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New Netflix Film From Ed Banger Creative Director Depicts a DJ Redemption Arc

The high-stakes thrills of electronic dance music are set to hit the big screen at Netflix.
Ed Banger Records creative director So Me, whose real name is Bertrand de Langeron, is embarking on his debut feature film. The untitled Netflix original features the influential French electronic music producer Kavinsky as well as Vincent Cassel, whose acting repertoire swings from the dark, haunting corridors of Black Swan to the slick charm of Ocean's Thirteen.
Cassel slips into the shoes of Scorpex, a once-famous DJ whose career is in decline as new stars rise to fame.
View the original article to see embedded media.
Cassel's Scorpex finds a chance at redemption by virtue of a secret mission from an eccentric French intelligence agent wherein he must ultimately take out his ascendant DJ rival, Vestax. Portrayed by the French YouTuber Mister V, Vestax sets the stage for an epic showdown with Scorpex, pitting the wisdom and experience of the old guard against the raw energy and ambition of the new.
The film's co-stars include Alexis Manenti, Déborah Lukumuena, Nina Zem, Nicolas Maury, Philippe Katerine, Paul Mirabel, Panayotis Pascot, Manu Payet and Alice Moitié, per The Hollywood Reporter.
Production on the film began in Paris on February 26th but it does not yet have an official release date.
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PBH & JACK Cast a Serene Spell With New Single, "Perfect People"

PBH & JACK master the art of sonic alchemy in their latest track, transforming soothing melodies and spirited rhythms into a golden hour for the ears.
Landing on Heldeep Records, the duo weave threads of deep house and dance-pop into a tranquil masterstroke called "Perfect People." Their latest is characterized by a harmonious blend of smooth vocal delivery and invigorating house drums, crafting an atmosphere where serenity meets rhythmic vitality.
At the heart of "Perfect People" lies a soothing vocal performance, its cadence a balm for the soul. The track's vocals serve as the perfect vessel for its carefree lyrics, inviting us into a blissful escape from the mundane and delivering a sound that's as refreshing as it is reflective.
PBH & JACK's creative journey has been marked by a series of successful releases, resonating on international stages and earning them spots at major festivals and prestigious venues worldwide. Their ability to fuse emotive melodies with captivating rhythms has set them apart in the dance music scene, a talent that "Perfect People" exemplifies beautifully. Check out the new track below.
Follow PBH & JACK:
Facebook: facebook.com/pbhandjack
X: x.com/pbhandjack
Instagram: instagram.com/pbhandjack
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[Interview] The Question on Everyone’s Mind: Who The F*ck is EDDIE?

First debuting on deadmau5’ esteemed mau5trap label in 2017 with ’No Time,’ followed by his Pipe Dream EP. Australian producer EDDIE quickly became a regular on the imprint with the release of his EP Spiritual Contraband in 2017, Bad Habits in 2018 and Blueprints in 2020. Branching out in 2019, EDDIE landed on insomniac’s Bassrush Imprint with the ATLiens collaboration ‘Closer’ before his breakout moment, the high Profile collaboration with global superstar REZZ ’Stress,’ which has surpassed 1 million plays on Spotify. EDDIE is also featured on remixes for Zeds Dead, deadmau5 & Blanke.
Fast forward to 2024, EDDIE is now a rising star in the US Bass Music Scene. Despite a busy tour schedule supporting REZZ, Blanke, BTSM and Jauz, the Australian has also made headway in production. He’s released multiple tracks on REZZ’s Hypnovizion label and also was featured on REZZ’s new album with their heavy hitter collab: ‘Maleficent.’ It’s not just his creative approach to music that makes EDDIE interesting. He’s got a heart of gold and a wicked sense of humor as well. We were able to catch up with him after his set for REZZ’ Hypnovizion showcase at Miami Music Week, so read the interview below! Let’s find out who the fuck this EDDIE person is and the lore behind the man.
Hey man how are you doing! Thanks for sitting down with EDMTunes for this interview. That was a great set just now! And also welcome to Miami, is this your first time here?
EDDIE: Thank you thank you. It is my third time actually!
Amazing! Welcome back…
Now…The question on everyone’s minds: Who the fuck is EDDIE??
EDDIE: You want to know how that came about I’m guessing?
Yes! It’s such a funny tag line and when I first saw it at The Mirage and I just thought it was so funny and camp. It really pulled the audience in. I couldn’t stop laughing. It’s really great branding.
EDDIE: So I played Red Rocks for REZZ. I opened for her just six months earlier, and her visual coordinator, Cam, I don’t know if you’ve met him before — He’s amazing, Cam McNeil. And he said, “hey, we should do this visual,” because I always [joked with] him, “who the fuck is EDDIE?” ironically since Eddie is such a common name. It’s such a stupid name for an artist. So I’m thinking: “I have my skull, there’s a bit of lore there, but I need something else.” And I thought, “why not just ironically have “who the fuck is EDDIE” up there on the screens constantly. So we tested it out. Red Rocks went pretty well, and people started uploading YouTube clips saying, “who the fuck is this guy? Who are you?” I engaged and laughed about it and then it seemed to naturally come as a progression. So then fast forward to Brooklyn Mirage, I made an intro with it to see how that people would react. And man, you were there. That show was crazy! I thought everyone would leave [after REZZ finished her set], and I think I held, like, a lot of the crowd.
Oh yeah, you held it down. At least half of that place stayed. I remember I was thinking at the time: “oh, well, REZZ always loves to end it early and go home, so it will be an early night for me but then you came on and I didn’t want to leave!
EDDIE: Thank you, thank you. That’s how it came about. I remember telling my manager that night though, “hey, at the at the end of the set, I’m gonna say one, two, three. ‘Who the fuck is EDDIE?'” And he was like, “no don’t do it. With your accent, they won’t understand it. It’s late, etc.”
Oh wow really?
EDDIE: Yeah, really. And I was like, okay. It’s not a bad comment to make. It’s just him doing this job and being precautious because if I did it and no one responded, it would be bad and I would never do it again. But that night I felt it in the crowd. It was the first time in my life that I felt like: “WOAH” I had this feeling of, “I think I did something right here,” you know? You feel the energy. You’re in sync with the crowd. In my head, I told myself “I gotta do it for sure.”
So I did it…
And it was a crazy crowd reaction. It was so good. And my manager afterwards was like, dude, “what was that?” And I was like, “yeah that was insane.”
You just rolled with it! When you came back to New York. That was Webster Hall for Blanke’s tour last month. I was there for your intro.
EDDIE: No one was there and I still went with it. I was like, “fuck it. It is what it is.” And I still did it at the end. And it was still a great reaction.
You know what? Like you can have a really predict how people are going to react to something like that. But now that they’ve latched onto it, just hold on to it tight. You’ve created a brand.
EDDIE: Yeah. And I know it’s I know this answer has gone long for just the first question, but I just played Wamu Theater in Seattle a couple weeks ago for Black Tiger Sex Machine and I was second on the lineup and I was like, “alright, there will probably be like a few hundred people there for my set” Like I was second on tonight and it’s not the biggest crowd.
But you’ve got Ultra going on concurrently tonight.
EDDIE: Yeah, yeah, people aren’t out of the festival yet. But in Seattle I look down for one moment and then wham, it was like 20 minutes in and there was 8000 people, and I was like, “oh my God.” So I did the same thing I did at Mirage. I felt the energy. But that was the first time they started chanting it without me asking them to do it. And I was like, “ohhhhh, it’s catching on!” So yeah, it’s been sick. It’s a big part of the brand.
Have you put it in a song yet? Or tried just ripping the acapella in the middle of a set like James Hype?
EDDIE: It’s in the intro, and is an actual song that’ll be on a future EP. Haven’t decided anything final yet.
Nice! Looking forward to more music from you. Have you been able to get a lot of studio time? I know you’re touring a lot. You’re opening for Jauz, you’re opening for Blanke, you’re opening for REZZ.
EDDIE: BTSM, Lollapalooza, It’s a lot of stuff happening now. So I’m and more in the work. I’m just mind blown. Yeah, it’s been a quick turn since I went to bass music.
What did you start off making?
EDDIE: I was originally known for electro house and progressive house, and I originally signed with mau5trap. I did about 50 or 52 songs with them. So I was releasing with them for a long time, with deadmau5. And then that’s how REZZ found me and was like, “yo, let’s work on stuff.” That’s how I found the darker stuff and realized I really like it.
Oh nice! I’m trying to figure out what sounds I like making currently. I produced house music for the most part. And I love making bass house, and I love tech house, but I’ve always had a love for bass music. I will always be a bass head because that is what got me into EDM. But I know the concept of sound design in bass music is so particular and unique. How was that switch for you from electro house?
EDDIE: I’m very proud of things I make. I’m very happy with, with my music, which I find is rare in today’s scene. A lot of people are really harsh in themselves, which I can be. But I’m still proud of it. And I remember thinking, “Ok. I did this REZZ collab, I also just did this ATLiens collab. I don’t know why they keep asking me to collab on these bass tracks. I make progressive and electro house! It makes no sense.” But our collabs were just so different to everything else they were doing that I think the fact that I had a different perspective coming in from a different world helped me a lot with experimenting and now I’ve definitely found the direction that I want for the future. And it’s been sick.
You’ve found your way. I’ve noticed because I’ve seen you three times now in almost rapid succession! And (not that you weren’t great the first few times I saw you) but the growth that I can see since that first time even, is astonishing. It’s really like you’re coming into your own.
EDDIE: 100%. I mean I would hate it if it was getting worse. So I’m glad that it’s better.
I mean, artists can sometime hit a rut but don’t worry you haven’t hit it!
EDDIE: Thank you, thank you.
So you live in LA now but you are Australian. What made you want to move to the US?
EDDIE: When Covid finished, I got my visa right away and came. I started touring with my electro house stuff and that’s was really it. 2022? I think 2021? I forgot. When did Covid finish 2020?
2021 was when the vaccines were rolling out.
Yeah. Day one I got the vaccine and then came straight to the US and that was it.
Honestly, that was a weird time in music. But also a lot of people popped up and got big, you know? John Summit started coming up. I decided I wanted to make music too, along with thousands of other producers. It was almost like a EDM renaissance. Let’s talk about COVID then. What was your experience like in Australia? Did you spend alot of that time working on music? What kept you inspired?
EDDIE: We locked down really hard. So I couldn’t leave my city for like, two years. You could only go outside for one hour a day. My suburb had a drone that would fly around tracking people. Don’t get me wrong, I love Australia. I would love it if I could live there and do what I do, you know? But this music’s not really popping there. So instead, I came here and it was a lot more free. And I know here everyone was judging that, but I felt the love. It was better for me because I was locked up for so long and I was just trying to survive. It’s really hard in the music industry if you’re not being present, not being at events, not seeing people, not playing shows. And I had to make sure that I didn’t drop off. And I managed to do it, which is awesome. But yeah, it was a tough time for me. I did not find a nice creative pit. I forced stuff out. Thankfully it was still good stuff though.
Sometimes that’s gotta happen. You have to just grind a bit. Did you have anything else job wise to keep busy? I know a lot of producers start off with day jobs, and then they suddenly get big and then they go full time touring.
EDDIE: I was 17 when I started producing properly, so I was mostly studying — sports science and sports psychology. I was also doing audio engineering and I was working at cafes. So I was doing a bunch of stuff. I kind of just went along with the music thing on the side, but it took over so much that I got fired. I would slack off and then get fired. I would be like, “fair enough.” But my parents were very strict with school and said: “you have to keep studying at least.” But then when I started not going to uni, I would [cut class and] just go to a friend’s house with my laptop to work on music, so I ended up getting terminated from the university. Yeah, I was terrible!
I hid it from my parents for a year before they found out. I thought they would get so angry, but they were just disappointed, which is worse. I come from like an Eastern European family so…
Look I get it. Asian parents are like that too!
EDDIE: I’ve heard that! My parents were extremely supportive though, but they needed to see something come out of this, which is fair. I don’t blame them. But fast forward to today, they are really proud. Told me “keep doing it!” It’s been amazing. But yes, short answer is: I worked cafes. That’s what I did. Oh and warehouses! I put jeans in boxes — I would stack them in warehouses.
And now you’re playing warehouses!
EDDIE: Oh that’s good. I should tweet that later.
Put in the drafts!
EDDIE: I’ve got so many good ones!
So I’m in a similar position. I got laid off and was unemployed for like, eight months, so I was just cranking out music for a little bit and gigging hard. But now I start a 9-5 job again and event if I don’t quit soon, they’re definitely going to fire me because I ditched the job to come here for Music Week, and I’m Like, well, I’ve got different priorities.
EDDIE: There you go. Honestly, I did that and it’s kind of working out for me, so… 
Yes you’re doing a great job.
EDDIE: Thank you, I appreciate it.
So, I am curious, how was the discovery process for you? How did you pick up a manager? Did they come to you?
EDDIE: That was an interesting one. Long journey. I’m pretty sure everyone has a similar one. I think a lot of artists today don’t pay enough attention to add visual branding with their music. And I already stuffed up with the name I had, a normal name, like EDDIE. I was young at the time and had a, “whatever, I don’t care” kind of attitude for it. And then I saw that I needed a rebrand, but couldn’t change the name so I decided on adding a logo / emblem. I got that skull built in the early days and it’s evolved a lot. Then I started making electro house, and I really wanted to get on mau5trap. I uploaded two free downloads in one month and then they emailed me saying “we’d love to have you on deadmau5′ label.” So I really manifested it…
I let it brew for two days because I wasn’t sure if it was real — but it was real! He was one of my icons growing up, so it was really sick and full circle. And from there onwards Twitter helped big time. Everyone would hit you up on Twitter for collabs. I had to keep an online presence because I’m in Australia. I feel like connecting with people was like a natural strength of mine. It’s such a part of the music industry now.
Yeah, it really is. But you also have to have the right balance of social media and actual talent because there’s some people that are running before they can walk on social media and they put out all the all of these reels and vlogs and stuff, but haven’t played in front of a crowd ever.
EDDIE: For sure. Every scene, every industry has that someone who excels in marketing but not at the actual product. Yeah, that’s a that’s a big one forever.
Exactly. I feel like in the music industry though people are so encouraged to overexpose on social media because there’s very little opportunity for fans to actually connect with artists otherwise outside of shows. Sometimes it’s too much though and devoid of any soul.
EDDIE: So that’s why I only post stuff that I feel comfortable making and doing. Though my management might not love that. Maybe. Maybe not. I don’t know, it’s normal for them to want you to push more out. But for the most part my team has been very supportive with the brand, the project, and we’ve gotten to a pretty cool spot yet. So much growth to come. So that’s what I am excited about. 
Have you played any festivals yet?
EDDIE: I played an artcar at EDC. Similar thing [to Seattle] where I was a bit nervous that no one would be there. I get on there. The person before me had like ten people. It is what it is. John Summit is playing at the same time. I didn’t expect anyone to leave any of the big stages. So, I plug the USB in, look down and pretend I’m picking a song for a long time because I’m nervous. I then take one look up and there was like 2000 people. What happened? I realized people have it scheduled in their apps and they know exactly when to come. It felt really good. And I was back to back with a good friend of mine too. So it was crazy. We packed out the car completely. It was a great experience. That was my first one. I also played Das Energi, Escapade in Canada…yeah I’ve been to a few.
Do you have any on your bucket list?
EDDIE: Oh Tomorrowland. I have always wanted to go, but then I started making music, so I told myself that I’ll only go if I play there.
You’ll make it there at the rate you’re going!
EDDIE: I know bass is creeping into the European scene now, slowly. Rampage is another fest I like. My family’s from Europe, so I love Europe. And I know it’s hard to tour there with as a bass act but I want that as a goal. I want to do the UK. I want to do Belgium, the Netherlands. And then in America it’d be literally all the insomniac festivals. They’re all so good.
They need you at Electric Forest! 
EDDIE: Oh! Is that insomniac? Or?
They own part of it.
EDDIE: I see, cool. It makes sense. It’s an awesome festival. I would love to do Lost Lands. that’s on my bucket list for sure. It’s a really an amazing festival. I have heard nothing but good things about it. I
There’s no doubt in my mind that you will definitely play it one year.
EDDIE: I feel like I should aim for next year. I’m putting it out there.
I’ll put you in the Google survey when they put it out.
EDDIE: We had some fans make a petition and I got over a couple hundred signs. I was pretty impressed!
Excision will notice that for sure. He listens to the community.
EDDIE: I always hear the best things about him. He’s always about the community.
And now Lost Lands is so big so there’s a room for sure on that lineup.
EDDIE: I feel like I’d be able to go heavy enough, but like it’s very different to most of the popular bass sounds. What would you say if I had to ask you: The set I just played how different is that compared to your usual ones you would hear. 
Turning the table on us for this interview! I love it.
So, coming from a house DJ, I like the fact that you break up a lot of the head banging vibes with more groovy mid-tempo stuff. For me it makes more sense and carries the energy a bit more organically. No shade to any of the mainstream bass acts because I love their music and their sets, but so much of bass music these days is hard cutting, double drops, chopped riddim, etc; and while it can sound cool, for me, since I am classically trained, I love a good arrangement, with flow, and well thought out composition. Your set felt comforting to me, bringing a level of structure to it that I think a lot of music fans will love. It’s dynamic.
EDDIE: Ok yes, I agree, I think I went to a festival once and. I heard a few riddim sets and it was is great, it was heavy, it was filthy. But then 6 hours went by and I was like, “oh, like it’s a little repetitive now for me.” You could say that about every genre, though, to be fair. So so obviously no shade at all to anyone. I’ve even made riddim tracks. I have them in my, in my USB. I don’t play them, but I have them in there because it’s fun to make. I like mixing it up though. Just like REZZ. Her shit is weird. I want to be weird. She’s an inspiration. She’s the only person who does what she does. And artists like Deathpact. 
Uh oh, we’re entering dangerous territory here! You have met the Deathpact members?
EDDIE: Yeah I know them all!
Are you allowed to even say anything or anymore about them on tape??
EDDIE: No, I can’t but. I know all 7 billion of them. I can name all 7 billion. They’re everywhere. Are you Deathpact?
I don’t know AM I? Have we ever been seen in the same room??? I actually love that it’s still a mystery. Like, nobody’s willing to let the secret out.
EDDIE: It’s hard to explain. There’s literally billions. They’re everywhere. But if I were to ever collaborate with them, it would very funny because then I could say “Who the fuck is Deathpact?”
That’s really good. You should actually pitch that. 
EDDIE: Yeah, I have spoken to them for like, a long time. I respect their art a lot. We’ve always talked about working on something, so we’ll see.
Well this has been great. Loved to see the man behind the curtain. Happy Miami Music Week and thank you for speaking with us. 
EDDIE: Thank you so much for having me!
The post [Interview] The Question on Everyone’s Mind: Who The F*ck is EDDIE? appeared first on EDMTunes.
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Space Ibiza Announces Residency at Eden Ibiza this Summer

Space Ibiza, the emblematic beacon of the global dance music community, is announced its grand resurgence on the island that has been its home and heart for decades. In a move that reconnects with its roots and rekindles the flames of dance and unity, Space Ibiza has unveiled a historic 24-week residency at Eden Ibiza, beginning April 26th and culminating on October 4th, 2024. This carefully curated series of weekly events, taking place every Friday, signifies a profound homecoming to San Antonio town – the birthplace of Space’s founder and visionary, Pepe Roselló. San Antonio, a town with a rich legacy within the clubbing community of Ibiza, serves as the perfect backdrop for Space Ibiza’s next chapter, weaving the past, present, and future of electronic music into the fabric of the island once more. Tickets available here.
The choice of Eden Ibiza as the venue for this monumental residency stems from a deep-rooted connection and shared ethos between the two clubbing giants. It’s a partnership built on mutual respect and a collective aim to elevate the Ibiza nightlife experience. Fridays in San Antonio are set to be redefined, marking a new era of clubbing history on the island and giving back to the vibrant community that has contributed so much to the global dance music scene.
The post Space Ibiza Announces Residency at Eden Ibiza this Summer appeared first on EDMTunes.
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Pressure Turned Ultra Music Festival 2024 Into a Diamond

They say that it’s the intense pressure that turns carbon into the beautiful diamonds that we all treasure. Ultra Music Festival experienced that process for itself in 2024. After a showstopping edition in 2023, Ultra was set for a slight tweak in the formula for 2024. Carl Cox would not be the focal point for Resistance, but that freed up attendees to explore the various Ultra stages in ways they hadn’t even dreamed of doing in years. It was a change that put pressure on Ultra to deliver another epic outing and they delivered in spades. However, the real pressure came from nature.
The Week of and Friday
As the big week approached, fans and staff alike were watching the weather forecast and were not liking what they saw. As time went on the forecast only solidified. Friday night had a 90-100% chance of rain essentially throughout the day and night. As Music Week geared up I remember remarking to concerned friends that “Ultra has never cancelled due to rain. There may be a temporary stop at a few stages, but this is Florida. We can handle the rain.” As Friday kicked off, it seemed like we might get a reprieve as the sky stayed grey but dry. Ponchos in hand, we explored the gorgeous new Mainstage, the mindbending Megastructure, the re-imagined Worldwide Stage, the UMF Radio Stage, and the newly beloved Cove Stage.
Then as Tiesto was rocking the mainstage, the rain started pouring down like you might see during Hurricane season. Except this wasn’t a 15-30 minute storm and the rain didn’t stop. As Friday night was reaching into prime time, the unthinkable happened. The music stopped and everybody was told to evacuate the grounds. It took people in the Megastructure a while to be shuffled out by security teams, because everybody assumed it was just a temporary pause. For the first time in its history, Ultra Music Festival was forced to clear out due to severe weather. Everybody was in a state of shock and confusion that this could actually happen. The Ultra team scrambled to monitor weather developments and determine whether the festival could re-open. By a bit after 1030pm, the call was made and Ultra was cancelled due to weather for the first time. It was undoubtedly a heartbreaking moment for all. The pressure was on.
Saturday
Ultra thrived under this pressure, commanding a battalion of vehicles to go to the festival site and suck up all the water puddles. Then the soggy grounds were coated with mulch. The end result was a festival site that was pretty much fine when everybody returned on Saturday afternoon, save for a few muddy areas here and there. Then, Ultra went to work re-shuffling its entire lineup to accomodate DJs from Friday like Hardwell, Adam Beyer, and Amelie Lens. Lastly, Ultra was able to pull off the impossible. It was granted an extra hour on Saturday night and some extra time on Sunday so the festival could accommodate this new schedule.
When people returned on Saturday there was a palpable energy in the air that drove Ultra 2024 to become unforgettable. The drama and the disappointment from Friday had sparked a fire in Ultra’s team and in Ultra’s attendees to absolutely kill it on Saturday and Sunday. The sets were incredible across the board, and everybody was so happy to be there.
The Ultra formula had more or less already been perfected – and this continued in 2024. Clean bathrooms had replaced most of the nasty port-a-pottys, the food options were stellar and well-placed, the production was top-notch, and Ultra pushed the boundaries of technology with its spellbinding drone shows.
For the first time since 2019, and the first time ever at Bayfront, Ultra attendees got to experience the clock hitting 1AM while still being on the festival grounds. In a hilarious turn, this extra hour that was a godsend for Ultra’s attendees upset the Downtown Karen’s Alliance – and they made a big hub-bub in the press in the week afterwards. Considering the fact that Ultra has only ever had to cancel due to weather once in its 24 years, the Karens can take a breath because Ultra won’t be needing that extra hour very often, if at all.
Sunday
With Sunday’s arrival came that gorgeous Miami sun that Ultra is famous for. By this point, everybody could feel that magic in the air that will elevate Ultra 2024’s place in history from being just the year before a big anniversary (2025) to being a legendary edition in its own right.
The closing day DJs played their hearts out. While the attendees remained in a bit of a stupor, not exactly sure of who was playing at what time anymore, none of that even mattered. In comparison with the bummer that everybody felt on Friday, this beautiful Sunday at Ultra was a paradise. Somehow, against all odds, Ultra stuck the landing and left everybody feeling like they still got the full Ultra experience, and then some. The pressure created by the weather situation turned Ultra 2024 into an absolute diamond, an edition that will be remembered in the stuff of legend.
As Ultra looks ahead to its huge 25th Anniversary edition in 2025, the spunky energy and attendee goodwill generated in 2024 will only add to the excitement. There’s a reason Ultra Music Festival remains one of the best music festivals in the world, and 2024 was an epic reminder of that for everyone there.
The post Pressure Turned Ultra Music Festival 2024 Into a Diamond appeared first on EDMTunes.
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Celebrate The Birthday Of R3HAB With His Top 10 Tracks!

As we celebrate the 38th birthday of R3HAB, let’s dive into the top 10 tracks from the DJ and producer who has left his mark on the dance music scene. Over fifteen years, R3HAB has evolved from creating groundbreaking remixes for top-tier artists to crafting his own anthems, amassing over 8 billion streams globally. His label, founded in 2016, mirrors his success with over 4 billion streams. His ingenious approach to blending genres and his ability to connect with audiences worldwide have solidified his status as a dance music titan, reflected in his Spotify recognitions and multiple sold-out tours. Join us in celebrating R3HAB‘s impact as we explore his top 10 tracks, each a testament to his dynamic and innovative spirit.
‘All Around The World (La La La)’ with A Touch Of Class
‘Lullaby’ with Mike Williams
‘Rock My Body’ with INNA & SASH!
‘Unstoppable’ (Remix)
‘Call Me’ with Gabry Ponte & Timmy Trumpet
‘Waterfall’ with Michael Schulte
‘911’ with Timmy Trumpet
‘Karate’ with KSHMR
‘Wont Stop Rocking’ with Headhunterz
‘Dont Give Up On Me’ with Andy Grammer
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EDMTunes Chats with the Enigmatic EMPEROR

We are all still recovering from Miami Music Week, where EDMTunes had a chance to sit with the mysterious DJ EMPEROR. Our first of MMW and guess what EMPEROR’s first ever live interview sit tight and get to know more about this mystifying DJ.
So, I’m Scott with EDM Tunes, I’m here with EMPEROR and, this is my first interview of Music week. So, Congratulations to you for being my first. I hear this is your first, in-person interview as well, right.
So we have something in common because we could both be a little bit nervous.
So, tell me a little bit about yourself for those of you who aren’t here and EMPEROR is new on the scene project, you’re Anonymous. I’m here with you and you’re in a full mask attire. So, tell me a little bit about how that idea came about.
I think for me, especially EMPEROR, it is more about expressing yourself without limitations on people’s viewpoints of you. I’m trying to be so cryptic. I guess originally outside of who I am as an artist, I wanted to do something completely different and I felt stagnant with what I was already doing and I’ve always loved techno. So honestly, this was just like a sporadic thought in my mind and I just put it into action. This is actually something that I developed three years ago. Now it is finally done and you’re going to love it.
So I’m seeing your mask gives me kind of Roman Greek Vibes, makes sense with EMPEROR. Was that the plan?
Yes, it was exactly. Because EMPEROR stands for you and your own in power. You’re your EMPEROR, you decide what you’re going to do with your life, your thoughts, your feelings, and emotions. I feel like we need more people like that who are just going to stand up and say, you know what, I’m in control of my life. You know, no amount of likes or nobody’s opinions is going to tell you how long they feel about everything, you know what I mean, right?
So that, brings me to the idea that a lot of DJs, back in the, we’ll call it the marshmallow era of anonymous DJs. There was a sense that it was done as a marketing gimmick but you’re actually coming at it from a totally different angle, right? So tell us a little about the difference.
I think the difference between me and without putting those guys under any kind of crosshair, I think I’m doing this by myself as an expression. I have a great team behind me. A great management, you know Sarah’s great. I was just doing this out of I wanted to show people that it was okay and just come out and express yourself freely. Maybe behind a mask, maybe not behind a mask but the difference between me and that whole scene is just, I don’t know, I guess I’m still trying to figure it out. But for the most part it’s just I’m willing to do whatever I need to do and whatever I want to do.
So even though you’re kind of new on the scene in terms of EMPEROR, you already have some support from big names like Carl Cox or Nicole Moudaber. These artists that you knew in your past life so to speak or how did their ears find your music?
I think, as we know half of this industry is relationships, networking, marketing yourself. Outside of EMPEROR, I did have a lot of great relationships. I’ve talked to a lot of people who know who I am, but it’s not really about who I am behind this. My identity is in what I create, who I am, what my name is and all that stuff it is kind of super irrelevant. So, I mean, eventually people are going to figure out who I am. So I had a lot of support from a lot of guys like, Thomas Gold and Robbie Rivera are good friends of mine. And a lot of other people.
Tell me a little bit about your sound now, when I see your face mask, and I think of the that kind of Roman Greek Motif.
What do you think of it, if have you heard and seen the music video and heard the stuff that I put out before. What was your impression before the music, what did you think of it?
So that’s what I was going to get at with you. It kind of reminds me a little bit of kind of Darker melodic techno type of sound. I can’t help but think of Carmine from Tale Of Us MRAK project they like to do. They like to do a lot of Renaissance paintings on the screen and all that type of stuff seems like totally the kind of vibe that you’re in. Am I right?
Super awesome questions, they really stump me. I’m not gonna lie. As far as the creation goes I guess that’s just what’s inside me internally. And what I create, for example, secret society was more about an expression of having that privacy. Or like when we’re on the dance floor and this group of people over here use Snapchat and all that other stuff. We’re here enjoying the moment. This is the secret society here. Then you come listen to Bambino which is my record coming off Friday. It’s just super emotional. So I mean, everything sounds different. And I think that’s the most beautiful part about, I’m not trying to create something that somebody else or trying to mimic somebody else. I’m putting my heart out there saying.
This is what I sound like this is, you know if my heart had a sound, this would be it. And the other stuff that I’m working on. I’m not gonna say it’s a definite but working with Nicole getting a vocal from her on a track called ‘Ruler’. I’m trying to finish up the record and just everything moving forward is going to sound so different and I think, the fans are gonna love it and they’re gonna anticipate the next single because it’s a surprise.
So a little birdie told me that you’re happy playing on any type of stage. Could be big stage, small stage techno stage, non-techno stage, is there anything that you’re looking out into the future and saying you want to play this particular event or you’d love to be on this particular lineup?
I mean it’s different because, I’ll play for 10 people in the basement, if they’re loving it. Then I’d play for 10,000 people, who are also loving it. I think the love that I have is just connecting with people and seeing that they actually enjoy, what you’re creating.
For Miami Music Week, you told me already that you’ve been here a little bit before. Tell me a little bit about your experiences in the past here and then what you’re trying to do at music week this year? Do you have any performances this week?
I’ve played in Wynwood and I played All up and down South Beach. And I guess this year, I have just different goals and aspirations of what I want to do. Before, I was more of a social bug. And this time around, I’m not so much as a social bug because it’s kind of difficult to have a relationship when you look like this. What am I trying to do this time? I think, this time down here, I just want people to know that I am. I don’t want to be seen too much, but I want them to know that I was here. So that this whole year when we come rolling out, they’ll be ready for me. And I’m hoping that people will receive it well.
For this week, we’re being kind of being picky and choosy, we’re not just gonna take anything. I’m doing a show in Seattle in 10 days or so. But as far as right now, my music week, we don’t have anything planned.
So in keeping with your identity here, if you’re out and about at music week, no one’s going to know who you are. Are you going to be in your mask or are you going to be incognito?
Guess we’ll never know. But, we do have plans to roll into a few parties. We kind of want to get in get out and because nobody knows who I am. There’s the Curiosity and then there’s the, people want to ask you questions. So yeah, we’re gonna roll in and out, the beauty is that I can just hop back out in the car. Take my mask out, you get back in but right. It’s obvious.
So obviously, you must be a fan of the scene too. Are there any events that you’ve seen for the roster this week that got your attention that you’d be interested in checking out?
Honestly, Sarah keeps me pretty busy. I looked at my schedule and I was like, I’m not gonna have no time for myself. But I’m so thankful for it. There’s a few parties I would like to get to. We’re gonna go to the Nicole Moudaber party. I believe Joseph Capriati is doing a party that we’re gonna make it to as well.
So you mentioned a little about your new single that’s coming out this Friday. Why don’t you tell us a little bit about how that came about and then what you have in store musically for the next year or so.
‘Bambino Regno’ means like a child victim. So I made a personal choice to just lay off the alcohol for a little while. Because I felt like it’s starting to consume what I was doing at the time. So last year I just kind of went cold turkey, stopped drinking. And, Bambino happened. I sat there and I went to a few meetings and you know, I’m human. I started to learn about like different traumas and triggers and things like that. It’s something that struck me was I’ve never really set and thought about, how I grew up. So when I thought about how I grew up and brought up a lot of things and Child kingdom is for me. The record is just an expression of, discovering what you went through and using it as a benefit, as opposed to, being a victim.
So I’m really really excited to see what people think about that record. I mean it’s super emotional. It’s hard for me to listen to it to be honest. Playing it, is going to be a whole lot different. If nobody can see that, I’m gonna be crying with you really. Other records that we have coming out, we’re trying to get a collab with a few other artists. We have a lot of records and we have an arsenal of things we’re still trying to just figure out what makes sense to go out first. So yeah, a lot of good records coming up, though.
So tell me a little bit about your Secret Society tour and what you’re looking to do with it.
We’re working with Agito, he’s out of Europe, a great guy still getting to know him. We’re booking the Secret Society tour! It’s really just going to be a good vibe and we’re thinking we want to bring exposure to the fact that people should start enjoying the atmosphere because clubs have gotten different. I want people there who love the music. There are people around, who are just there for the bottle service. And it’s like for me as a DJ if I’m playing and they’re just over here, makes me feel a hire a jukebox? So Secret Society tour is just about bringing awareness to we have a thing. We are trying to maintain being able to come to the club and express yourself and dance. Shake all the dramas and stresses you have built up throughout the day. So we are still booking dates for that, the first one will be coming up to Seattle.
And is there going to be a certain visual flare that you’re looking to make a signature? That’s kind of the thing these days.
As you know things they build over time, they don’t have a whole grand scheme of what this is going to look like. But just picture a masquerade with lots of masks and candles. It’s going to be really cool. If you get people mandatory masks and not pulling their phones out as much, they might just enjoy it a little bit.
I like it and so you’re actually working with a team for this tour that’s more associated with the trance world. So are you looking to be more broad in your musical tastes that you might mix into that trance world a little bit? It’s a very interesting combination.
I wouldn’t say trance. You know I come from a huge love of house and disco. I don’t know what the sound is gonna sound like in years from now, but for right now, let’s just say a cinematic technique. It’s gonna be very theatrical that’s for sure.
Any last closing words for fans that have yet to see you live and should discover your music.
Yeah, make sure you follow me, send me some love and I will do the best I can to respond back. And look out for all the stuff we got coming up this year to be excited. I look forward to trying to include everybody involved, as much as I possibly can.
We thank EMPEROR for taking the time during MMW to chat with us. Out now is his new single ‘BAMBINO REGNO‘. Give it a listen and let us know your thoughts. Stay tuned to EDMtunes for all our exclusive chats with your favourite artists out there and to get to them better.
*Photo Credits – EMPEROR Instagram
The post EDMTunes Chats with the Enigmatic EMPEROR appeared first on EDMTunes.
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Space and Eden Ibiza to collaborate for the 2024 season

The iconic Space Ibiza brand has announced its triumphant return to the White Isle with a historic 24-week residency at the legendary Eden Ibiza club. From April 26th through October 4th, 2024, the unmatched energy and spirit of Space Ibiza will be resurrected every Friday night within the hallowed halls of Eden.
The monumental residency marks a profound homecoming for the Space brand to its birthplace in the small town of San Antonio. It was here, decades ago, that visionary founder Pepe Roselló first laid the foundations for his pioneering club concept that went on to revolutionize Ibiza’s clubbing scene. Now, Space Ibiza will rekindle those same flames, weaving the past, present, and future of electronic music into the very fabric of the island once more.
The streets of San Antonio are buzzing with excitement over the news. Locals, who have been part of the Space community since its inception, are overwhelmed at the thought of the club’s legendary vibes returning to their town’s doorstep.
The partnership between Space Ibiza and the Eden Club stems from a shared ethos and deep-rooted respect between the two giants of Ibiza’s nightlife scene. The coming together promises to elevate the island’s party experience to new heights.
Indeed, this 24-week journey represents far more than just a series of parties. It’s a celebration of Ibiza’s rich culture, its passionate community of dancers and free spirits, and the life-altering power of music and human connection. No figure understands this better than Space founder Pepe Roselló, who shared this rallying cry:
This summer of 2024 is shaping up to be one for the history books, as a new era in Ibiza’s storied clubbing legacy begins.

The post Space and Eden Ibiza to collaborate for the 2024 season appeared first on The Groove Cartel.
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FREE DOWNLOAD – New Order – Blue Monday (Jamie Stevens Isolation Remix)

MusicToDieFor · [FREE D/L]: New Order – Blue Monday (Jamie Stevens Isolation Remix) New Order “Blue Monday” (FAC73) on its 40th Anniversary. The biggest-selling 12″ of all time, probably the greatest dance record of all time and undisputedly the most influential.
For the anniversary, Jamie Stevens has reworked the original into an epic, special anniversary remix exploring deeper, ambient moods and melancholy electronica territory as Jamie Stevens does so well.
The post FREE DOWNLOAD – New Order – Blue Monday (Jamie Stevens Isolation Remix) appeared first on Decoded Magazine.
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Industry initiative ‘Safer Crowds, Safer Venues’ released to enhance crowd management practices in the UK

In response to several high-profile incidents resulting in loss of life or serious injury, a collaborative effort has been undertaken by the UK Crowd Management Association, Night Time Industries Association, LIVE, and UK Door Security Association. Alongside experts and key stakeholders from the industry, they have unveiled a comprehensive best practice guide to enhance crowd management practices in performance spaces and licensed venues across the United Kingdom.
This initiative aims to provide venue operators, organisers, and their stakeholders with a general outline of accepted good practices in crowd management, filling a crucial gap in safety protocols, particularly for indoor spaces smaller than arenas. The guide, a culmination of insights from experienced individuals within the industry, offers valuable perspectives tailored to ensure the safety, security, and optimal experience of attendees.
“The tragic incidents in recent years underscore the critical need for standardised and effective crowd management practices,” said Anne Marie Chebib, spokesperson for the UK Crowd Management Association. “This guide represents a milestone in our collective efforts to prioritise safety and well-being in performance and licensed spaces.”
The guide addresses various aspects of crowd management, including risk assessment, planning processes, stakeholder engagement, and considerations for different types of venues and events. It emphasises the importance of proactive measures and diligent planning to mitigate potential risks, recognising that strategies may vary depending on the nature of the event and venue.
“While this document serves as a valuable resource, it is important to recognise that it does not replace regulatory tools or official guidance,” noted Michael Kill, representative of the Night Time Industries Association. “Instead, it complements existing frameworks by offering practical insights and recommendations based on industry expertise.”
The guide encompasses a wide range of indoor venues, including concert halls, theatres, nightclubs, bars, pubs, restaurants, and comedy clubs hosting cultural and entertainment events. However, it excludes arenas with over 5,000 seated capacity, outdoor events, and sports grounds, which are covered by separate guidelines.
“Effective crowd management is fundamental to the success and sustainability of any venue or event,” said Eric Stuart, Former Chair of the UK Crowd Management Association. “By adhering to the principles outlined in this guide, operators can ensure the safety of patrons and staff while fostering a vibrant and inclusive atmosphere.”
The release of this guide marks a significant step forward in enhancing safety standards across the UK’s entertainment and hospitality sectors. While it provides valuable insights, users are encouraged to seek legal advice and consider statutory duties in conjunction with the guidance provided.
Anne Marie Chebib, UKCMA Chairperson “The UKCMA is delighted to be working with partners at NTIA and LIVE to launch the supporting documentation on Safer Crowds, Safer Venues. In recent years there have been several high-profile incidents which have resulted in loss of life or serious injury due to failings with operational crowd management. The document has been written voluntarily by the industry, for the industry. The purpose of this supporting work is to provide venue operators, organisers and their stakeholders with a general outline document of what currently constitutes accepted good practice in terms of crowd management for performance spaces and licensed venues in the United Kingdom. This document is a combination of accepted good practices written by experienced individuals which will assist in the process towards safe operations. It exists to assist small to medium-sized venues, to try and protect their patrons and staff, with the most current specialist knowledge, yielded from the most recent experience in the field of crowd management”.
Eric Stuart QPM, UKCMA Former Chair – “This collaboration between UKCMA and partners at NTIA and LIVE has resulted today in the launch of this, the supporting documentation on Safer Crowds, Safer Venues. Recent years have demonstrated not just how easily fatalities can occur in even small crowds, but also how they might have been avoided. Investigations and enquiries have also clearly shown a lack of crowd safety supporting documentation for those many thousands of small and medium premises falling outside the ‘Green’, ‘Purple’ and ‘A Guides’ that have been in place for many years. It led many of us involved to ask how we had not even realised such guidance was missing.”
“In the absence of any established authoritative lead or apparent appetite to write such guidance, the document has been written voluntarily by the industry, for the industry. We hope it will provide venue operators, organisers and their stakeholders with a general outline of what many authors and editors consider to be accepted good practice in terms of crowd management for performance spaces and licensed venues in the United Kingdom. It consists of a combination of accepted good practices written by experienced individuals, which will assist in the planning and delivery of safe venue operations. It exists to support small to medium-sized venues, to try and protect all those who use such venues, either for work or for pleasure and is based upon the practical learning of those who work in the field of crowd safety in such spaces and the learning from some of the incidents that have led in recent years to the loss of life we all desperately seek to avoid”.
Michael Kill CEO NTIA “As CEO of the Night Time Industries Association (NTIA), We are extremely pleased to be able to be part of the collaborative effort spearheaded by the UK Crowd Management Association (UKCMA), NTIA, and LIVE in launching the pivotal good practise for Crowd Management in Performance and Licensed Spaces on Safer Crowds, Safer Venues. This isn’t just about raising the bar in crowd management; it’s about extending a lifeline to businesses that may not have naturally considered crowd management as a priority.”
“The tragedies of recent years have left an indelible mark on our industry, reminding us of the urgent need for comprehensive crowd management protocols. This document, crafted by industry experts, serves as a beacon of best practise for venue operators and organisers, especially those operating within the smaller echelons of our vibrant nightlife scene.”
“It’s a testament to our collective dedication to fostering not just thriving nightlife, but safe and inclusive spaces for all. Together, we’re ensuring that every venue, regardless of size or stature, is equipped to uphold the highest standards of crowd management, safeguarding the well-being of patrons and staff alike.”
Jon Collins CEO LIVE “At the heart of every venue is the promise of unforgettable experiences, a commitment to the joy and safety of every individual who walks through its doors.  The launch of Safer Crowds, Safer Venues offers timely support in the vitally important area of crowd management to those small and medium-sized venues previously underserved in this area.  Its content, prepared by a team of dedicated and expert volunteers, will underpin the delivery of safer events across the UK.  LIVE commends this work and the contributions made by UKCMA and NTIA”.
For more information and to access the guide, please visit https://safercrowdssafervenues.com/
The post Industry initiative ‘Safer Crowds, Safer Venues’ released to enhance crowd management practices in the UK appeared first on Decoded Magazine.
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Space Ibiza and Eden Ibiza announce collaboration for the 2024 season

Space Ibiza has announced its grand resurgence on the island that has been its home and heart for decades. In a move that reconnects with its roots and rekindles the flames of dance and unity, Space Ibiza unveils a historic 24-week residency at Eden Ibiza, beginning April 26th and culminating on October 4th, 2024.
This carefully curated series of weekly events, taking place every Friday, signifies a profound homecoming to San Antonio town – the birthplace of Space’s founder and visionary, Pepe Roselló. San Antonio, a town with a rich legacy within the clubbing community of Ibiza, serves as the perfect backdrop for Space Ibiza’s next chapter, weaving the past, present, and future of electronic music into the fabric of the island once more.
The choice of Eden Ibiza as the venue for this monumental residency stems from a deep-rooted connection and shared ethos between the two clubbing giants. It’s a partnership built on mutual respect and a collective aim to elevate the Ibiza nightlife experience. Fridays in San Antonio are set to be redefined, marking a new era of clubbing history on the island and giving back to the vibrant community that has contributed so much to the global dance music scene.
“We’ve deeply missed the collective joy of dancing, the unparalleled energy of connecting on the dance floor, and the creation of incredible memories. It’s with great emotion and excitement that we return to Ibiza, to reawaken the island’s spirit and reintroduce the unique magic that is Space Ibiza,” said a spokesperson for Space Ibiza. “Our 24-week journey at Eden is not just a series of parties; it’s a celebration of life, music, and the indomitable spirit of Ibiza that Space has always embodied.”
Prepare to immerse yourself in a season of unforgettable nights, where each Friday will unveil a new chapter in the ongoing story of Space Ibiza. From April 26th to October 4th, 2024, join us as we make history, uniting old friends and new ones under the stars and strobes of Eden Ibiza.
“Let the music play, let the dance floors fill, and let the spirit of Ibiza shine brighter than ever before. Welcome back to Space Ibiza. Welcome home!!!!” – Pepe Rosello
Tickets: https://edenibiza.com
The post Space Ibiza and Eden Ibiza announce collaboration for the 2024 season appeared first on Decoded Magazine.
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We Need To Talk About Joker

After six years, Joker is back. After his and everyone else’s world came to a standstill due to COVID-19, he took the opportunity to take some time off and perfect his sound. Now that the world is opening up again for good, he’s ready to get back out there. With recent releases ‘Juggernaut’ and ‘ S Wave’, it’s safe to say he’s back better than ever. 
2024 took him to Manchester, London, and Bristol already, but now Joker is getting ready to head back to the US for Infrasound Festival, a special show at Red Rocks, and a full tour around the country. “This feels like it’s a continuation of where I was just pre-COVID, and I’m excited,” Joker says. 
He talks about his future plans, his recent UK shows, and his upcoming US tour with us. “I have a release schedule until 2025 at this point.”
Hi, how are you doing? 
It’s been good! From what I can see, my new stuff is being well-received on social media. People seem happy that new stuff is coming out. I try not to pay too much attention to those things and just focus on the music, but it’s all right.
Why do you choose not to pay too much attention to that side? 
I just focus on the music. There’s an importance to social media and promoting the music, but I don’t think many people like social media in general anyway. I try to pop on and say what I need to say and get back to making some music. It’s a hard one because people who make music really just want to make music, but you can’t just make music and expect things to do well without a bit of promotion. There’s a fine line. 
It’s been a while since you had something to promote on social media because it’s been about six years since you released some new music. Why did you wait so long?
I took my time to practice a little more and perfect my sound. I needed time to play with my music and be in my space without much direction. I think it’s quite easy to say yes and just go along with everything without ever really thinking where you’re going. When COVID-19 happened, everyone’s lives were definitely stopped for a second. You’re at home for a few years. It’s not that I release music to do shows or anything. I enjoy making music. Music needs to come out regardless of whether it’s for the dance floor or not. But yeah, the world kind of disappeared, and I went along with it a little bit. After a few years, it feels like the world is still in a fucked up place, but it’s kind of getting better now, and I’m finding my place back in it as well. 
How did you find the world back?
Most of this is regarding post-COVID. At one point, the world was just closed off. It just seems like things are open now. Before COVID, the music felt like it was getting exciting again a little bit, at least from my point of view in some of the things I’m involved in, and in my opinion, COVID-19 helped reset things a little bit. We went backward in some ways. Right now, luckily, it feels like the scene getting to that point before COVID again. 
How are you seeing that change in the scene? 
Obviously, I’m not at all the parties, but from some of the stuff I’m seeing, from what many of my friends are doing, and what people say online, it looks like people are enjoying 140 a lot more. I don’t believe it ever died. I don’t think music ever dies, but there’s an excitement there.
How have you evolved as an artist and a person during those six years?
I’m going to answer your question in a strange way. To me, an idea has a sonic imprint. When most producers have an idea, it has a sonic imprint, whether they know this or not. That sonic imprint in your head doesn’t always come through the speaker immediately. It was about trying to understand more of what’s in my head and getting it out of the speakers.
Even when I have a new idea, it can still remind me of an idea I had made 15 years ago. I’m me, even though this idea is more advanced or better executed. Sometimes, I see it as the Porsche 911. They keep making the same car over and over again, and it gets better, and people want the next one. So, it’s not that I’m not trying to say that my sound isn’t expanding or I’m not trying new things, but it’s trying to make this version of myself better every time. 
It’s not that I don’t have songs that I’m gonna put out that aren’t different, but every time I thought I had made something completely out there or different, and I show it to a few friends, they say that it sounds exactly like what they expect of me. I’ve learned it’s hard not to be yourself, which is also a good thing. 
After those six years off, you’re ready to get back out there. You recently played Bristol, Manchester, and London. How was it to be back out there?
It’s been good. Before COVID, I remember saying to people that the last bunch of shows I had done had been pretty good. This feels like it’s a continuation of where I was just pre-COVID. I can feel a bit more excitement in the scene. And that makes me excited as well. 
You’re also going to the US soon again. How are you preparing for that? 
How will I prepare for it? I’ve never really prepared for a show unless I’ve done a back-to-back with someone, and they said they wanted to prepare. My preparation is just making sure riddims are on the USB stick. If I’ve tried to have an idea of what I’m going to play, I get to the show, and the vibe there might make me change the idea of how I wanted to start the set completely. I usually just wing it on the night, haha! 
How do you feel getting back to the US?
You should play whatever you’re going to play, wherever you’re going to play. You don’t have to go somewhere and specifically smash it. However, if I’m in the UK and want to drop a certain garage song or something in the middle of my set, it’s a lot different to people here than anywhere else in the world because all of these songs are most people’s youth, depending on their age. Not that they won’t appreciate the music anywhere else in the world, but it just might not have the same connection with them. With me saying that that doesn’t mean you shouldn’t play these songs wherever; it just means it’s a different vibe. 
I remember I played a show in Detroit once, and it got to the end of the night, and we were able to keep going for a few more hours than planned. They told me I could play whatever I wanted. I just played grime and garage all night, and Detroit was down. 
What’s the biggest difference, you think?
Sometimes how changeovers can happen, they feel like a big festival. In European or UK clubs, these things don’t normally happen. You get your last rhythm ready, and the next DJ is ready. You keep things moving. In America, it feels like a concert sometimes, not always, of course. And things finish early! To be honest, when you’re touring, that’s kind of a plus. 
There are a lot of differences, and it’s hard to try to calculate what the difference actually is. The show we’ve done in Bristol, with Spyro and P-Money, was also an early one. We played last, which was from 1 AM till 2 AM, and it worked. I think it brings a lot of people in their 30s and 40s out. You see people going out and having one drink or none at all and getting home in bed nice and early. You can still be up at a decent time after one of those nights. Those kinds of nights happen more often in the US, but as you can see, they also happen in the UK from time to time. 
One of the festivals you will play in the US is Infrasound in June. You’ll be playing not one but two sets. What can we expect?
My first set will be garage and grime, which is pretty much what I grew up on. That’s the stuff that excited me and got me into music back in the day. The plan for the first set is to play all kinds of music, really. Maybe you’re gonna hear some tunes you’ve not heard before. I just know it will work at Infrasound. It’s not gonna feel alien because the tempo’s quite similar to 140. I always play a random few bits in my set, so when you’ve seen me play before, you know what’s up. It’s interesting because I didn’t really like dubstep when I first heard it. I only wanted to listen to grime and garage music when I was young. Right now, I think grime and dubstep are so similar. I grew to like the genre and started hearing stuff that excited me. I started playing dubstep tunes out on nights I was booked, too. I used to be a grime producer only, but after a while, I started getting booked to play dubstep nights in Bristol, like Subloaded, even though I wasn’t making dubstep. By being in these clubs, the genre naturally started to rub off on me, and I started to enjoy dubstep music more.
What more can we expect from you this year?
I’m sitting on loads of music I’m finishing now. I’ve got a few horn sessions to record on some tracks, and I have a release schedule until 2025. I’m back for real now. Those six years went by really fast. When I think about it, 2008 to 2014 was a big part of dubstep; that was also six years! It’s mental to think that if I went back to that time and never released a riddim from 2008 to 2014, that would be quite insane. I won’t be doing that again. You can expect way more music from me in the coming months and years. I’m excited.
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Walker & Royce's Time-Tested, Idiosyncratic Sound Expands in Sophomore Album, "No Big Deal"

The trajectory taken by Sam Walker and Gavin Royce has been defined by rebellion. Not long after beginning their partnership as Walker & Royce, the New York-based house music duo aimed to shake up the industry by eschewing the no-nonsense undercurrents of the time to share a more quirky, out-of-the-box sound.
Soon enough, the whistles, wobbles and trills that accompanied their blaring basslines became synonymous with the avant-garde productions cooked up by the pair. After partnering with the beloved Dirtybird Records, their notoriety increased tremendously before culminating in the release of their debut album, 2017's Self Help.
Throughout the years, the tandem would continue shaping the house music scene with their infectious beats, releasing hit records like "Dance with Me" (with Chris Lake), "Rave Grave" (with VNSSA) and their impeccable remix of Dom Dolla's "San Frandisco." 
However, after seven years and countless bangers, Walker & Royce are finally following up on their original body of work with their long-awaited sophomore album, No Big Deal.
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Sticking to their tried-and-true method, No Big Deal puts the producers' idiosyncratic sound front and center. From beginning to end, the project features a collection of dancefloor-ready heaters highlighting the eccentricity that is the Walker & Royce brand.
Immediately upon playing the 10-track album, your senses are awakened. As the opener "Let's Live It Up" builds, its vocalist, Harm Franklin, reminds us of our mortality and eagerly urges us to adopt the mantra behind its title before delving straight into a signature, thumping Walker & Royce bassline. 
The record then dives into a one-two-punch of brooding vocals provided by Grammy-nominated vocalist Barry Bones. In "Fatalistic Groove," Bones' work alongside synth grooves harkens back to the early electro of the 80s. In contrast, his notes in "Cheap Thrills" float by as stabby melodies pierce through the mix.
Walker & Royce.Myles Heidenreich
Elsewhere on No Big Deal, we find Wakler & Royce teaming up with longtime collaborator VNSSA to offer up yet another pulsating banger, "I Don't Remember." In "Tha Tea," it's all tea and all shade as the wompy, wobbly cut offers up some lessons in reading. Because reading is what? Fundamental. (Thanks RuPaul).
Closing out the album are two tracks illustrative of the nonconforming journey that Walker & Royce continue to forge. In "Stop Time," the pair enlist Glass Petals and Elohim to concoct a boomerang of a song. Equipped with a stellar chord progression, it starts as a soft, melodic piece before turning into a bass-heavy banger. 
Meanwhile, in "Did You Mean It" featuring ZOF, the boys find themselves deep in the realm of drum & bass. Acting as a smooth landing to an otherwise turbulent run, the song may be a hint of what's to come in the ever-evolving sounds of Walker & Royce.
No Big Deal is out now via Dirtybird Records. Listen to the full album below and find it on streaming platforms here.
FOLLOW WALKER & ROYCE:
Facebook: facebook.com/walkerroyce
X: x.com/WalkerAndRoyce
Instagram: instagram.com/walkerandroyce
Spotify: spoti.fi/3lsvEWE
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Cody Chase Unveils Epic Remix of Rick Ross’ ‘Hustlin’

The talented Producer and DJ Cody Chase returns with yet another unmissable release titled, ‘Cut Em Fat (Hustlin’ Rechase)’, adding his own Tech House flavour to Rick Ross’ hit track ‘Hustlin’. As he offers listeners a fresh take on the classic, Cody Chase ensures his powerful signature style shines through, presenting a track energised by thumping beats, a driving bassline, and shuffled rhythms: a production that comes soon after the release of his Techno single, ‘Ellipsis’, Cody Chase is certainly keeping his drive and motivation high as he continues building an impressive release catalogue, adding another fresh and exciting track.
With a reputation that has been steadily growing since he first stepped onto the Electronic Music scene, Cody Chase appears as a refreshing talent, unafraid to push both his own creative boundaries and the sounds of the genre. As he remains driven by his passion and enthusiasm for Electronic Music itself, providing a platform for the next rising stars with his label, Chasin’ Records, and his popular weekly radio show, ‘The Chase’, Cody Chase continues to make an impact.
Inviting listeners on a thrilling sonic journey, ‘Cut Em Fat’ quickly propels into a soundscape detailed with powerful beats, a hypnotic bassline, and the catchy vocals of Rick Ross. As the track continues to drive forward, electrifying synth hits add to the captivating listening experience, with intoxicating risers soon joining to take the intensity one step further. A mix layered with a mighty low end and enthralling rhythmic textures, ‘Cut Em Fat’ brings groovy sound and dancefloor vibes, seamlessly incorporating the essence of Rick Ross’ original with the infectious signature style of Cody Chase.
As he continues paving his way within Electronic Music, Cody Chase no doubt maintains his status as one of the most noteworthy talents to keep watching.
‘Cut Em Fat (Hustlin’ Cody Chase Remix)’ is out now and available to stream and download across platforms.
CodyChase · Cut Em Fat (Rick Ross – Hustlin') – Cody Chase Remix So, a high-quality talent when it comes to his creativity, make sure to stay up-to-date with Cody Chase by following him across social media, as this is certainly a Producer and DJ you don’t want to miss.
Follow Cody Chase:
Website | Instagram | Soundcloud
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“Exploring New Frontiers: Angel Parilli’s ‘Interstellar’ Takes Progressive House to New Heights

The talented Producer and DJ Angel Parilli unveils his latest track: a hard-hitting Progressive House production titled ‘Interstellar’. With a varied musical background that has seen him producing for Artists across genres, including Reggae, Trap, and Hip Hop, Angel Parilli approaches each of his tracks with the hand of an experienced Producer, one whose unique perspective results in distinct and original music. Now, with this new track, Angel Parilli ensures that both his talents and hard-hitting signature style are showcased, presenting a production high in quality and striking in sound.
Having carved out a musical journey that has been nothing short of unique, it is Angel Parilli’s enthusiasm and love for music that continues to drive his creativity, seeing him developing his signature sound to remain consistently original and innovative within the dense and diverse landscape of Electronic Music. With a seemingly natural ability when it comes to producing music, Angel Parilli appears unrestrained to the limitations of one singular genre, instead choosing to feed his musical passion by producing work that spans across Electronic Music. Whether creating Progressive, Tech House, or Melodic Techno, Angel Parilli’s talents and distinct artistry shine through in each of his releases.
‘Interstellar’ offers a listening experience that pushes musical boundaries to deliver a track that stands out; a journey of sonic discovery, the intricate layers that make up the soundscape of the production no doubt make for an intriguing and compelling listen, one filled with surprising and uplifting moments. Featuring hypnotic melodies, driving rhythms, growling pads, and punchy beats, ‘Interstellar’ certainly comes as yet another exciting release from Angel Parilli, cementing his name as one to keep watching as his reputation continues to grow.
‘Interstellar’ is out now and can be streamed below or purchased here.
A fresh and inspiring new release, ‘Interstellar’ appears as a captivating listen and one not to be missed for both Angel Parilli’s fans and lovers of the genre. So, discover the magnetising sound of Angel Parilli for yourself by listening to ‘Interstellar’ now and be sure to keep Angel Parilli on your radar by following him across social media.
Follow Angel Parilli:
Website | Spotify | Instagram
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Clan Brude And Hogchoker Unite On Progressive House EP ‘Clan Brude Versus Hogchoker’;

Clan Brude and Hogchoker join forces to present a new collaborative Progressive House EP titled ‘Clan Brude Versus Hogchoker’; including two mesmerising tracks, the production seamlessly blends Clan Brude’s powerful signature style with the enchanting sound of Hogchoker, resulting in a listening experience that is as surprising as it is impressive. As it offers listeners soundscapes driven by thumping beats, shuffled rhythms, and bold basslines, ‘Clan Brude Versus Hogchoker’ incorporates the distinctive, worldly sounds of the Shanghai-based band Hogchoker, presenting listeners with an EP that is sure to capture attention.
A Producer known for his innovative and inventive creativity, this newest release from Clan Brude certainly places his originality at the forefront, bringing a unique sound and refreshing energy to the Electronic Music scene. Hogchoker themselves have developed a style that stands out, taking inspiration from an array of genres like Jazz, Ska and Punk to establish themselves as a distinct and powerful force on the Asian music scene. As they come together with Clan Brude for this thrilling new production, Hogchoker certainly add to the colour and vibrancy of the release, introducing live instrumentation to the bold beats and synth lines of Clan Brude’s signature style.
With the track ‘Fading Away’, Clan Brude makes sure his usual hard-hitting sound shines through, weaving together a soundscape of thumping beats, driving basslines, and compelling synths. As the groovy sound of Hogchoker layers into the mix, adding funky, melodic elements to the production, ‘Fading Away’ delivers an original sonic experience, one sure to leave an impression on listeners.
The track, ‘This Life’, presents just as an exciting sonic journey, offering a production driven by a bold bassline, shuffled rhythms, and a mesmerising layer of textures delivered by the instrumentation of Hogchoker. With a sound that is both moving and full-bodied, ‘This Life’ maintains the unique and inspiring energy of the EP, taking the listening experience to even more enthralling realms of sonic ingenuity and originality.
An EP that shows Clan Brude’s confidence to push the boundaries of Electronic Music, as he invites a live band to join the mix, ‘Clan Brude Versus Hogchoker’ is a must-listen auditory experience for any genre lover looking to discover the most fresh and novel sounds currently on offer.
‘Clan Brude Versus Hogchoker’ is out now and is available to stream and download across platforms here.
So, stay tuned as Clan Brude continues to deliver the unexpected, making sure to follow him across social media to remain up-to-date with his upcoming projects and releases.
Follow Clan Brude:
Website | Beatport | Instagram
Follow Hogchoker:
Website | Instagram
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Melleefresh and Hectic Unite To Drop ‘The Play Deep Sessions

The talented Melleefresh and Hectic join forces to present a hard-hitting collection of productions, delivering an album worth of dancefloor anthems with ‘The Play Deep Sessions’ via Play Records. A powerhouse duo whose collaborative relationship continues to flourish following their debut project, ‘Snap It’, Melleefresh and Hectic are now offering listeners an auditory adventure of magnetising power, showcasing their impressive talents with a thrilling collection of tracks: presenting two brand-new productions with ‘Drop It’ and ‘Sonic Heat’, alongside other captivating singles from their release catalogue.
As individual talents, Melleefresh and Hectic have both established themselves as exciting names on the scene, regularly dropping unmissable productions, their status within Electronic Music continues to be defined. A Canadian-based avant-garde Artist, Melleefresh has had nearly thirty years of experience on the music scene, displaying a unique and distinct approach towards music creation and working alongside other gifted Producers like deadmau5, Dirty 30, and Calvertron. Hectic’s musical journey has also been one detailed with exciting musical moments; based in the UK, the skilled Producer creates work across genres, producing impactful tracks that continue to garner him attention. With support from DJs across top radio stations, including BBC Radio 1Xtra, Kiss FM, and XFM, Hectic surely appears alongside Melleefresh as a talent to keep watching.
With this latest project, Melleefresh and Hectic create sonic heat whilst showcasing their versatile talents; bringing energetic House beats with ‘Drop It’, the pair keep the listening experience engaging as they transcend across genres to offer hypnotising Techno vibes with the track, ‘Sonic Heat’. As the productions deliver thumping beats, driving synth lines, and the distinct vocals of Melleefresh, the pair ensure that this newest collection shines a light on their originality and fresh creativity, presenting listeners with the opportunity to dive into a lively and colourful sonic world. ‘Drop It’ keeps the energy high throughout, featuring infectious melodies, shuffled rhythms, and bubbly risers that join to build the intensity even further in the breakdown. ‘Sonic Heat’, on the other hand, delivers a different vibe, presenting a soundscape detailed with a pounding beat, gripping bassline, and playful synth hits. An exemplary presentation of both Melleefresh’s and Hectic’s continual individuality, ‘The Play Deep Sessions’ is surely a unique sonic experience waiting to be discovered by fans of the pair.
So, be sure to explore the surprising and memorable sounds of Melleefresh and Hectic through their new album, ‘The Play Deep Session’, out now and available to stream across platforms here.
Make sure to stay tuned for more electrifying releases from the pair by following them across social media today.
Follow Hectic:
Website | Beatport | Instagram | Spotify
Follow Melleefresh:
Soundcloud | Instagram | Spotify
Follow Play Records:
Website | Beatport
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DJ Greyhound, Bass House & Trance Tyler Unite On Melodic Banger ‘Promise’

No strangers to working together in the studio, DJ Greyhound and Bass House have brought us some massive collabs such as ‘Can’t Live Without You’ in 2022 and ‘Within The Feelings’ in 2021. Now opening up their catalog for 2024, the two artists link up for the first time with the debuting Trance Tyler to bring us a dose of mainstage melodic energy in the form of ‘Promise’.
Always artists to bring something new and unique to our music feeds, DJ Greyhound, Bass House and Trance Tyler unite in the studio and the results are next level. They open up the single with stunning female vocals that are accompanied by melodic elements before quickly heading to the first drop which is packed with power. The melodic elements are paired with powerful sounds to give us that uplifting vibe. As the single progresses the three artists keep the energy and euphoria high.
Stream this single below.
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Goldenvoice Taps Bicep, Skream & Benga, More for New Coachella Weekend Day Parties

In a few short weeks, the SoCal desert will again come alive with the sultry soundscapes rising from the grounds at Coachella as the festival commences its annual takeover of the cultural zeitgeist.
Aiming to expand on the beloved event by offering unique pre-festival experiences, Coachella's promoter has announced a new dayclub series. Dubbed Goldenvoice Surf Club, the multi-day dance party will be hosted at the Palm Springs Surf Club during both Coachella weekends, April 13-14 and April 20-21.
Offering a respite from the unforgiving desert heat, Goldenvoice Surf Club will allow attendees to dance along to some of house music's finest while enjoying resort-style amenities, including cabanas and savory dining options. The venue also contains a state-of-the-art wave pool, lazy river and towering waterslides for those who enjoy a good splash to go along with their four-on-the-floor beats.
c/o Palm Springs Surf Club
Speaking of beats, Goldenvoice Surf Club will showcase a bevy of electronic tastemakers like Jungle, Bicep, Barry Can't Swim and Dylan Brady. Attendees will also be treated to a few special collaborative sets from the likes of Skream b2b Benga and  Mall Grab b2b Skin on Skin, among others.
Fanning the flames of the impressive roster is Hollywood's very own Sound Nightclub, which will take over programming on Sunday, April 14th. Masked house music icon Claptone will be joined by Âme, Folamour and Sound resident Keyspan for a Sunday Funday like no other.
Tickets to the 21+ Goldenvoice Surf Club experience can be found here.
FOLLOW GOLDENVOICE SURF CLUB:
Website: gvsurfclub.com
X: x.com/gvsurfclub
Instagram: instagram.com/gvsurfclub
FOLLOW COACHELLA:
Website: coachella.com
X: x.com/coachella
Instagram: instagram.com/coachella
YouTube: youtube.com/coachella
Facebook: facebook.com/coachella
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