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Meet Adwaith S, The creative mastermind who builds reputation and image for India’s Rising Entertainment Icons

Being online and having a presence is one of the most valuable ways to be make it this generation as an influencer or artist. With that comes a lot of pressure to not only be consistent, but also bring quality to your online followers. One person leading the way for India’s rising stars is none other than Adwaith S.
This prolific music industry expert has been in the entertainment field from a very young age. Adwaith made a name for himself in the music and entertainment business as a person who can change things, especially for independent public figures, artists and celebrities. He was born in Kerala, India and has been working professionally since his young age. He has worked as a reputation and digital manager with leading Indian acts who’s booming worldwide right now, such as Thaikkudam Bridge, Dabzee, ThirumaLi, Masala Coffee, and many more, who have all been seen performing Internationally several times, despites in India itself.

Adwaith started his career in Marketing and Social Media while still in college, working with labels and music artists. Over time, he transitioned into a notable reputation and digital manager for Influencers, Celebrities, and music organizations. who has managed almost all leading South Indian artists. With a roster including many top South Indian artists, his influence on the music business in South Asia is undeniable.
One thing that sets Adwaith apart as a music businessman is his all-around attitude. Adwaith states he works on every step of the growth process, from creating a strategic growth plan for his clients, focusing on reputation and brand image development, market analysis, and trend adaptation. His efforts have culminated in building an established presence online for his clients and a significant presence for the clients under his wing.
In 2024, He started a new venture launching a reputation management brand called CTLG (www.ctlg.in) (pronounced Catalog), alongside his friend, Aadil Mohamed. Excitingly, Adwaith revealed that they have signed their first deal with a South Indian Hip-hop artist “ThirumaLi” to oversee his online reputation and marketing.
The post Meet Adwaith S, The creative mastermind who builds reputation and image for India’s Rising Entertainment Icons appeared first on Electic Mode.
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Orbital & Michael Mayer remixes Cafe Del Mar

Café Del Mar: Orbital & Michael Mayer Remixes by Energy 52 Energy 52‘s Café Del Mar is one of the most iconic tracks in dance music. Released in 1993, this instrumental trance anthem was named after the famous beach bar on the Balearic island, becoming synonymous with the euphoric, sun-soaked vibe of Ibiza’s dance culture. Crafted by German DJ Kid Paul and co-produced by Cosmic Baby, the track’s mesmerizing melodies and uplifting harmonies encapsulate the quintessential sunset moment, making it a staple in the sets of DJs worldwide.
Its enduring appeal is reflected in its impressive chart performance and numerous re-releases and remixes by leading artists, ensuring its presence in dance music culture across decades. Over the years, Café Del Mar has achieved legendary status, regularly featuring in lists of the greatest dance tracks of all time. Notably, it was voted No. 1 position in Mixmag’s 2001 list of the “Top 100 Tunes of All Time” highlighting its almost unparalleled impact on the dance music landscape. To put it simply, Café Del Mar is a cultural phenomenon, encapsulating the spirit of an era and influencing generations of artists and fans alike.
Now this iconic track is being remixed by two of the most revered acts in electronic music, Orbital and Michael Mayer. Orbital, the pioneering British electronic dance duo consisting of brothers Phil and Paul Hartnoll, have continued to shape the electronic music scene since their emergence in 1989. Known for their innovative live performances and seminal tracks like “Halcyon + On + On,” they’ve significantly influenced techno and electronic music. In 2024, Orbital maintained their relevance by releasing a critically acclaimed album and embarking on a global tour, showcasing their ability to blend contemporary electronic sounds with its signature style. Their sustained creativity and adaptability underscore a legacy that bridges the early rave scene with today’s electronic music landscape, solidifying their status as enduring icons in the genre.
Orbital’s remix is an ode to the golden age of rave, with clattering breakbeats and an ethereal synth line pulsing through its early stages before the iconic lead warps into view. They preserve the iconic, hair-raising breakdown before landing on the other side in a flurry of synths, scything percussion and a punishing 4/4 beat.
A key figure in Cologne’s electronic scene, Michael Mayer co-founded the influential Kompakt label, contributing significantly to its direction and success. His discography includes seminal albums such as “Neuhouse” (1998), “Immer” (2002), and more recent works like “Higher” (2020) and “Connecting the Dots” (2021). Known for his meticulous remixes and collaborations with artists like Superpitcher and Kölsch, Mayer’s work spans genres, touching on microhouse, experimental, and ambient techno. Beyond producing, Mayer’s mix CDs, including contributions to the Fabric and DJ-Kicks series, highlight his broad musical taste and ability to curate pioneering sounds.
For his interpretation, Mayer leans into head-spinning, hypnotic rhythms, with tribal drums and the patiently evolving lead line building towards a climax that is more subtle but no less effective. A near-perfect sunrise track for the payoff to all-night, al fresco summer raves.
More info and background on Michael Mayer and his views on this iconic classic please read here in Michael Mayer’s interview with Loudlife.
While Michael Mayer’s remix was digitally released 26.04.24 the Orbital Remix is out today digitally as well as both Remixes together on vinyl. Stream / Download here
The post Orbital & Michael Mayer remixes Cafe Del Mar appeared first on Decoded Magazine.
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Louis Millne Reimagines Turn-of-the-Century Hip-Hop for the Dancefloor: Listen to "W.Y.G.D."

Louis Millne isn't afraid to play with the past, but he brings it screaming into the future with his new single, "W.Y.G.D."
Out now via House Hats, the deep tech track samples Fat Joe and Nelly's 2005 hip-hop hit "Get It Poppin'" and flips it on its head like a backwards fitted Yankee cap. Stripped-down samples—just enough to ignite the memory banks—are interpolated and layered over a thick bassline.
Millne has masterfully crafted a hypnotic, minimalistic rhythm that'll keep you locked in and sweating buckets. It's a testament to the timeless appeal of turn-of-the-century hip-hop, and a reminder that sometimes, less is more when it comes to creating dancefloor dynamite.
Prior to its release, "W.Y.G.D." received early support from Sosa, Marco Carola and Joshwa and many more. Millne also a monster summer on the horizon as he gears up for performances at Creamfields and Abode Records' residency at Eden Ibiza, among others. Take a listen to the new track below.
Follow Louis Millne:
X: x.com/louismillne_
Instagram: instagram.com/louismillne
TikTok: tiktok.com/@louismillne
Spotify: tinyurl.com/mw77utj4
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EDC Las Vegas 2024 Livestream: How To Watch?

Watch Electric Daisy Carnival (EDC) Las Vegas 2024 livestream and check the set times for kineticFIELD and circuitGROUNDS.
For dance music enthusiasts and festival-goers, Electric Daisy Carnival (EDC) Las Vegas holds a special place in their hearts. The annual extravaganza, organized by Insomniac Events, has been synonymous with electrifying performances, stunning visuals, and an unforgettable atmosphere.
This year, Insomniac is taking the festival experience to a whole new level by live streaming the event for fans worldwide to enjoy. From May 17th to May 19th, EDC Las Vegas 2024 will be broadcasted live, allowing anyone with an internet connection to be a part of this incredible celebration.
Unleashing the Energy via the livestream on EDC Las Vegas Stages: kineticFIELD, circuitGROUNDS, neonGARDEN and bassPOD
The live stream will feature four of the most iconic stages at EDC Las Vegas: kineticFIELD, circuitGROUNDS, neonGARDEN and bassPOD. These stages have witnessed legendary performances and breathtaking production in the past, and this year will be no exception. With the live stream, fans will have a front-row seat to witness their favorite artists deliver mind-blowing sets, taking the energy levels through the roof.
A Stellar Lineup
EDC Las Vegas 2024 brings an impressive lineup that will leave dance music enthusiasts eagerly anticipating the live stream. Renowned artists such as Eric Prydz, Carl Cox, John Summit, Martin Garrix, ZEDD, deadmau5, and many more will grace the stages. Each artist will bring their unique style, creating a diverse and unforgettable experience for viewers around the globe.
How to Tune In and Watch EDC Las Vegas 2024 livestream
To catch all the action from EDC Las Vegas 2024, simply visit Insomniac TV on YouTube and Twitch. Starting from Friday, May 17th, until Sunday, May 19th, the live stream will keep the music playing non-stop, allowing fans to enjoy the festival vibes from the comfort of their own homes. Additionally, viewers can also tune in directly from their computers at tv.insomniac.com.
EDC Las Vegas 2024 livestream set times kinetic FIELD day 1
Get ready to immerse yourself in the mesmerizing world of kineticFIELD, where larger-than-life productions and epic performances come together. Set time for the EDC live stream has yet to be announced.

circuit GROUNDS Timetable day 1, Friday
The circuitGROUNDS stage is renowned for its cutting-edge sound systems and mind-blowing visual displays. Here’s the timetable for the circuitGROUNDS stage during the EDC Las Vegas 2024 livestream:
TBA
neon GARDEN day 1
Set times:
TBA
bassPOD day 1
For all the bassheads out there, the bassPOD livestream channel will deliver a relentless stream of heavy beats and bone-shaking bass drops, bringing the electrifying energy of EDC Las Vegas straight to your screens.
TBA
 
The post EDC Las Vegas 2024 Livestream: How To Watch? appeared first on The Groove Cartel.
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Markus Schulz And Sir Ivan Release First Collab ‘Turn! Turn! Turn!’ Via Coldharbour Recordings

Renowned Electronic Music DJ Markus Schulz comes together with Billboard charting recording Artist Sir Ivan to present their debut collaboration, ‘Turn! Turn! Turn!’ via Coldharbour Recordings. A brand-new Trance production that fuses their musical individuality into a cohesive, powerful blend of uplifting sound, this new collaboration is sure to garner attention, showcasing the creative power of the pair as they join forces to offer listeners a captivating experience, that reimagines The Byrds’ 1965 track, breathing new life into the already inspiring hit.
Markus Schulz’s unique signature sound has taken Electronic Music by storm, with listeners from around the globe continuing to be impressed by his innate talents and expert production approach; as he puts forward his distinct blend of Trance, Progressive, and Techno, Markus Schulz ensures that his music contributes to the evolution of Electronic Music, resonating with fans as he introduces refreshing and innovative sounds to the scene. With accolades that include earning the DJ Times‘, America’s Best DJ, an impressive three times, Markus Schulz’s talents appear undeniable, and this latest release only showcases this further.
Another exciting talent within the world of Electronic Dance Music, Sir Ivan is also a name that echoes with respect within the genre: known for his ‘Peaceman’ status and penchant for introducing meaningful statements within his work, his desire for world peace and universal love is a message that Sir Ivan ensures remains evident throughout his music, appearing as a distinct asset to his signature style.
When speaking about the release, Sir Ivan mentions: “My hope is that the contagious track Markus Schulz created will spread the lyrical message of peace throughout dancefloors all over the world and inspire its listeners to love one another.”
A pulsing arpeggiator starts off ‘Turn! Turn! Turn!’ as the pounding beat, driving bassline, and compelling layers of sound quickly bring high energy to the track. Then, as the emotive vocals of Sir Ivan enter the mix, the track soon builds in captivating vibes, leading the uplifting listening experience as the infectious synth lead and energetic rhythmic details add another layer of sonic vibrancy. With the multi-layered soundscape, full-bodied in arrangement and sound, continues to evolve, bringing a party-starter vibe, Sir Ivan’s message of peace and love remains at the center of ‘Turn! Turn! Turn’, cementing meaning with each vocal-driven chorus.
This track presents the hard-hitting energy inherent throughout Markus Schulz’s music, bringing dancefloor-ready vibes through infectious sounds and lively details while showcasing Sir Ivan’s signature musical approach through its impactful lyrical content. An enthralling collaborative project, this new track is no doubt a must-listen, highlighting the powerful potential of the pair as they link up and merge their individual abilities, styles, and creative energy.
‘Turn! Turn! Turn!’ is out now via Coldharbour Recordings and is available to stream and download across platforms here.
Make sure to keep up to date with both Markus Schulz and Sir Ivan by following them across social media as they are guaranteed to keep paving impressive ways within Electronic Dance Music today.
Follow Markus Schulz:
Website | Instagram | Spotify
Follow Sir Ivan:
Soundcloud | Instagram | Spotify
Follow Coldharbour Recordings:
Beatport | Website

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ATB announces final studio album and 25th anniversary tour

German electronic music icon ATB has announced that he will release his final studio album in 2025, capping off an illustrious career that includes 10 studio albums and more than 55 gold and platinum awards across various countries. ATB first soared to fame with his breakthrough single “9pm (Till I Come)” in 1998, which topped the UK singles charts and became the first dance song to achieve that feat. It also enjoyed significant success worldwide, including the US Billboard charts, and was at the forefront of the first wave of dance music on global radio. His storied career and deep discography is rife with consistent innovation and production finesse. Hits like “Don’t Stop,” “Ecstasy,” and “Let U Go,” have secured his place in the DJ Mag Top 100 for nearly two decades.
Known for a meticulous approach to album production, ATB often crafts double album projects featuring one disc tailored for the dance floor and another composed of serene soundscapes for the come down. Let’s hope his final album follows in suit.
Even though 2025 marks the release of his last studio album, ATB’s journey is far from over. Celebrating over twenty-five years of continuous music production, he will embark on his “Don’t Stop” Summer Tour. Not just a retrospective of ATB’s classics; the tour will also offer a preview of unreleased tracks from his yet to be named final album.
The “Don’t Stop” tour is launching this week in New Orleans, continuing through major American cities including St Louis, Dallas, Washington, DC, and Portland, before heading to Europe for the summer festival circuit.
ATB USA Tour Dates
5/17 – New Orleans – Metropolitan
5/18 – St. Louis – Ryse
5/23 – Dallas – Stereo Live
5/24 – Washington, DC – Soundcheck
5/26 – Portland – East 45
6/1 – London – The Steelyard
6/14 – Helsinki – Helsinki City Festival
6/15 – Dublin – Biggest Disco Festival
6/19 – Kolobrzeg – Sunrise Festival
6/20 – Bacău – Young Island Festival
8/2 – Székesdehérvár – Fezen Festival
8/10 – Cullera – Medusa Festival
8/16 – Riga – Wondersala
8/17 – Râmnicu Vâlcea – We Love Music Festival
8/31 – Budapest – Budapest Park
9/7 – Bochum – Musiksommer Bochum
10/2 – Dresden – Reithalle (Strasse E)
10/3 – Prague – Duplex

More dates to be announced
The post ATB announces final studio album and 25th anniversary tour appeared first on Dancing Astronaut.
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Kiko Links Up With Étienne De Crécy On Festival Anthem ‘Superdata’

Revealing the third mega collaboration from his forthcoming ‘Digital Family’ album, French Touch artist and industry mainstay Kiko joins forces with legendary French producer Étienne De Crécy for their festival anthem, ‘Superdata’.
Setting an industrial soundscape from the very first beat, the producers call upon heavy percussion, striking synth work and rhythmic instrumentation to craft a commanding arrangement. Showcasing the undeniable synergy between Kiko and Étienne, this captivating instrumental cut has been blowing audiences away during their recent sets around the world.
Speaking about ‘Superdata’, Kiko said: “At the beginning, I was inspired by the “Respect is Burning” parties in Paris in the 90s, which led me to propose collaborating on this track with Étienne. He added his touch, perfectly in tune with the ambiance of those parties. Together, we recreated the atmosphere of his productions with Motorbass and Superdiscount, in a style reminiscent of Daft Punk’s early works. I had never seen his studio before, so it was all new to me. For the track, I spent two days there, divided into two work sessions. The first session took place in the afternoon of my arrival, and the second on the morning of the next day. Everything was wrapped up quickly!! had brought a track that Étienne replayed with his analog machines, including a KORG MS10 and a TB303 Roland. We built the structure together and he handled the mixing. We got along very well, and everything went very fast. For mastering, choosing Alex Gopher was a no- brainer. He did an excellent job on the track.”
Reflecting on over 30 years in the industry, Kiko‘s forthcoming collection will host collaborations with artists that have played a part in his musical journey over the years, including Agoria and Rodriguez Jr. and Étienne De Crécy. Encapsulating two decades of innovative music and profound influence in the techno-electro world, the ‘Digital Family’ album will provide a sonic gateway that transcends time and genre.
An artist who has made an indelible mark on the history of electronic music, Kiko remains at the forefront of the scene. His eclectic discography blends melodic techno, indie dance, and Italo disco, and spans some of the industry’s most revered imprints, including Afterlife, Diynamic, Watergate, Stil vor Talent, Bedrock and Bodello A Parigi. Boasting a variety of hit records, Kiko saw global success with his French Touch anthem, ‘World Cup’ in 1999. His track ‘Beautiful Place’ was reported as one of the top 10 most-played tracks at Coachella 2015 by Mixmag, and his collaboration ‘Living in Space’ with Dave Davis and Phoebe received an official remix by Olivier Giacomotto. Joining forces with David Guetta under his alias Jack Back, they released ‘Supercycle’ on Tiësto‘s highly esteemed AFTR:HRS imprint. With the announcement of his most anticipated project to date, the ‘Digital Family’ album, 2024 is destined to be a monumental year for Kiko.
Étienne de Crécy‘s trajectory from punk bassist, to Paris sound engineer, to iconic house music creator epitomizes innovation and influence. Best known for his seminal work on his classic ‘Super Discount’ album, he is a stalwart of the French Touch movement, constantly evolving within electronic music. His partnership with Philippe Zdar as Motorbass yielded the acclaimed ‘Pansoul’ album, a cornerstone of French house music, which was hailed as an instant classic when it hit the shelves.
‘Super Discount’, De Crécy‘s retail-themed “collaborative solo project”, was a critical and commercial hit on the release of Volume 1 in 1997, serving as a showcase for the wave of emerging French talent. De Crécy‘s subsequent releases, from the soulful ‘Tempovision’ to the experimental ‘Super Discount 2’, reflect his unyielding commitment to musical evolution. Renowned for his immersive live performances, blending audio-visual experiences, he captivates audiences worldwide. With every project, Étienne further cements his legacy as a pioneer and living legend in the genre.
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KSHMR Talks About His Name, Pivotal Moment In Career & More

He’s an American musician, songwriter, producer, and DJ born of Kashmiri-Indian descent. He’s the man behind ‘Like a G6’ and one half of The Cataracs. He’s incredibly talented and one of the nicest artists I have ever met. Introducing Niles Hollowell-Dhar, more commonly known as KSHMR.
Let’s start at the very beginning – how did you come up with the name KSHMR?
Random word generator- just kidding. My family is from Kashmir, which is a region in India. And that’s about it- I know it’s not that crazy or original, but hey, it’s important to me.
Are there any exciting projects coming up that you can tell us about?
There’s always shows and festivals coming up, and I’m excited for all of them. I have some new singles coming out soon too that I can’t talk too much about yet. I also am going to be working on developing new sound packs, that will require a lot of work and a lot of collaborating with different people, but I’m excited to put those together and share them with the world too.
Check out some of KSHMR’s newest releases:
What was the most pivotal moment in your career?
Well in the beginning, it was this song called ‘Like a G6’. It was kind of like a fluke honestly- I was making a lot of tracks at the time that were similar- that had that sort of distorted sound. And somehow, that one happened to end up being a really big hit, and that changed my life forever. That song really took me from being the guy just trying to get his foot in the door to the guy who’s got the #1 hit in the country. After that my group broke up, and then that’s when I started to become KSHMR.
What artist or group would you love to collaborate with?
Such a good question. I would say, for sure, Brandon Flowers. I love The Killers- they’re one of my favorite bands. The Beatles are actually my favorite band, but unfortunately, I don’t think I’m going to be able to get Paul McCartney to collaborate with me on anything.
Have you had a most embarrassing moment on stage that you feel comfortable sharing?
Oh yeah, I’ve had multiple. Back when I was in The Cataracs, I had just broken up with my girlfriend at the time. I was playing at a show that I knew she would still be in attendance at. Of course, the DJ before me opened a bottle of champagne on stage and sprayed it all over… and the first thing I did when I ran out on stage was slip and fall in front of everybody. Like I medically injured myself- it was that painful- but I continued the show. It just felt so embarrassing doing that in front of everybody, and knowing she was in the audience made it even worse.
The next one I have to share with you- I was in Germany. It was the last song of my set, I was outside performing at a festival, and it was raining. The last song I was playing had a huge build up to the last drop, so I jumped up on the table to get the crowd super hyped up. I then realized that I accidentally stepped on my USB was I was getting onto the table- like crushed it so hard that the wires were sticking out. Somehow, the song went into an emergency loop, so it literally was just going to loop forever if I didn’t do something. And since my USB was crushed there was literally nothing I could do, so I just let it loop for another minute or two, then turned the music down and said “Thank You” and ran off stage.
Photo credit: Jeff Kravitz
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Danny Howard Curates Biggest Ever Summer Series at BCM 

World renowned dance music tastemaker Danny Howard has carefully curated an unmissable season of weekly events at BCM. The BBC Radio 1 regular will play every Tuesday from June 25th alongside a diverse mix of friends, legends, and the next generation stars that he has helped platform on the radio. 
Howard has long been a regular at BCM, where he has championed the most fresh and forward thinking dance sounds on the planet. He heads up his own Nothing Else Matters label and party series and has made many a new star off the back of his famously influential Radio 1 show. Plenty of them now play at BCM this summer, including label artists and radio regulars he has always been keen to champion. 
BCM itself has just undergone a huge renovation and is now ready to open its doors and offer the sort of thrilling experience it is known for around the world. The sounds system and the production are out of this world, and now Danny Howard‘s residency is all set to maximise that all summer long. 
Says Danny, “Hosting my own weekly party in Mallorca has become a staple of my summer and something we’ve built over the years into one of the biggest nights of the week in the resort. This year we’re taking it to the next level with some of the hottest global names in dance like Fisher, Gorgon City, Sam Divine and Sonny Fodera coming back to play with the addition of some new faces I’m excited to welcome to BCM such as Diplo, Hannah Laing, LF System and Franky Wah. Not only that, I’m delighted to welcome some names who have released records on Nothing Else Matters to the party with HoneyLuv, Fleur Shore and Miane all set to make their debuts. If you’re heading to Mallorca this summer, it’s all about Tuesdays!”
This is going to be a summer like no other at BCM with Danny Howard at the helm and a global roster of DJs all serving up the cutting-edge sounds. 
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Introducing Electronic Music Innovator Kallaghan

The multi-faceted nature of Kallaghan’s talents continues to enable him to appear distinct within the world of Electronic Music, equipping him with an expansive skillset and range of experiences that he now brings into his own music production approach and live DJing style. As he creates powerful and unique music, Kallaghan ensures that his reputation on the scene continues to grow, taking him to new ground as he breaks out from the limitations of genre norms, breaking down barriers to distinguish an innovative place within Electronic Music today.
Kallaghan’s unique musical background is no doubt a factor in his rapidly growing status on the Electronic Music scene, serving as an influence to his stand-out, original signature sound. Having made a name for himself as a chart-topping Producer, with gold and platinum accolades for his work alongside gifted Artists across genres, Kallaghan is certainly a powerhouse talent when it comes to his musical expertise. As he now works to incorporate his well-honed abilities into crafting his own style, taking inspiration from the music that has continually encouraged his creativity throughout his musical journey, it seems only a matter of time before Kallaghan’s place as a sought-after Producer extends to his work within the realm of Electronic Music.

It is the inventive and creative nature of Kallaghan’s music that continues to captivate fans. Having been inspired by the hard-hitting style of Punk Rock, Kallaghan now brings the elements from the genre into his Electronic Music sound, working to incorporate guitar details into his live performances and studio productions. With a career spanning over a decade within the USA, Kallaghan remains motivated and creatively determined, continuing to be driven by ambition and a desire to make an impact. It was in 2022 that Kallaghan set up his own record label, Grail Records, primarily focussing on providing himself with a platform to release his work; as he continues to build out his production catalogue, adding high-quality productions like ‘PYRAMID’ and ‘Wasting Time’, Kallaghan ensures that his talents keep taking centre stage, appearing as an unstoppable creative force within the genre today.
The stages that Kallaghan has graced and the Artists he has performed alongside are just as an impressive credit to his talents as his studio productions. With live sets at Insomniac events like EDC Las Vegas and EDC Mexico and having shared stages with VIP DJs such as Diplo, CID, and Tchami, to name only a few, Kallaghan’s magnetising DJing style appears as a signature to his sonic persona, continuing to afford him with milestone moments, setting him apart as an exciting talent to keep an eye on.

The passion for music that continues to support Kallaghan’s creativity remains evident through each of his artistic pursuits; with a clear ambition to make his mark through his studio productions, live DJ appearances, and the setting up of his own record label, Kallaghan is surely taking Electronic Music by storm, positioning himself on a promising musical path. As he ensures that his artistry remains a unique expression of his influences and background whilst discovering fresh sounds to integrate into his sound, Kallaghan appears as an innovator, one whose impressive career so far marks him as a welcomed and refreshing presence within Electronic Music today.
Kallaghan Online
Website | Soundcloud | Instagram 
The post Introducing Electronic Music Innovator Kallaghan appeared first on Electic Mode.
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Josh Wink kicks off a milestone 30 years of his influential Ovum Recordings 

Josh Wink kicks off a milestone 30 years of Ovum Recordings with new single ‘The Deepness’ taken from his forthcoming two-track EP of the same name. The single arrives on Ovum on 17th May. 

Leading the way for the 30th celebrations is ‘The Deepness’, a stunningly wide-ranging track that is as driving and deep as it is cinematic. Over its seven-minute course, percussive rhythms give way to a space odyssey-worthy breakdown before we are sirened back into the rave for the final third. It is an enthralling ride that sees this seminal producer exploring sonic sensuality and an organic style, embracing ‘new areas of musical expression and creativity’. It is a glorious testament to Wink and Ovum’s relentless pursuit of inquisitive, innovative underground dance music. Essential! 

Josh Wink  says: 

“I always want to grow, push myself and move into new areas of musical expression and creativity.  With ‘The Deepness’, I believe if you know my music, you can tell it’s a Wink production on the track. However, it shows a more organic, deep, and sensual side to my usual production output. I decided to step out of my comfort zone with these tracks and use an outside mix engineer (through the heavy suggestion of Matty B at Ovum) and sent the stems to Hannes Bieger in Berlin to mix. We worked for several weeks (through emails) on getting the mixes right, and then BAM. ‘The Deepness’ was birthed. I am thrilled to have created something special like this, and having the whole process open me up to tackle hurdles I was not accustomed to. The track was then given an impeccable mastering at Calyx studios.”

Josh Wink has been gloriously disrupting electronic dance music with DIY and post-punk energy since the 90s. Amongst a huge arsenal of profound releases – his seminal breakout hit ‘Higher State of Consciousness’, was highlighted as one of Rolling Stone’s ‘Greatest Dance Songs Of All Time’ in 2022. In 1995 the single was unleashed on the world and was immediately embraced by everyone from Gilles Peterson to Carl Cox. The definitive track continues to be rediscovered and adored by every new wave of DJ, raver and electronic enthusiast since its original release 29 years ago. His Ovum imprint is a continuation of this boundary-pushing attitude, with more than 400 releases, over 130 associated artists and countless chart-topping tracks in its 30 years. Born in Josh’s native Philly in 1994, Ovum is as DIY and independently-minded now as it ever was, with the label and founder having plenty up their sleeve to surprise and delight in 2024 and well and beyond. 

To celebrate a milestone of 30 years, Josh will be taking Ovum on tour globally this Spring/ Summer, including his annual ‘Winkdown’ in Philadelphia in April with special guest Ash Lauryn and Carl Cox’s ‘Birthday On The Beach’ in Brighton this July. 
Stream / Download here

Upcoming Shows
May 18 – TBA,  Budapest, Hungary
May 25 – City Club, Detroit, MI, USA
June 1 – Boomerang Festival Malta
June 14 – Flow, Paris, France
June 15 – Montpellier, France
June 21 – Sunset Campout, Belden Town, CA, USA
June 30 –  Fusion Festival, Larz, Germany
July 27 – Carl Cox Birthday on the Beach b2b w/ Kerri Chandler, Brighton, UK
Aug 4 –  Family Piknik, Montpellier, France
Aug 8-10 –   Neopop Music Festival, Viano do Castelo, Portugal
The post Josh Wink kicks off a milestone 30 years of his influential Ovum Recordings  appeared first on Decoded Magazine.
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How to Watch EDC Las Vegas 2024 livestream

Watch Electric Daisy Carnival (EDC) Las Vegas 2024 livestream and check the set times for kineticFIELD and circuitGROUNDS.
For dance music enthusiasts and festival-goers, Electric Daisy Carnival (EDC) Las Vegas holds a special place in their hearts. The annual extravaganza, organized by Insomniac Events, has been synonymous with electrifying performances, stunning visuals, and an unforgettable atmosphere.
This year, Insomniac is taking the festival experience to a whole new level by live streaming the event for fans worldwide to enjoy. From May 17th to May 19th, EDC Las Vegas 2024 will be broadcasted live, allowing anyone with an internet connection to be a part of this incredible celebration.
Unleashing the Energy via the livestream on EDC Las Vegas Stages: kineticFIELD, circuitGROUNDS, neonGARDEN and bassPOD
The live stream will feature four of the most iconic stages at EDC Las Vegas: kineticFIELD, circuitGROUNDS, neonGARDEN and bassPOD. These stages have witnessed legendary performances and breathtaking production in the past, and this year will be no exception. With the live stream, fans will have a front-row seat to witness their favorite artists deliver mind-blowing sets, taking the energy levels through the roof.
A Stellar Lineup
EDC Las Vegas 2024 brings an impressive lineup that will leave dance music enthusiasts eagerly anticipating the live stream. Renowned artists such as Eric Prydz, Carl Cox, John Summit, Martin Garrix, ZEDD, deadmau5, and many more will grace the stages. Each artist will bring their unique style, creating a diverse and unforgettable experience for viewers around the globe.
How to Tune In and Watch EDC Las Vegas 2024 livestream
To catch all the action from EDC Las Vegas 2024, simply visit Insomniac TV on YouTube and Twitch. Starting from Friday, May 17th, until Sunday, May 19th, the live stream will keep the music playing non-stop, allowing fans to enjoy the festival vibes from the comfort of their own homes. Additionally, viewers can also tune in directly from their computers at tv.insomniac.com.
EDC Las Vegas 2024 livestream set times kinetic FIELD day 1
Get ready to immerse yourself in the mesmerizing world of kineticFIELD, where larger-than-life productions and epic performances come together. Set time for the EDC live stream has yet to be announced.

circuit GROUNDS Timetable day 1, Friday
The circuitGROUNDS stage is renowned for its cutting-edge sound systems and mind-blowing visual displays. Here’s the timetable for the circuitGROUNDS stage during the EDC Las Vegas 2024 livestream:
TBA
neon GARDEN day 1
Set times:
TBA
bassPOD day 1
For all the bassheads out there, the bassPOD livestream channel will deliver a relentless stream of heavy beats and bone-shaking bass drops, bringing the electrifying energy of EDC Las Vegas straight to your screens.
TBA
The post How to Watch EDC Las Vegas 2024 livestream appeared first on The Groove Cartel.
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In Conversation With Paige Julia

Leading the charge in Aotearoa New Zealand’s jungle and bass music is Paige Julia. 
She properly emerged on an international scale following the infamous 1985 x Keep Hush Live set in Christchurch. Occurring during the pandemic, the whole world was tuned in to watch this mysterious breakbeat-head wreak havoc on a spoiled few. Under the pressure of playing directly after Alix Perez, it was a perfect DJ set that kept true to the 1985 sound, but with her own special twist that she’d go on to become renowned for. 
But as the story always goes, she didn’t land this position overnight. Paige cut her teeth in the competitive, temperamental Wellington bass music scene – a place that’s seen high highs, and low lows in popularity, and always been loaded with a swath of USB-wielders and vinyl heads ready to step up to any crowd (or lack thereof, at times). Nightclubs like Sandwiches, Fast Eddies, and The Grand were the stomping grounds where Paige could DJ and dance every weekend, developing her foundations with the genre. 
She quickly became a name in the tight-knit scene, working hard on the production side as a way to differentiate from a DJ-only crowd. But it wasn’t until an overseas experience that she found her focus. Coinciding with that was Alix Perez’s move to Auckland, her winning Best Electronic Artist at the New Zealand Music Awards, and the Keep Hush set – where all those years of preparation met the opportunity. 
Now, she’s achieving a dizzying height: A full EP signed and sealed for 1985 Music. UKF sat down with Paige to discover more about the journey to this position and discuss the dynamics of bass music in New Zealand. 
Paige! The last time I saw you would’ve been in some Wellington rave, probably at The Grand, over five years ago. Can you remember what you were up to around that time?
I’d have just come back from spending a year in Australia and the US. That trip for me was really important because I felt like I needed to see a broader field of music from other scenes outside of Aotearoa (New Zealand). 
By the time I’d gotten back, I was more firm in what my musical output was going to be. I felt more confident writing different styles of electronic music, and that was inspired by the dubstep sound coming out of Colorado, and the more niche types of bass music being featured at outdoor festivals and events – hip-hop influenced beats, jungle and breakbeat sort of thing. When we last spoke in person, I’d have just set up a studio in Wellington and was beginning to write my first pieces of music that would get me some international attention.
I think I remember you showing me some at an afters. Love how we’ve come full circle. It was around the start of COVID when you started making noise internationally though, right?

2019 was the release of ‘Kōpiko’ on Samsara Records. I had done a release with Forest Biz (based out of the UK) before, but for ‘Kōpiko’ a couple of wonderful things happened. Firstly, Noisia were kind enough to put it onto their Noisia Radio series, and their Spotify playlists – and secondly, the premier on Soundcloud by DNBDojo somehow gathered an absurd amount of streams in comparison to anything else I had done at the time.
What was clicking?
I was just getting to that critical mass of learning the techniques required and had many different life experiences to infuse into my music, plus the link-ups to established platforms like Noisia Radio and DNBDojo to push me into new territory. Then a year later, after the first COVID lockdown was over in New Zealand, we were the only place on the planet with no event restrictions other than a “closed” border. There were so many parties begging for headline-type acts and touring internationals was too expensive and difficult with the closed border, so I got so many opportunities in those couple of years to play very big festival stages and club shows.
Obviously to get to that point there was a lot of graft though – how many years have you been gigging and producing?
I started DJing in 2011, just for fun and originally for something to do with my little brother, it was more his idea actually. It was him who first showed me a DAW in 2010 and we decided to save up to buy a pair of CDJs together. He changed his mind before we bought them so I paid him back his half and continued on solo. After a couple of years of playing house parties I was gifted a copy of Ableton in 2013 and it eventually became my hyperfocus. So it’s been over 10 years now of making electronic music.
Long time. Did you ever feel like giving up?
Yeah, actually. I got really frustrated around 2016 because no one was responding to my demo emails. I cringe now to think of those tracks I sent. I had it in my head that because I had been producing for a few years that my music should be pretty good, but I was young and didn’t have the right perspective. I wasn’t even halfway through the journey that I needed to do. 
Was it the Wellington drum & bass scene that helped inspire you at points? My memory was that the scene ebbed and flowed quite a lot…
The most important thing, as a very young person, was it gave me a space to express myself. This is before I was even DJing. I found my high school years socially challenging and just having a space to dance and experience new music was a critical first step before we even consider how it might have shaped me as an artist.
You’re right about the ebb and flow. You and I would remember our first meeting in 2014 right after the US dubstep boom took the life out of drum & bass, we would go to parties with only 100 people sometimes, even for international artists. It was like… a place for only the purists. 
But it also had the effect of locking me into just one genre of music for the first 5 years of DJing and production, which I look back on now as a bit of a hindrance. That’s not anyone’s fault other than my own really, which was why the trip overseas for a year and a bit was so important, I needed to get some fresh perspective. Then upon my return, tracks like ‘Tour’ were being played on radio stations and the rise of acts like Wilkinson, Sub Focus and Netsky were now selling out venues ten times the capacity of anything we were experiencing in 2014… so really big shifts.
It looks insanely strong over there these days. 
You’ve developed a pretty unique sound amongst other stuff I hear coming out of NZ. Who are your main influences?
Eprom broke me out of my ‘D&B only’ mindset in 2016 when he performed at Northern Bass Festival, and he continues to inspire me. His Instagram got me into buying modular synths and gave me the confidence to try and make very very weird sounds.
Djrum has also been a consistent influence, with the way he likes to make music and perform at many different tempos. 
Breakage rounds out my top 3. I just love dancing to his music, it’s always well put together, all substance, no fluff. I aspire to create music with this ethos.
Are there any tracks from this EP where you’re channelling some particular influence?
Not in terms of other artists, but certainly in terms of my emotional feelings when I wrote them. The lead track, ‘Anathema’, was an intensely angry time for me. ‘Nostalgia’ I was feeling wistful and ‘Indisputable’ I was feeling manic, like I could do anything.
Can you talk a little more about those times? What was causing the anger for example?
Nothing extreme in particular was going on, I’m just a very emotional person and I come from a community of people that feels okay to express that openly, even if the emotions aren’t always happy and positive. 
I’ve found that working on my art in these times can be helpful to me, it might even be the case that all of my best work over the years have been made in tumultuous times: the loss of a loved one, relationships with other people going sour, the stresses of balancing work and finding time to create. None of this is very unique, it’s something we all feel from time to time.
When were these tracks produced? 
After Alix signed and released ‘Ease Your Mind’ in late 2022, I wrote and sent him ‘Indisputable’ and ‘Anathema’. I think the first version of ‘Indisputable’ might have been from early 2022 but went through a couple iterations before I sent it to him. Then ‘Nostalgia’ in April 2023 and ‘Tōuarangi’ a little bit after. I think it’s important to mention that there were about 40 tracks over that time I never sent and a dozen or so tracks that I did send that didn’t make the cut. I write a lot of music and send only my favourites to him and trust his vision for what he wants on the label.
How did you meet Alix Perez?
Honestly, the first meeting was a bit embarrassing. He came to Wellington in 2014 and I sort of invaded the green room with some friends to talk to him and ask for a selfie. I was so drunk and mischievous that night. 
We wouldn’t meet again until 2020 when I opened for him in Christchurch. I remember Guy (Ebb) introducing us and I actually said “Do you remember meeting me before?”, and when he said no I was so relieved! I could probably pretend the meeting in 2014 never happened instead of talking about it in an interview, but I find it funny how much I’ve changed.

Six months later I was asked to join the Christchurch 1985 Keep Hush night and…that event changed my life. You can see the recording on YouTube, I was so full of anxiety because Alix was dropping a ton of ridiculous music and I just had to somehow follow that up. But that was the night I first asked him if it would be okay to send him music and 18 months later Ease Your Mind was on the Atlas 2 VA.
What do you think he liked about your sound and approach?
I feel like this would be a better question for him, but I’ll try to paraphrase from what he’s said to me and what I’ve read on his socials…
I have the feeling he gets sent a lot of music trying to emulate what’s already on the label.  He’s been quite outspoken against copycats, and I think he’s the kind of guy who just enjoys something fresh and different. I’ve never sent him any tracks that are deep-minimal-steppy-rollers-in-minor-key-at-172bpm for example, because I’m not going to out do him or Monty or Visages, and if I had sent him a bunch of that, I don’t think we’d be having this interview.

It’s always been my approach to reach out further than D&B culture, infuse my weirdness and unique sounds, and be confident and carve my own path where I can. I recommend everyone else do this too! Our genre of music is so much better when it doesn’t just reference itself.
Given D&B’s popularity in NZ, I struggle to wrap my head around why we don’t see way more talent emerging. Do you have thoughts on that?
I definitely have some insight. Aotearoa New Zealand is one of the rare countries in the world where you can be just a drum & bass DJ and get booked fairly regularly. It’s a great feeling being in your early twenties, smashing sets and meeting internationals – getting that thrill of performing in front of big crowds. You can do this pretty quickly too if you’re quite well socially connected, maybe within a year or two. 
If you compare this to the arduous and tedious journey of learning music production, the thousands of hours sat in your room like a nerd learning about the techniques, and THEN trying to figure out how to be original and express yourself…and through it all you get no external validation. If you play your crappy early WIPs in your DJ sets you’ll lose the crowd (trust me, I know) so you feel naturally compelled to just do the thing that feels fun and easy: go out on the weekends with your friends, play big sets and be in the culture.
If we remember what I spoke about earlier, this learning process took me about seven years before ‘Kōpiko’. By which time I was nearly thirty years old. I only persevered through this process because I became obsessed about making music. To make it even worse, seven years in today’s hyper-speed social media landscape is like…an era. The entire landscape of the scene and culture can change, an online platform can die and be replaced in seven years. You can feel like you’ll lose your audience while they wait.

The difference I found while travelling in the US and doing shows in the UK is like…almost everyone performing is a producer. It’s so much more competitive for performance slots. This can be an incredible motivator that will push you through the frustrating parts of learning. If it were up to me I would love to see more producers here at home because I want to hear more of the sound of my country.
But with all that said, I do want to shout out some new names: Hound, Kiljoy, Willy Mav, Unwell, Pirapus, Scout, Dynamix, Azifm, Zuke and of course, Rova are all talented people from my country putting out drum and bass or jungle music.
Wonderful insight I hadn’t thought about before. And I’m the same – I’d love to see more, and for there to be a ‘NZ sound’ of drum & bass.

Ok, last question. What’s coming up for you outside of this EP? 
I have more music in the inboxes of interested labels but no complete projects to announce just yet. This EP has been my focus over the past couple of years and it feels really great to have it in your arms and ears. I have a tour through Aotearoa celebrating this EP as well as dates in the works for Australia, and I’m always open to other opportunities further abroad. If you’re interested to see what I’m like performing, definitely check out the Keep Hush recording. It’s a great representation of my energy and I play a lot of my tracks from that time period as well.
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New EDM Friday: Tiesto, Hardwell, Steve Aoki, Afrojack, Armin van Buuren & More

Tiesto & Prophecy – My City
Officially selected as the EDC Las Vegas 2024 festival anthem, Tiesto and Prophecy join forces on ‘My City’ released via both Insomniac Records and Musical Freedom. ‘My City’ is a weighty house record donning an infectious vocal that stays loyal to its stomping ground, with pulsating basslines, thumping kicks, and electro-powered skidding synths dishing out a healthy dose of nostalgia. 
Nifra & 2 Unlimited – Control Your Body (Hardwell Edit)
When it comes to an artist beefing up your single with an edit, very few can come close to Hardwell. Last appearing with an edit in 2022, Hardwell takes the super production from Nifra and 2 Unlimited titled ‘Control Your Body’ and injects it with even more fire power, making it festival ready instantly.
Danny EVIZA – I AM DONE
After making 2023 his debut year, Danny EVIZA was determined to make 2024 an even bigger and more important one with the release of more music. Now following up on ‘Gone’, he brings us ‘I AM DONE’. This single is yet another showcase of the talents that Danny EVIZA holds, with a wonderful vocal line being backed up with a rhythmic and infectious instrumental.
Ashley Paul & Luv Foundation (UK) – Hearts Up
Just over one month after the release of ‘Bingo Baby’, a single that has amassed over 800 thousand streams across all platforms, Ashley Paul and 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.
Armin van Buuren ft. Anne Gudrun – High On Love
The follow-up to ‘Love Is A Drug’ and the opening track of ‘A State of Trance 2024’, Armin van Buuren’s second collaboration with Anne Gudrun is as much of a staple in the Dutchman’s sets as its predecessor was. Having already sent fans into raptures at Ultra Miami, A State of Trance Rotterdam and EDC Mexico, ‘High On Love’ is the high-energy, vocal-infused anthem that best echoes the adrenaline rush that is love.
John Summit, Sub Focus & Julia Church – Go Back
Crossing worlds, house music’s John Summit and drum & bass pioneer Sub Focus link up to unveil their debut collaboration ‘Go Back’ featuring Julia Church. This one sees John Summit and Sub Focus at their best, seamlessly integrates Julia Church’s strong, yet entrancing vocals and uniquely fuses elements of both the house and drum and bass genres into a tempo-building, energy filled electronic landscape sure to get listeners’ hearts racing.
Honorable mentions:
AXMO – Lose My Breath
Brennan Heart – Something New
Corey James – Real Ones
David Guetta & OneRepublic – I Don’t Wanna Wait (Hypaton Remix)
Dimitri Vegas & Like Mike x Maddix x Da Hool ft. Kiki Solvej – Meet Her At The Love Parade
Eli Brown – Trick Daddy / I Got Money
KSHMR – Satisfaction
Loofy – Last Night (Anyma & Layton Giordani Remix)
Markus Schulz & Sir Ivan – Turn! Turn! Turn!
Matisse & Sadko x Florentin ft. Sam Martin – Dark Days Are Gone
Matt Nash – End
NUZB, Quickbuck – Give All
Steve Aoki & Afrojack present: Afroki ft. Jordan Grace – Save My Soul / Diss You
Stream all these tracks and more in our New EDM Friday playlist – follow here.
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Electro Influenced Soul Central Feat. BLONDEWEARINGBLACK Lands On CENTRL Imprint

“My Desire” by Soul Central, featuring BLONDEWEARINGBLACK, has finally been released on the esteemed CENTRL Music imprint. This track showcases the duo’s ability to blend diverse electronic influences, creating a sound that is both unique and captivating. The song is already generating buzz in the club scene and is expected to be a staple in cross-genre DJ sets this season​.
BLONDEWEARINGBLACK, the featured artist, is a well-known talent from Ibiza who has previously collaborated with iconic figures like Kerri Chandler and David Morales. Her distinctive voice adds a special touch to “My Desire,” enhancing its appeal​.

This track has been circulating among global tastemakers and has already garnered positive feedback from DJs and radio shows worldwide. Described as edgy and uplifting, “My Desire” is poised to become an underground hit, resonating with both club-goers and electronic music aficionados​.
Soul Central, the British music production duo widely known for their “Strings of Life (Un Amore Supremo) hit and string of chart topping releases continue to evolve their sound with releases like this one on the forward thinking CENTRL Music label, which has been delivering a series of standout tracks​ over the past 12 months.
For those eager to get ahead of the curve, “My Desire” is available now. Grab your copy and follow the artists on Instagram to stay updated on their latest releases.

Listen / Stream / Download My Desire on CENTRL Music
Find Out More & Follow: CENTRL Music | Soul Central | BLONDEWEARINGBLACK
The post Electro Influenced Soul Central Feat. BLONDEWEARINGBLACK Lands On CENTRL Imprint appeared first on Electic Mode.
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U.S. Debut of S2O Festival Splashes Down in Brooklyn Featuring Marshmello, Subtronics, Alan Walker, and More

Calling all EDM fans and water warriors! The legendary S2O Festival, known for being the world’s biggest Songkran (Thai New Year) celebration, is finally splashing down in the United States for the first time ever. Get ready to dance, get drenched, and experience a new cultural experience at The Brooklyn Mirage this Labor Day Weekend, August 31st to September 1st, 2024. Tickets are now officially on sale so grab them here on DICE. Single day tickets and 2 day tickets are available.
Pulse Events, the trailblazing behind genre-bending Asian music showcases, is bringing this unique festival to life. Expect two electrifying nights filled with top-tier electronic music acts alongside immersive water effects. It’s the perfect way to celebrate Songkran, a tradition of spraying water for good luck, with a modern twist.
Headlining this aquatic adventure is GRAMMY-nominated superstar DJ Marshmello, making his debut with Pulse Events, and the bass producer Subtronics, fresh off his electrifying sets at Barclays Center and S2O Thailand. Other heavy hitters on the lineup include Alan Walker, the first ever Said The Sky b2b William Black, multi-platinum party starter Timmy Trumpet, Borgeous, Dzeko, Kaivon, ARMNHMR, and LEVEL UP.
With its proven track record of hosting exceptional live events, Pulse Events has been entrusted to translate S2O’s increasingly global success to the U.S. market. The company aims to represent Asian-Americans within the global dance music community through their productions, showcased by their two successful editions of Spring Festival: Lunar New Year (which celebrates Chinese New Year) and now, the debut edition of S2O New York. Through these endeavors, the brand is introducing American audiences to Asian cultural celebrations while creating unforgettable festival experiences. 
Pulse Events’ debut edition of S2O New York will reflect the cultural diversity of the melting-pot city, while simultaneously showcasing world-renowned DJs, stunning visual effects, and exhilarating water-themed elements and performances. Inspired by New York City’s vibrant landmarks and iconic waterways, The Brooklyn Mirage’s sprawling complex, expansive 200-foot LED wall, and city views will provide the perfect backdrop for the inaugural multi-sensory event. 
The post U.S. Debut of S2O Festival Splashes Down in Brooklyn Featuring Marshmello, Subtronics, Alan Walker, and More appeared first on EDMTunes.
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Damian Lazarus Implements Groundbreaking No-Phone Policy in Ibiza for DJ Residency

Phone-free dancefloors are giving a whole new meaning to "dance like nobody's watching."
In 2024, it's hard to imagine what it would be like to attend a concert without everyone in the crowd staring at their glowing smartphone screens, taking videos and selfies. But for many, the excessive use of phones at raves is beginning to erode the authenticity of the atmosphere and disrupt the audience's connection with the music, the artists and each other.
Damian Lazarus, the renowned DJ and creator of Crosstown Rebels, Day Zero and Get Lost, has now announced the implementation of a no-phone policy during his summer residency at the globally acclaimed club Hï Ibiza.
"From open to close we take pride in creating a totally unique environment, centered around the mystical Temple, it’s a proper session where we lose our inhibitions and can enjoy a sense of freedom as we enforce our groundbreaking 'No Phones' policy inside the room," Lazarus wrote in an Instagram post, which you can read below.
View the original article to see embedded media.
Fans can catch Lazarus DJing on Saturdays in Hï Ibiza's Club Room from May 18th through October 5th. Other summer residents include Black Coffee, FISHER, The Martinez Brothers and Tale of Us, although the no-phone policy will only be in effect for Lazarus' sets.
Among others performing at Hï Ibiza this summer are James Hype and MEDUZA, who in October announced their own campaign against excessive phone use at shows.
"Musicians and performers often find it disheartening to see audiences through the lens of a camera rather than through their eyes," the DJs said in a joint statement at the time. "It can disrupt the intimate connection between artist and audience that makes house music so powerful as a genre of music."
MEDUZA and Hype also expressed that excessive recording can jeopardize individual privacy, resulting in a less-welcoming space where individuals are recorded without their consent.
Popular dance music trio Wavedash have also requested their fans avoid filming at their shows, recently announcing an initiative for them to cover their smartphone cameras with stickers that read, "Social media? No thanks."
The trend continued to take off after a London production company, Covert, also joined the fight in reclaiming the dancefloor. They rolled out a feature called "Drop Highlight," which offers an innovative tech solution to "bring back authentic raving culture from a pre-technology world."
Only time will tell whether or not phone-free dancefloors re-emerge as more crave intimate and connected rave experiences. What we do know is that Lazarus is paving the way in Ibiza, the world's quintessential clubbing destination. Tickets to his residency are available here.


FOLLOW DAMIAN LAZARUS:
Instagram: instagram.com/damian_lazarus
Facebook: facebook.com/DamianLazarus
Spotify: spoti.fi/3QQu8y5
FOLLOW HÏ IBIZA:
Instagram: instagram.com/hiibizaofficial
X: twitter.com/hiibizaofficial
Website: hiibiza.com
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John Summit Partners with Bose to Celebrate his Passion for Music

John Summit partners with Bose to launch the all-new SoundLink Max Portable Speaker. In multiple digital spots featuring his latest track, ‘Go Back‘ with Sub Focus and Julia Church, Summit shares with fans everywhere why he obsesses over music. And how important great audio is to him and its importance in bringing the energy up – whether for an intimate gathering with 10 friends or crowds of thousands.   
Bose chose to collaborate with Summit because of a deep, shared passion for music, his dedication to making a new song every day, and the unforgettable, entertaining experiences he curates for fans. With his contagious energy, devotion to his craft, and keen understanding of his audience, John’s grown from commanding parties to commanding crowds. And as someone obsessed with music, he values sound quality above all. The Bose SoundLink Max Speaker allows him to hear the intricate details and deep bass in his music with the power needed to match his energy. For John, whether he’s vibing with friends or performing at the biggest festivals in the world, nothing compares to the swell of shared energy that starts when the beat drops
The Bose SoundLink Max is available in Black and Blue Dusk beginning today for $399.
Stay tuned for more news!
The post John Summit Partners with Bose to Celebrate his Passion for Music appeared first on EDMTunes.
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Support Grows To Renovate Miami Marine Stadium To Rival Red Rocks For Concerts

For over three decades, the iconic Miami Marine Stadium has stood silent and abandoned, a relic of a bygone era. However, a recent surge in support and funding has sparked hope for the resurrection of this historic venue. With the city commission’s approval of a comprehensive restoration plan and the authorization of bonds to finance the renovation, the dream of reopening the stadium is closer than ever.
Memories of performances, like Jimmy Buffett‘s legendary show in 1985, still linger in the minds of Miami residents. The stadium, with its floating barge stage and stunning architecture, holds a special place in the hearts of many. Now, after years of neglect, there is renewed enthusiasm to bring this cultural landmark back to life.
History of the Miami Marine Stadium
Built in 1963, the Miami Marine Stadium quickly became a hub for aquatic events, concerts, and boat races. Designed by architect Hilario Candela, the stadium’s unique structure featured a cantilevered roof and seating for over 6,000 spectators. Its location on the shores of Biscayne Bay offered stunning views of the Miami skyline, making it a popular destination for locals and tourists alike.
Over the years, the stadium hosted a wide range of events, from international powerboat races to music concerts by top artists. Jimmy Buffett’s performance in 1985, where he famously leapt off the stage into the water, remains one of the most memorable moments in the stadium’s history. However, despite its popularity, the venue fell into disrepair in the 1990s and was eventually closed to the public in 1992.
Since then, efforts to restore the stadium have faced numerous setbacks, from funding issues to bureaucratic red tape. Despite these challenges, dedicated supporters have continued to advocate for its preservation, recognizing its cultural and historical significance to the city of Miami.
The Road to Resurrection
In 2019, the Miami city commission took a significant step towards reviving the Miami Marine Stadium by approving a comprehensive restoration plan. This plan outlined the necessary renovations to bring the stadium back to its former glory, including repairs to the roof, seating, and infrastructure. Additionally, the commission authorized $45 million in bonds to fund the project, signaling a commitment to seeing the stadium reopened.
Support for the stadium’s resurrection has only grown in recent years, with high-profile fundraisers and campaigns drawing attention to the cause. Notable figures like Gloria and Emilio Estefan, who performed at the stadium in its heyday, have lent their voices to the campaign. The late Jimmy Buffett, a longtime supporter of the stadium, also played a key role in raising awareness and funds for its restoration.
As the momentum builds and public interest in the Miami Marine Stadium grows, there is hope that this historic venue will once again welcome audiences for concerts, events, and races. The dream of reopening the stadium, once thought impossible, now seems within reach. With continued support and funding, the Miami Marine Stadium may soon reclaim its place as a cultural gem on the shores of Biscayne Bay.
The post Support Grows To Renovate Miami Marine Stadium To Rival Red Rocks For Concerts appeared first on EDMTunes.
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Google Disrupts Industry with ‘Music AI Sandbox’

In what could be seen as both a blessing and a curse to music creators, Google and YouTube have announced a collection of generative AI music tools called Music AI Sandbox. Designed using Google’s Lyria model, musicians can generate instrumentals and other musical elements from simple text prompts.
Unveiled at Google I/O 2024, Music AI Sandbox leverages the latest tech from Google’s DeepMind in areas like long musical context modeling and audio synthesis. It represents Google’s efforts to make generative AI more accessible and creative for musicians and producers. But while innovative, Music AI Sandbox raises concerns around potential copyright issues with training data, as well as the authenticity of AI-generated music compared to human compositions.
Some key features of the Music AI Sandbox include:
Ability to generate up to 10 instrument tracks in various genres and styles Integration with Google’s other generative AI models like Lyria for lyrics and SynthID for audio effects Options for collaborative jamming and remixing with other users Tools for editing, arranging, and post-processing the AI-generated music In 2023, Google announced a partnership with Universal Music Group (UMG) to launch the ‘Music AI Incubator,‘ aiming to collaboratively develop AI tools that provide music creators with safe, responsible, and profitable opportunities. Music AI Sandbox’s inaugural users include electronic musician and YouTube personality Marc Rebillet, rapper/producer Wyclef Jean, and songwriter Justin Tranter.
Producers, what are your thoughts on implementing this type of generative AI into your work? Let us know on our social media channels.
Photo by Brett Sayles
The post Google Disrupts Industry with ‘Music AI Sandbox’ appeared first on EDMTunes.
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Watch Marc Rebillet Stun Google I/O Audience With Live, Generative AI-Powered Performance

It's a good thing they made Marc Rebillet wear two robes because you can't ask him to stay fully-clothed onstage—even if he's performing for Google execs.
Earlier in the week, Google hosted its I/O developer conference to show off its work to shareholders whose hourly rate is greater than most people's rent payments. Developers and execs in the showcase shared some of the new products and features ready for release from the tech behemoth.
While these things typically comprise exhaustive slideshows with cringe corporate-friendly humor sprinkled in, this year's special guest was quite the surprise. To demo Google's DeepMind-powered generative AI, the company boldly welcomed to the stage the unpredictable Rebillet for a live performance.
The improvisational music star used some of Google's "Music AI Sandbox" tools to create and perform music during his rollicking set. In true Loop Daddy fashion, he of course ripped off his robe, but he was wearing a backup robe underneath because, well, Corporate America. He still spent plenty of time running around the stage screaming and even lovingly called the crowd "silly little nerds" while shocking them with his off-the-wall antics.
In addition to Rebillet's live performance, Google recruited him for a promotional video alongside Wyclef Jean and Justin Tranter. The trio uses the aforementioned AI tools to create sounds from prompts they enter.
The results of a number of Rebillet's experiments were shared on his YouTube channel, where you can hear him use "Google Loops" a.k.a. "Gloops" in a song.
Follow Marc Rebillet:
Facebook: facebook.com/marcrebillet
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Instagram: instagram.com/marcrebillet
YouTube: youtube.com/marcrebillet
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TikTok to Begin Automatically Labeling AI-Generated Images and Videos

TikTok is set to become the first video-sharing platform to notify users if a piece of content was created using artificial intelligence, Forbes reports.
As AI tech evolves at a blistering pace, generating content—once a strenuous task—is now as simple as entering a few text prompts. Copyright be damned, paintings or photographs in the style of any artist and full songs with lyrics and voices that sound indistinguishable from popular musicians are now just keystrokes away.
This technological boom has caused the creator economy to become uneasy over the potential loss of their livelihood as fears loom over AI's potential to replace their jobs. And even if you consider yourself media-savvy, it's impossible at times to distinguish what was created by a human or AI.
To help its users make this distinction and combat misinformation campaigns, TikTok has partnered with the Coalition for Content Provenance and Authenticity (C2PA) to automatically label AI-generated content on the platform. Labeling will only apply to images and videos at the time of this writing, but TikTok announced in a blog post that audio-labeling is coming at a later date.
"AI enables incredible creative opportunities, but can confuse or mislead viewers if they don’t know content was AI-generated. Labeling helps make that context clear — which is why we label AIGC made with TikTok AI effects, and have required creators to label realistic AIGC for over a year," the company said. "We also built a first-of-its-kind tool to make this easy to do, which over 37 million creators have used since last fall."
C2PA is a non-profit organization comprising members from some of the most influential tech companies in the world, including Adobe, Microsoft, Google and OpenAI.
The labeling will be executed through C2PA's "Content Credentials" technology, which adds metadata to AI-generated content before being picked up by the host platform so a label can be added. TikTok has stated that these credentials will stay attached to the content even if it's downloaded, so if it's uploaded to other platforms, those companies can opt to retain the labels. If more platforms adopt the "Content Credentials" tech, the process of labeling content will ostensibly supercharge over the web considering the many sources of transparent metadata.
"At a time when any digital content can be altered, it is essential to provide ways for the public to discern what is true," said Dana Rao, General Counsel and Chief Trust Officer at Adobe. "Today’s announcement is a critical step towards achieving that outcome."
TikTok also acknowledged that despite adding a label, some users may not readily understand what it means. The company said they're implementing "media literacy campaigns" to inform its users about misinformation and AI-generated content.
TikTok and Universal Music Group recently ended their licensing dispute, which muted millions of songs on the platform. A crucial component of the pact was TikTok's commitment to combating unauthorized, AI-generated music that infringed on the rights of its artists."
[TikTok and UMG] will work together to ensure AI development across the music industry will protect human artistry and the economics that flow to those artists and songwriters," UMG said at the time.
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ODESZA Swerve Into Clubland With New Remix EP, "Spinback"

Just when you thought ODESZA couldn't get any more blissfully transcendent, they've spun a screeching 180 into clubland with an unexpected package of gritty remixes tailored explicitly for the dancefloor.
Known for their lush and cinematic productions, the beloved electronic duo today surprised fans with the unexpected release, Spinback Remixes, which features reworks of a handful of their classics.
"Our recent DJ sets have allowed us to experiment and re-envision tracks for the club, including our own," the duo said in a statement. "We dipped into our catalogue and connected with a few of our favorite artists to get their club-forward take on some of our tunes. The Spinback Remixes EP is primed for the dance floor and we hope you enjoy it as much as we do."
ODESZA's Harrison Mills and Clayton Knight performing on their "The Last Goodbye" tour. Garrett Poulos/EDM.com
While the original versions were characterized by aching melodies and euphoric tension-and-release, these eight remixes strip everything down to the bare bones. ODESZA's melodic flourishes are replaced by growling basslines and relentless kicks, transforming their trademark sound into a barrage of dancefloor ammunition.
The vocals, once a centerpiece, are chopped and filtered into percussive hooks meant to whip crowds into a frenzy. From the languid soundscapes of "Line Of Sight" contorted into a gnashing drum & bass stomp to the gentle atmospherics of "Say My Name" reforged as a four-on-the-floor banger, each remix offers an exhilarating reinterpretation.
Spinback features contributions from a compelling roster of gifted artists, including Biicla, Darby, Rome in Silver, Koven and okgiorgio. But it was the prolific electronic music producer longstoryshort who had ODESZA coming back for seconds.
"I put my heart into the first one when they asked, and my jaw dropped when they came back to ask if I wanted to do another since they were so happy with the first. that's love," he said in an Instagram post. "hope yall love em as much as I do - remixing songs where the original is this good takes great care and I tried my best to keep the energy of the originals intact while adding my style and taste."
In other ODESZA news, they're on the verge of releasing their first-ever live album, The Last Goodbye Tour Live. Scheduled to drop on May 31st, the album will feature live recordings from its eponymous album tour and come with a bespoke vinyl release.
You can listen to the full remix bundle below and find it on streaming platforms here.
Follow ODESZA:
Instagram: instagram.com/odesza
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Facebook: facebook.com/odesza
Spotify: spoti.fi/3hCvE32
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Alison Wonderland pioneers ‘festival friendly’ cosmetics with FMU Beauty

No stranger to explorative undertakings outside of music, Alison Wonderland has officially launched her festival-geared, cruelty-free new line of cosmetics, FMU Beauty. Since minting FMU Records in December 2022—six months after unveiling her third studio album—the Australian visionary went on to revamp her Whyte Fang alias, playing a wide range of high profile shows leading up to Whyte Fang’s debut album, GENESIS, issued in April 2023. Perhaps the most significant delivery of all, Alison Wonderland subsequently gave birth to her beloved baby boy, Max. The DJ admirably powered through the late stages of her pregnancy, adhering to main stage festival bookings as Max kicked his way closer to freedom. Remarkably, Alison Wonderland took the EDC stage last year at 9 months pregnant—a medical team and ambulance waiting backstage, just in case.
Entering 2024, Alison Wonderland’s creative output decelerated; understandably so, as the new mother prioritized invaluable time with her infant child. Still, after reigniting her discography in April, turning in Dimension-assisted “Satellite,” the FMU label boss has launched an innovative line of festival-friendly makeup. Years in the making, FMU Beauty emphasizes self-expression via blacklight. The humane cosmetics company offers an affordable selection of neon-forward beauty products, designed for festival goers and expressive individuals alike. FMU Beauty’s mission statement reads,
Learn more about Alison Wonderland’s latest venture by visiting the FMU Beauty website.
The post Alison Wonderland pioneers ‘festival friendly’ cosmetics with FMU Beauty appeared first on Dancing Astronaut.
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