.

Next is a true dance music legend Sander Kleinenberg who has held major residencies in Ibiza over the last two decades and now making a triumphant comeback with SXM Festival.

The first event in the series will also feature special performances by SXM Festival favourite Nicolas Masseyeff who is known for his deep, rhythmic intensity and his immense library of releases including his recent collaboration with Parallel on Crosstown Rebels. Oxia, Fellow trailblazer Oxia also lines up and is one of the artist pillars of SXM Festival who promises to deliver the same goods that have made him such a legend in the scene.

The following events of this trilogy will feature the festival’s favourites and are acts to be featured in the next edition of the SXM Festival, unfolding March 12-16, 2025.
SXM Festival is committed to creating unique and magical nights for all who venture to join. Each event will be a testament to the elements that have made SXM Festival renowned; immersive decorations, top-tier sound quality, and an atmosphere of surprise and high-end cabaret circus-like performers.
“Bringing the Caribbean vibes to Ibiza is a dream come true,” says Julian Prince. “We’re excited to merge the best of both worlds, creating a series of events that will be remembered for their innovation, intimacy, and incredible music. This is the beginning of something very special”
Sander Kleinenberg shares his excitement, stating, “My long-standing love affair with Ibiza is ready for a rejuvenation. In conjunction with SXM, I will join the residency at Akasha for three nights, making me a part of the Ibiza I fell in love with many moons ago. Akasha represents the authentic spirit Ibiza is famous for.”
Tickets via here
The post SXM Festival announces debut Ibiza Summer event residency appeared first on Decoded Magazine.
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Shelley Johannson · Shelley Johannson presents One-Eighty 106 We head to Canada with Shelley Johannson and the latest episode of her One-Eighty series
At the forefront of the techno scene, DJ producer Shelley Johannson has entertained the masses with her unique skills behind the decks and in the studio for over a decade. Introduced to electronic music at a young age and inspired by the likes of Daft Punk, Ferry Corsten, Mike Push, The Advent, Takkyu Ishino and Joey Beltram, she has been determined to stretch the boundaries of techno and build a world of her own making. So much so, that she started her record label Turn Recordings and hosts a monthly show ‘One-Eighty’, breaking the latest talent for the past five years.
Performances all over North and South America such as the world-renowned BPM Festival and Detroit’s Movement are a serious nod to how highly regarded she is in the industry. Two appearances on Digweed’s ‘Transitions’ show and performing alongside him at Bedrock showcase events indicate that she is now an integral part of the dance music’s pantheon of premier artists.
Emotionally driven, impactful and melodic, her music makes huge sweeping gestures which take listeners and dancefloors on that fabled journey into darkness and light. With raw beats, thudding bass with elegant synths, her music bears witness to a producer at the top of their game who will not be defined by others’ expectations. When it comes to the world of techno-dreaming, Shelley Johannson is the DJ and producer who can lead us to new heights and brilliant experiences. Join her on her ride as she takes you on a trip to the future and a vision of sound exploration.
The post Mix of the Week – Shelley Johannson appeared first on Decoded Magazine.
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Here’s to a monumental change to a monumental festival.
Steeped in history, Glastonbury Festival is a British giant of contemporary performing arts. Held annually at Worthy Farm, it offers a massive spread of music genres — Rock, Pop, Dance, Country, and even Jazz — but is also the home to many other art expressions such as theatre, comedy, circus acts, and even poetry.
The 2024 edition, held just a few days ago, featured headliners such as Dua Lipa, LCD Soundsystem, PJ Harvey, and Coldplay:
The Dragonfly Sculpture
A recent behind-the-scenes video showcases Arcadia’s brand new Dragonfly, a metal giant taking the place of Glastonbury’s legendary Spider sculpture. In the two-minute video, Jacob and Bertie, the masterminds behind Arcadia, share their excitement about transforming a former Royal Navy helicopter — a potential instrument of war — into, in their words, a “symbol of unity and hope“.
The boys give a bit of an insight into the technology woven into the Dragonfly. This includes custom video panels, laser beams, and projection mapping tech to transfer images onto the Dragonfly’s body, all complemented by a top-notch sound system. The creators emphasise the Dragonfly’s ability to dynamically change its appearance and truly come alive during performances.
Watch the full video below! And stay tuned to our page for the latest news and views from our site.
The post [WATCH] Glastonbury Festival Swaps Spider Stage For Brand New Dragonfly appeared first on EDMTunes.
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Adopting a quality-over-quantity approach, Pierro consistently delivers exceptional music, and his latest single ‘Illusion’ is no exception.
Pierro, a Swedish-based producer, has been releasing music for over 5 years now, first making his debut in 2019 with the release of ‘Revelations’. Since then he has not looked back, releasing a number of incredible single and slowly but surely building a catalog not to be missed. Over the past five years, Pierro has steadily built an impressive discography, amassing a loyal fanbase and garnering over 400,000 streams on Spotify alone.
‘Illusion’ showcases Pierro‘s signature style, blending deep melodic techno with elements of progressive house. The track is a testament to his refined craft, featuring a subtly dark and eerie low end, expertly paired with melodic topline synths and rhythmic drum samples that infuse the track with groove and energy.
Listeners will immediately be drawn in by the captivating soundscape, finding themselves hitting the replay button after the track’s 3 minutes and 29 seconds runtime. With ‘Illusion’, Pierro adds another standout single to his growing catalog, further solidifying his place in the electronic music scene.
Stream this single below.
Ravebot
Miller and Beatport just recently announced the start of Miller Mix.
But, what is it?
Miller Mix: everything you need to know
Miller Mix is a global project to find, support, and celebrate the next big thing in electronic music.
The goal is to bring “Miller time,” the beat of connectivity when music, friends, and Miller come together for a more refreshing, original time, to life through the local electronic music scene in six countries: Turkey, Georgia, Kazakhstan, Hungary, Australia, and South Africa.
Miller Mix’s competitors come from the fact that there isn’t much help in the electronic music scene for up-and-coming artists who want to start their careers.
Youth Music says that “lack of industry connections” is a big reason why 77% of new artists want to get into the music business.
A strong feeling of community is also fostered by the electronic music scene. 75% of attendees felt deeply connected to the scene, according to one report.
Building true connections thanks to the music
Miller Mix wants to build community and encourage connection. This will be done through six events in six countries. They’ll be all live events as Miller Mix emphasizes the importance of social ties for mental health.
Miller Mix has started a competition for electronic music producers. They aim to help them get their careers off the ground and play with big names at 6 big events, such as Lilly Palmer (Turkey), Argy (Kazakhstan), Gioli & Assia (Hungary), and more that will be revealed soon.
Miller will start an inspiring documentary series at the end of each local event.
Local and up and coming artists are the key
The series will tell the unique stories of local artists and city residents. It will look at the amazing culture of the cities that were the background for the event.
In every country, the campaign is open, and up-and-coming producers are welcome to send in their songs.
The winners will be chosen by a panel made up of the main acts at Miller Mix events, members of the Beatport curation team, and members of the Miller Genuine Draft team.
Votes from the community will also be counted. The winners will play as the main act at the Miller Mix event in their own countries. Beatport will also put together a package of perks worth over €5,000 for each winner to help them advance in their careers.
People can apply to be a Miller Mix creator right now.
The post Miller and Beatport team up to bring local artists to the spotlight appeared first on The Groove Cartel.
Ravebot
Over the last few years, the rise of a particular individual in the UK electronic scene has mesmerised not only British followers but music fans around the world alike. With a solid foundation of work spiralling back almost a decade, the notable rise of one Sammy Virji has been fascinating to follow. A producer who holds no boundaries when introducing new sounds to his work, his consideration towards a plethora of genres, and influences, throughout the multitude of sets he plays is a testament to the musicality he possesses. In more recent years, his ventures into the UK garage world have seen him reach the very pinnacle of underground dance music, unquestionably placing UK electronic music at the forefront of a more global movement.
The London-born artist has been responsible for some of the very finest UK garage and bass house rhythms of recent times. Over the years, there has been an abundance of household Virji tracks that hold great weight within the scene including ‘Daga Da’, ‘Find My Way Home’, ‘Never Let You Go’, and ‘Shella Verse’. With current releases ‘Moonlight’, ‘Goodums’, ‘Hot In Here’, and ‘Summertime Blues’ demonstrating a legacy that will only get stronger. These recent tracks have included notable artists such as Champion, Salute, Unknown T, and Flowdan exhibiting how desirable he is to work with as a producer. In what is just a tiny flavour of a wider discography that attacks a variety of musical genres, Sammy Virji fans are consistently treated to hit after hit – making him one of the most prolific producers in the game.  
From dubstep head to UK garage superstar, it has been a multifaceted electronic road he has followed to be where he is today. Many influences over the course of his musical learning, which meticulously include dubstep, bassline, garage, house, soul, and drum & bass, have ensured that we are witnessing an artist who can undisputedly curate DJ sets that live long in the memory. Although pinned as a UK garage artist, it would be unfair to label him into just one category. Any avid Sammy Virji listener knows his sets are full of variational flavour. His current productions may tick boxes within the UK garage genre, but if you consider his work over the course of his career it is effortless to identify a wide range of sounds that have forged Virji into the force he is within a wider electronic scope.
A highlight from 2023 that has undoubtedly brought a deserved status within the scene, alongside his many forward-thinking productions, is his DJ Mag live set last summer – accumulating over a million views on YouTube. A real performance for the ages. This set dissects the brains of Sammy Virji to perfection, showcasing a wide range of UK garage, house, bass, and soul. Its R’n’B-influenced style created an experience that demonstrates a musicality that is undeniably distinctive. The way he carried himself throughout the performance was infectious to the crowd and this was really evident for the duration of the stream – bringing joy to so many people who have viewed it since.
With a huge year in store which already includes more overseas touring around North America, as well as a return to Australia and New Zealand, it’s clear to see that Sammy Virji is truly making an impact on a more global scale. With debuts in Ibiza and Glastonbury coming up this year, on top of a colossal number of bookings, we predict another momentous period for the London-based artist.  
So talk to me about some musical inspirations growing up.
My first obsession growing up was Michael Jackson, and with that came a lot of the other Motown stuff. In terms of electronic music, a mate of mine gave me a Rinse FM CD mixed by Plastician. It had all these tunes on it that are now so iconic like ‘3K Lane’, ‘Rhythm & Gash’ remix by Spyro, and loads of other cool dubstep bits. He gave me another one mixed by Skream, and that was my gateway into dubstep – which was the first genre of electronic music I was into. I was about 11 when I started getting into it, so it really wasn’t the sort of thing most of my friends were listening to back then. When I got to around 14 when ‘Sound of Dubstep 2’ came out, it started to become more of a popular thing to listen to amongst friends my age. 
It sounds like you knew from an early age you were into your electronic music. Did you try to make music during this period too?
Yeah, so at the time I was also messing around on GarageBand. My Dad had Logic on his computer so when I went to his house I’d try to make dubstep tunes. He was a musician; a trombonist. He was able to teach me some basics of the software. He would produce some stuff for things like Channel 4 and other bits like that, so he knew his way around production. I made some terrible tunes during that time. They’re definitely somewhere, I might have to dig them up. 
Looking into your early DJing and production days, when did it become clear that you could make a go of it full-time, if at all? 
It was never my intention to end up producing full-time. I was just obsessed with making music and I was producing it all the time. It was only really when I was in my third year at uni that it started to seem possible. When my bookings started really picking up, I sat down and calculated that I could really make a go of this full-time. I really hated my biology course during my time at Newcastle Uni, so I was at the point where I was keen to do what I love instead. I always secretly wanted to do it, so I just went for it. My form of procrastination would be to produce so it really didn’t go well with my studies. When it became an actual reality that I could do the music instead of the degree, it was a bit of a no-brainer. 
What tracks do you think kickstarted your early career?
I did a bootleg of Darkzy’s bootleg of ‘One Dance’ which was on DEEPROT that did the rounds. There was a group called Lengoland which was a big thing for me, their Facebook group in particular did a lot for me. Just after that, another massive tune that helped me was ‘Never Let You Go’ which did so well on Soundcloud. Both tunes really put me on the radar I think. Bassline was really popular during this period and I was riding that wave. 
What other artists were you looking at for inspiration during the early periods of your career?
I looked at TQD a lot. Particularly Flava D. She was one of the first DJs I’d seen live, this was when I was at uni. It was mesmerising. When I saw her play, it made me really want to perform as well. I remember she dropped ‘In the Dance’ and that tune went off. It was special to witness once she wheeled it up. She was definitely a massive part of my musical influence at that age – so were Royal T and DJ Q to be fair. I would also throw DJ Champion in there, but honestly, there were too many to choose from on the bassier side of things back then. I was also making garagey stuff back then but I wasn’t too knowledgeable about it at the time. I got really into my old-school garage eventually. It was with my housemate Yemi who I DJed a lot with at uni. He would play house music and I would come in with the bass-heavy stuff. We decided to meet in the middle with garage and became obsessed with it. We listened to people like MJ Cole, Todd Edwards, Tuff Jam, and other artists like that.  
As time progressed you were able to touch upon this UK garage sound and it seemed Kiwi Records was a real turning point in that.
For sure. I didn’t make it that big when I was in the bassline scene, it was a real turning point when I became involved with Kiwi Records. I always speak about how much I really appreciate Conducta for giving me the platform to do the vibier stuff. It was something I definitely wanted to do, but I felt a bit stuck at the time in terms of being in a certain scene.  
What is your view on the UK garage scene at the moment? Why has it been perceived to have increased in popularity from the period before lockdown to now?
It is appealing to more of a younger crowd now, for sure. People are less shy to make a bass-heavy style of uk garage. Pre-covid, the crowd was a bit older. Its increase in popularity is probably due to bass-heavy garage and speed garage, through artists such as Interplanetary Criminal. I’d say that is the main difference. The important thing for me is that the garage-y drums are there. I try to not market myself as just a garage artist because a lot of the songs I make aren’t – even though many people would label it as that. The one thing that remains consistent with me is that they have these swingy drums in the tunes. And I have to say, it’s nice to see it creep into other genres too.
How was touring around North America this year? Did you notice any differences between the UK and over there? 
Really fun. It’s really cool to see the garage sound reach North America. It seems to be a nice crossover between two popular genres over there; fast house and EDM. The fact you can’t rave till you’re 21 over there makes a massive difference to the crowd attending in comparison to the UK. I found that they were very open-minded to music. It was a nice contrast to be fair. Certain tunes didn’t go off the same as they would in the UK but also vice versa. I did have to switch it up from time to time. I played a festival at the end which was a house festival, so I played a bit lighter for that. In New York, I knew they were forward-thinking with music so I could go a bit more experimental. I had local artists play on my tour. On the whole, they were great. The warm-ups were playing really great garage sets. In Phoenix and Texas there were some wicked sets. In San Francisco, there was a guy called Jared Jackson and he was honestly one of the best DJs I’ve seen in my life. Real old school bumpy garage tunes which is my ideal warmup. Right up my street. It made me realise that garage is really spreading. New York, San Francisco, and Denver were my favourite shows. In LA I got to meet Chris Lake and do a session with him. We made a tune and he even came out on my LA show later that evening. It was a cool little moment. 
Wow, that sounds like so much fun. What about in Australia and New Zealand? It must be crazy for you to comprehend that they love your tunes halfway around the world! 
Yeah, I’ll never get used to hearing people sing my songs on the other side of the world. It was my second time going over to perform. It’s definitely got even crazier for uk garage over there. I remember my first time playing in Melbourne, it was such a cool experience. The tour lasted about a month and I could have definitely stayed out there longer.  
Last year was a really busy one for you with bookings. Were there any highlights that spring to mind?
Reading festival was one of the maddest things I’ve done. I got to perform with my best mate MC Cunning. He was also MCing for me at Boomtown when I was back-to-back with DJ Q. They were both real highlights of my summer. If you had told me a few years ago that I’d be going back to back with DJ Q on main stage Boomtown I just wouldn’t have believed you. All the UK festivals I did last year were so good to be fair. And of course, my DJ Mag set was probably my favourite moment of the year. 
Yes! Bringing me nicely onto that DJ Mag set that captured the imagination of so many electronic dance music fans. Talk me through it.
Thanks! Because of the tempo people labelled it a garage set, but there was a lot of bassline, house, bits of everything that’s influenced me over the years. After I finished I had a feeling it could’ve been the best thing I’d ever done. It was wicked. I knew I must’ve done well because the crowd reaction was unreal. I really didn’t expect the crowd to be as receptive as they were. And I definitely didn’t expect it to do as well on social media and stuff like that. I guess those 360 sets do the best on socials. I’m really grateful that I was given the opportunity to play that set. Before then, I was always itching to do one of these 360-recorded sets, so when it came through I was really, really, excited. I had to make sure I planned my set and on top of that I was in the studio making sure I finished off some tunes ready to go for the performance. 
Talk to me about some of your more recent releases…
There’s my remix of ‘Counting’ by Hamdi. I made that specifically for the DJ Mag set. I asked Hamdi if I could get the ‘Counting’ stems. It had a real moment on TikTok and socials in general. Loads of people were asking for it to be released. Hamdi hit me up afterwards saying he was doing an official release remix pack of the song, which went out in February. Luckily, around that time the film ‘Saltburn’ came out and was playing that ‘Perfect’ tune which is the original song for the sampling of the ‘Counting’ track. Releasing the remix around that time definitely helped. With ‘Goodums’ I’d bootlegged Unknown T’s tune, also in preparation for DJ Mag. This one also had its moment online. I didn’t actually meet him. We asked if we could make it official and they agreed to it. Just by chance, on the day of the release he was touring in Auckland at the same time I was, so I actually did get to meet him in the end. He even came on my London show too – which was amazing..  
Are there any plans to release a body of work such as an EP?
I would hope to do a bigger body of work in the future. Right now, I’m struggling to crack on with tunes with all the touring and bookings. When I’m not playing I need to catch up on sleep. I’ve got time off planned and I’m going to knuckle down and spend a good chunk of time producing some new music. I do make music when I’m touring but a lot of it I won’t put out because it needs to meet a certain standard. I guess I just need to continue doing what I’m doing. I would like to play out a little bit less. The schedule can be very taxing. Ultimately for me, it’s about the music that I’m making. I’m slightly hindered at the moment in terms of producing because I’m always tired due to shows. But once it calms down a bit I can start to look at getting a body of work out. It would be so cool to get an album out maybe. 
What two collaborations stick out for you in your career? And are there artists you’d still like to DJ/produce with in the future?
Salute is up there. The track we have ‘Peach’ is one of my personal favourites. Conducta is another one. I’ve done the most back-to-backs with him and he’s a real good mate of mine. I would love to work with Skrillex and Four Tet in the future. They’d both be really cool to work with. Maybe Skrillex is a bit far-fetched. Four Tet has some forward-thinking ideas and I think we’d work well. I’ll also throw Disclosure in there as well. 
You’ve had a career filled with top-draw releases. Can you name any standouts?
‘Daga Da’ is definitely one because of all it’s done for me. Hearing it on that Strongbow TV advert was so weird. I don’t know how it got on but it was insane, when I found out it felt surreal. One I don’t really speak about in interviews is my remix of Piri and Tommy’s tune ‘on & on’. It’s one of my favourite productions. One of my more recent ones ‘Moonlight’ is also in contention. It might not do crazy numbers, but when I made the song it felt like I’d put my stamp on it. And finally, ‘Find My Way Home’ and ‘Shella Verse’, they’ll always be considered in my top releases. 
What exciting talents are you rating at the moment in the UK Garage scene? 
Bakey for sure! He’s one of my favourites. He’s way younger than I thought. He makes the best two-step garage. A lot of people try to copy his sound, but just can’t quite get his sound spot on. isGwan from Melbourne is making some really wicked tunes at the moment. Skeptic is another one. Love him. And one more to add in is Prozak. He’s such a great producer. 
Just to wrap things up, we’re all intrigued to know what your top three events you’ve played at are.
That’s hard. My top three events would have to be anything at Warehouse Project, Reading Festival, and Boomtown. 
And your top three cities?
The top three cities I’ve played in are a lot harder to pick from. I’d have to go with Melbourne, Leeds, and for the third one I can’t decide so I’ll have to say it’s a toss-up between London, Sydney, and Nottingham.
Ravebot
Tony McGuinness' upcoming album was finished and stowed away years before most of you were born.
The influential producer and Above & Beyond member was not always an international headliner. Before he struck gold in the trance realm with bandmates Jono Grant and Paavo Siljamäki, McGuinness was a rock-and-roll artist inspired by legendary acts like Steely Dan and The Beach Boys.
He ultimately created his first solo rock album, Salt. Despite working on nine tracks for six months, after he finished recording the album, he'd lock it away in his archives for close to 30 years. Now, after two decades of success with Above & Beyond and their label Anjunabeats, McGuinness is finally ready to show the world Salt.
The album's lead single, "Biker Babe," was inspired by a short-lived romance with an American girl in the 90s, according to McGuinness. He said the story he wrote saw him placing himself and his muse into the world of David Lynch's television show Twin Peaks. The combination of his bittersweet, romantic lyricism and sun-dappled guitar riffs will remind you of those summertime drives where your parents picked what was on the radio, long before the days of Spotify.
"Which is where the mention of The Roadhouse comes from and ran with that all the way through to the ending," he explained in a press release. "I knew she was gonna have to go back to America because she had no visa, and she had a flat in America that she didn't want to lose.”
McGuinness also shared another new single, "Babydoll White," which may sound familiar to fans of Fingerprint, his deep house side project. He remixed his unreleased rock single for Anjunadeep back in 2020 and now, with help from Bob Bradley, fans can experience the sounds of the 90s in its original format.
Fans can pre-save Salt here.
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X: x.com/tonymcguinness
Instagram: instagram.com/tonymcguinness/
Spotify: bit.ly/3XNVKsa
Ravebot
Renowned artist Le Youth, a regular feature at EDMTunes, has just dropped his latest single ‘every-little-part’ as part of his new series “Le Youth &”. This exciting release, available now on This Never Happened, marks Wes’ first collaboration with the up-and-coming talent, Otherwish.
every-little-part
The track begins with vocals performed by the talented LeyeT. Recognized for her work with Le Youth on ‘Feel Around You’ and ‘Hologram’, this track is a must-listen. LeyeT’s vocals convey the emotions behind lyrics that seem to express love for a partner who fails to appreciate it. The vocals are complemented by Le Youth’s smooth house production, with Otherwish’s unique musical contributions becoming evident at the 1 minute 20-second mark. The song features memorable hooks and uplifting melodies, taking listeners on an emotional journey. This release showcases the individual strengths of all three artists, making it a standout track in their discographies.
“Le Youth &” Series
Wes took to instagram to share his new series a week before this beautiful release. What we know so far of the “Le Youth &” Series is that Wes will be collaborating with incredibly talented artists who might not be on our radar yet. Does that mean it will be upcoming TNH artists or other rising stars from different labels? Time will tell. Le Youth mentions some of his favourite songs to listen to are collaborations. Working with artists has pushed him to find new sounds and ideas. Its a learning and always teaches him something new and pushes him outside of his comfort zone.
Le Youth has been producing some of the best music in the melodic house world. I’m excited to see what this brand-new series has in store for us. If you’re a fan of Lane 8, this might remind you of Lane 8’s Cross-Pollination series.
Give ‘every-little-part’ a listen and let us know what you think of this brilliant new release. Stay tuned to EDMTunes for all your dance music updates.”
The post Le Youth Releases New Single ‘every-little-part’ appeared first on EDMTunes.
Ravebot
While drum & bass in the United States has maintained a foothold for well over two decades, only now is it seeing a surge into the mainstream.
Major stateside festivals have adopted the genre while social media sites like TikTok have helped it trend alongside a recent influx of drum & bass-influenced pop music. Although European artists have predominantly reaped the rewards up to this point, there are a handful of North American artists earning their keep as well.
Bensley, Justin Hawkes and Kumarion are just a few to recently light the torch. Their new collaborative EP, Carry The Fire, is a a formidable showcase that weaves through a variety of drum & bass, from anthemic, mainstage-ready hits to jump-up heaters.
Backing their star power is more than just raw talent, however. Their manager, Anthony Tedder, has given them an even bigger platform by providing them with a brand new place to release music: his new record label, BEACON.
BEACON stands firmly by its name as a stable place for drum & bass artists to release music.
"Out of all the mainstream dance music labels, there are a few that release drum & bass consistently," Tedder tells EDM.com. "One of the issues we frequently run into is scheduling and garnering interest in drum & bass tracks. All of those labels that release drum & bass only release a small percentage of their catalog as drum & bass. They’re releasing dubstep, bass house, 140, experimental or anything else. Our main goal is to create a space where drum & bass artists have a US imprint to get their music out in front of people."
While some homegrown labels have thrived, such as Reid Speed's Play Me imprint, they tend to cater to the underground. BEACON, on the other hand, is looking to push a more festival-oriented sound.
"The purpose of BEACON is to provide a modern context for drum & bass in North America and create an access point to help people deepen their love or discover drum & bass," Tedder continues. "We want to pay homage to what the scene has had to offer over the past 30 or so years. While the heads know, many don’t know drum & bass has been around in the US essentially as long as it’s been around in other places. It’s important for us to acknowledge the cultural foundation that’s already been built."
Further, BEACON looks to focus on North American talent as much as talent that hasn't been given as much attention across the pond.
"We want to create an ecosystem for homegrown artists to flourish and garner the same success that international talent has gotten over here. We also want to extend opportunities to international artists who haven’t had the same exposure as some of the OGs so they can come over here, release music, get involved, play shows and create a footprint in the States."
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Conceptually, BEACON doesn't simply end at a label. Tedder's ideas extend much farther and he hopes the brand evolves into a cultural phenomenon.
"BEACON is more than just a record label," he explains. "It’s a music and lifestyle brand that also releases music. The brand is meant to be the foundation for the modern drum & bass community in the US. We’re going to have merch, we’re going to have events, we’re going to build out tours. I want our brand to be a source of positivity and use our brand as a place to further the culture."
Tedder's desire to advance the genre's influence doesn't just come from the talent on his artist management roster, but from a passion deeply rooted in his own experiences in electronic music.
"I was at Electric Forest 2013 or 2014," he recalls. "On that lineup were Wilkinson, Andy C and Noisia. I remember seeing those sets and thinking, 'Wow, this is cool.' It took me back to a time in 2011 or 2012 when I saw Rusko and Sigma on tour and loved the fast-paced music I was hearing. It unlocked another side of dance music that I didn’t really know anything about."
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Tedder's vision for the label aligns with his vision of the future of drum & bass. "We’re seeing drum & bass booked at nearly every single festival in North America right now and with every additional one, it’ll just keep growing," he predicts. "I don’t see drum & bass as a fad or a sizzle in the pan. It’s something that’s grown slowly but surely after being supremely marginalized. I think that’ll compound until we see a full-on drum & bass festival in the US and more drum & bass artists playing the mainstage at festivals mixed in with other artists."
Not only has the festival circuit contributed to drum & bass' rapid rise to popularity at festival stages around North America, but social media and pop music have also leaned into the genre as well.
"One of the most telling things leading to drum & bass' growth is seeing the trend of sped-up pop songs," he continues. "They’re taking a 140ish BPM pop tune and speeding it up to 160 and it goes viral on TikTok. People are passively listening to faster music and I think that plays into it. I can see it becoming something bigger and better than it ever has before. A great example is 'Strangers' by Kenya Grace. After getting into it people seek out what they’re listening to and passively listen to it more. Drum & bass has something for everyone and that’s what makes it stand the test of time."
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At the end of the day, the purpose of BEACON, Tedder says, is to serve the needs of the community.
"The main reason we’re starting this is that we’re seeing needs. I’ve been given so much by dance music and drum & bass and I’ve enjoyed the culture so much that I want to help create a community, help it flourish, and create new ways for it to be accessible to people."
Although BEACON is a fresh face on the block, Tedder and his team are well underway to developing something a blossoming North American scene desperately needs. He says more music is on the way throughout the rest of 2024.
Artists interested in submitting demos to BEACON can find the label's form here.
Ravebot
We are thrilled to introduce Alex Kislov, a Chicago-based Producer and DJ who has quickly risen to prominence in the city’s vibrant Electronic Music scene. Known for his captivating blend of Deep House, Techno, and Experimental Beats, Alex Kislov has graced the stage at iconic venues such as Radius, Spybar, and The Mid, establishing himself as a noteworthy talent within the genre and one whose bright future marks him as a Producer and DJ to be watching closely. In this exclusive interview, Alex Kislov sits down with us to share insights into his musical journey, process, and future aspirations. So, join us to delve deeper into the creative force behind Alex Kislov.  
 
Hi Alex Kislov, how are you? 
So far, so good! The first half of 2024 has been filled with work and projects that I am excited to see come to life in the second half. 
 
Can you tell us about your journey into the world of music and how you first became inspired to start a career as a DJ and Producer? 
My journey dates back to my childhood when my sister and mum would play Electronic Music in their cars and at home on the radio. Essentially, I was born into it. Listening to different styles and genres over time, I found myself curious about DJing; I would always end up playing at all of our high school basement parties. I think I was around 18 when I started getting into production more seriously, but I always played some guitar and drums. I was actually able to pay my college tuition by DJing at local bars around and producing whenever I could find the time. After college, I decided to go all in as a DJ and producer. It was pretty frightening at first, but I never looked back. 
 
How would you say your music and DJing style differ from others on the scene? 
 
That’s a hard question to answer since I am very subjective to the sound that I am inclined to. I suppose I am not as Tech House as some of the Artists I am friends with, but I’m also not as Downtempo and Organic House as some of my other Producer friends are. I find myself in the medium between Deep/Progressive House and Deep/Tech House, so in a way, I think I’m more Deep Tech / Progressive. That’s as far as production goes. My DJing is different because I started with vinyl/turntables and then immediately hopped onto CD-J 800s and the original Denons, and possibly gear from even before that, like the iDJ. I don’t know if anyone remembers the old CDJs, but they’re very different from the ones today. This impacted a lot of the way I mix now; they naturally gave more room for the track to come in and out. I learned to ALWAYS trust my ears first before my eyes. 
 
Having been immersed in the Chicago dance scene, can you tell us how your experiences and exposure to the culture continue to impact your work? 
There is a good quote among Producers and DJs here in our ecosystem: “You either make it in Chicago or you make it everywhere else.” Our city is flourishing with incredibly talented Producers, and even more so with DJs. House music is the supreme genre in most capacities alongside Blues and Hip Hop. There must be something in the water as you can see with the incredible artists that come out of the city such as Green Velvet, Frankie Knuckles, Ron Carroll, John Summit, Fall Out Boy, Common, Chance the Rapper, and a host of others across different decades and genres. This type of environment produces lots of opportunities as well as competition. You have to be at your best to go with some of the top in this city, and the promoters and the fans dictate your standing, so you’re constantly grinding. It’s the best type of environment to test your ability as an Artist. It pushes you to your utmost limits, and then some. This forces you to release all boundaries that hinder creativity while also having a supportive system of Artists to fall on when you need it. If there’s anything to say about Chicago and how it impacted my work, it’s that it never stops driving. 
 
Could you share with us your creative process when it comes to producing new tracks? 
When I was starting out, a good way to get me “warmed up” was taking some of my favourite tracks and deconstructing them so that I could understand all the layers and sounds that went into them. This really helped me shape the direction of a track that I’m writing or the mood that I’m going for. Once in a while, nowadays, I love to pop an old Daft Punk vinyl on my record player, sit by my plants, and just listen to the album from top to bottom. It really puts me in a creative mood. 
 
You’ve had support from names like Nicky Romero, Morgan Page, and Pascal Junior. What career milestones are you hoping to achieve next? 
I feel very blessed to have shared the decks with hundreds of some of my favourite Producers and DJs. Even more blessed with some of them gracing my sets with their tracks. This has always been a huge milestone, to receive a salute from another producer that validates my work. I think another big milestone to work towards would be to get placement on some of the biggest festivals in the world and maybe someday to score a film. 
 
What do you enjoy most about music production? Is there a specific part of the process that you find most rewarding? 
My favourite part of producing is the creation and layering process. I love listening to different sounds and how they layer with other elements in the track. Once I got a better grasp of music theory, it was easier to understand how to change the mood and oftentimes how I feel translates to how I write. 
 
Your productions often draw from genres like Trance, Deep House, and Drum & Bass. What attracts you to these sub-styles, and how do you incorporate these influences into your tracks? 
Those are the genres that I grew up listening to; what my mum and sister would play on the radio or in the house. I love the arps and breakdowns in Trance, I love the groove and simple melodies in Deep House, and I love the vibe and lows of Drum & Bass. These layers find their way into my tracks naturally. 
 
How do you stay inspired and motivated to create new music? 
I have a dream and I will stop at nothing to try and see it come to reality. It is a natural drive, I suppose. I love what I do very much, and I am thankful every day that I get to do it, and that pushes me enough to get myself out there. I value progress and constantly seek to keep learning and becoming better at my craft. 
 
Lastly, could you give us a glimpse into your future plans? Are there any exciting projects or releases on the horizon? 
I just announced the release of my first album, ‘Dream Sequence’, which will be coming out later this year in October. I am also excited to sneak peek a few singles from the album throughout this summer—some of them feature incredible vocalists who I have dreamt of working with for a very long time. 
 
Alex Kislov’s journey into music production serves as a credit to his dedication and passion for Electronic Music. With a drive to push creative boundaries and a talent for blending genres, Alex Kislov seems poised to continue making significant waves in the industry, so, as we close this interview, we thank Alex for sharing his insights and look forward to his future projects. Stay tuned to Alex Kislov by following him across social media to keep up-to-date with his latest releases and performances. 
Alex Kislov Online    
Spotify | Instagram | Beatport      
The post Introducing Alex Kislov: A Rising DJ/Producer Making His Mark in Electronic Music appeared first on EDMTunes.
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