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Eric Prydz announces new live show [CELL] exclusively at Hï Ibiza this summer

Visionary artist Eric Prydz redefined the live audio-visual experience with his groundbreaking HOLO concept. HOLO left audiences around the world stunned, including at Hï Ibiza last summer where the pioneering spectacle was adapted specially for the club. The combination of Prydz’s relentless creativity and the most technologically advanced club on the planet was a winning combination, and the producer will return in 2024 with [CELL], an all-new, never-before-seen immersive concept.
Always pushing the boundaries of the audio-visual space, the Platinum-selling artist has developed [CELL] from the ground up to be a truly stunning multi-sensory experience. Designed specifically for Hï Ibiza’s cavernous Theatre, this all-new event will be an exciting addition to the island. Cloaked in mystery, [CELL] needs to be seen to be believed and will take you deep into the trail-blazing world of Eric Prydz. An epic soundtrack and larger-than-life stage production will set a new benchmark for nightlife innovation.
Hï Ibiza is the perfect incubator for Prydz’s audio-visual experimentations. The futuristic club has revolutionised the nightlife landscape of Ibiza, heralding a new era of club culture through pioneering technology, cutting-edge production and unparalleled atmosphere. Immersive production and bold future-facing design permeate all areas of the venue, which has twice been voted the World’s #1 Club in DJ Mag’s annual Top 100 Clubs poll.

To book tickets for Eric Prydz Presents [CELL] at Hï Ibiza, visit hiibiza.com.
The post Eric Prydz announces new live show [CELL] exclusively at Hï Ibiza this summer appeared first on Decoded Magazine.
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Creating Feel Good Music: Nadiem Blurs Musical Boundaries

In a world full of stories, leaving us unsure of what to believe, Nadiem Musleh, better known by his stage name, Nadiem, “ain’t with that fiction”—as he says in his own lyrics. Within the massive music industry, Nadiem’s captivating story stands out for its authenticity and ability to blur musical borders.   With roots in
The post Creating Feel Good Music: Nadiem Blurs Musical Boundaries appeared first on EDM Sauce.
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Catching Up With A Little Sound

It’s been three years since we last had a chat with A Little Sound, but with her musical career continuing to rapidly blossom, it feels like another lifetime entirely. In a relatively short amount of time, she has transitioned from university to a full-time music career, cultivated an impressive live show, which sees her DJ while as performing vocals- playing at some of the biggest shows across the world, as well as releasing incredible tracks such as; ‘Twilight’ with Gray, ‘Weed & Wine’ with Friction, and “Missing You’ with Hedex.
We talk to A Little Sound about the creative process behind her music, reflecting on the impact of her upbringing and early festival experiences, she traces her musical roots and the influences that have shaped her unique style. Following her return from the Australian tour she shares her battles with anxiety and the tools that have helped her navigate through challenging times, emphasising the importance of mental health awareness in the music industry.
A Little Sound’s story is as diverse as her music. Stepping into the limelight after being named a ‘Radio 1 Future Star’ in 2023, she shares her triumphs and tribulations, shedding light on the realities behind her seemingly meteoric rise.
Hi! How are you doing?
I’m good thanks, busy time of year! Loving it all at the moment and feeling super inspired by all that’s going on for me and our scene. 
How was your Australian Tour? 
It’s a big shock coming back to minus two and you’ve been out in 35 degrees. But the tour was so good I enjoyed it. The tour was two and a half weeks. I did five shows. Nice and spread out, so I got to see a lot of Australia this time. Whereas last year, I did 10 shows in the same amount of time. It was crazy.
There was a lot of flying but luckily we managed to have quite a bit of downtime because I only played at the weekends so I had three or days in Perth and four days in Brisbane and I could visit the zoo and lots of fun stuff. 
What have you been up to since you got back?
Constant sessions which are super fun and really exciting. I think this is the first year that I’ve been in them since signing with my new management Insanity and signing to Ministry as well. They’ve been pushing the sessions and the music I’m writing at the minute is just really exciting. The level of stuff that is coming out from these sessions is just nothing that I’ve ever had before. 
I think for me which, I found from doing the sessions when I write on my own. I find it difficult to not listen to the little voice in my head saying “I don’t think that’s the one!”. I’ll sing an idea out loud and these talented writers around me will say “That’s wicked, let’s stick with that.” Whereas when I’m on my own I might think of the same idea but the little voice in my head’s going “You can do better than that” or I just don’t know when to stop. That’s what’s been good I’ve learned so much from all these really, experienced and talented writers. 
That sounds amazing. You’re not only creating music you’re growing from the experience as well…
Yeah, and it’s not necessarily that I’m just letting other writers write for me. I’m very much part of the whole project. It’s just rewarding hearing the people around saying, it seems to be the best stuff that they’ve heard from me and I’m grateful for that.
It is interesting to hear you talking about that voice in your head because I think for a lot of talented people. I think that voice is important because it pushes them further and further.
Definitely. I do think it hinders my writing when I’m on my own. I constantly questioned when to stop and I think a lot of people would have the same issue. It’s helpful to have been working with producers and writers like Brad Ellis who wrote ‘Afterglow’- to have him there and say things like “Lyrically, maybe we could think of something better” or “Yes, that melody sounds wicked”. So that little voice can listen to what an actual person has to say.
Talk to us about your musical upbringing, you were at Glastonbury at five years old right? 
My mum volunteered to work at the festival and she got to take me. I think it must have been Saturday or one of the big days. I got to see Basement Jaxx, The Kaiser Chiefs and Van Morrison who did ‘Brown Eyed Girl’. Moments like that really have changed the way I am and the way I listen to music just to be in a crowd that young and experience that sort of energy.
Festivals were really about just the music then, not so much filming it. I’ve got to thank my mum for that because I’ve just loved festivals ever since and she’s got a wicked taste in music. She wasn’t that into the drum and bass side of it, but I think the dance side and yeah, I just really respect her for taking me I guess.
Did you have a lot of good music around you at home when you were younger?
Yeah, I’d say so I always had the Red Hot Chili Peppers albums around, and then it went to a lot of Basement Jaxx and I had some more dance stuff. I remember all the CDs and I’d always just be listening to music. My mum was the dance queen- she used to dance and do amateur dramatics. So it’s always been quite a dance-y family.
You were a ‘Radio 1 Future Star’ in 2023- that’s quite an Accolade…
It’s amazing. I had just got back from my first New Zealand & Australia tour and I had struggled a lot mentally with it, just because I didn’t know what to expect about the travel. My anxiety levels were somewhere they’d never been before couldn’t explain it. With the logistics of the tour, it was a bit much. So then to come back and hear that news from Danny [Howard] was amazing. I went straight into the Radio 1 studio with my mum she loved it, it was a nice little thing to give back.
It just feels amazing to be honest, just to know that support from Radio 1 is there and Danny’s been a massive part of my journey and has always, wanted to play and support the tunes. He even came to watch one of my sets at a festival last year, I think that’s so nice to have that support from quite a major part of the music industry. It felt crazy, to be honest. I still don’t think it’s sunk in.
I’m sorry to hear about your anxiety on tour. It’s really important that people especially dance music keep talking about this kind of thing because it happens a lot more than people would imagine. What helped you get through that time?
I was recommended to do hypnotherapy. I have a family friend who does it back at home and she just let me do it online on a FaceTime call. I had four sessions and I didn’t think it was up working. I thought “This is just silly!” and then by the third one my mindset changed. It’s all about mindset, and it just clicked. 
Before this last Australia tour, even though I was feeling quite good after the summer. I just booked another four sessions just in case and made sure my mindset was in the right place. I think you can get yourself into a negative mindset and you are on a downward spiral from there. Waking up feeling like the same things are going to happen.
I think so much more positively now and I look back at my social media from when I was on tour, you would never have had a clue, which I think is kind of sad because when I look back at that, I think “Blimey I’ve to look behind the photo and remember how I was really feeling.” My mum says it’s just crazy to think that there was a smile on my face at the time.
I think it is super important to talk about it, I’m not gonna make my whole social media about mental health, but if I feel it’s necessary to talk about it, I will.  
Thank you for sharing.
So last time you spoke to us you hadn’t even finished University yet. How has it been finishing and being able to fully focus on your career?
It’s about two and a half years ago now, maybe even close to three that I left. I was one of the lucky ones who got straight into music as work straight from uni. It seems to be a minority that actually gets that opportunity. I feel super grateful for that but the last three years have been a blur. 
It just seems to be a really nice trajectory and it feels like lots of big things are coming, but it doesn’t feel overwhelming. My journey always felt quite natural. To look at what’s happened in that time is just mind-blowing.
I can’t forget how much the lockdown did help that Journey. It did have a massive part, my career hasn’t been an overnight thing. People have watched me from Not being able to DJ in lockdown on live streams, to then, playing the biggest sets last year. The stuff that’s coming through booking-wise now, is just… I can’t believe it to be honest.
The narrative that surrounds you is that you broke overnight, but it’s probably a less steep trajectory and there was a lot of work going on behind the social media success. 
Sometimes it does frustrate me when I see comments. I’ve seen one recently on TikTok that said something along the lines of “You only blew up because of Hedex, and TikTok!” as if my release with Hedex which was only last year is the reason for my success rather than the hard work I’ve put in.
When actually I can go all the way back to when I did my first rave, I was still at Uni when I started in the scene. I jumped in with Born On Road in the real underground side of it. It definitely didn’t just come to me like it seems. The whole thing has been amazing though and I feel really lucky that it has all panned out this way. 
I would see an overnight success as maybe going viral on TikTok and then you’re suddenly in the charts or that sort of thing, but I think the real ones would know that I started my first tune when I played acoustic guitar. I recorded it into a voice note, my vocal was not as strong, but I think that’s what’s so raw about it. I put a lot of effort into all my YouTube covers too over the years which helped artists like Technimatic and Kanine find me. 
I can’t ignore the fact that it feels a lot faster than maybe some other people but I have grafted and I think the people around me and the team around me can back that. 
You mentioned that we’ve watched you from before you could DJ and now you’ve got these sick sets where you mix DJing with live vocals. What was the thought process in getting your own set together? 
I mention Katie from Koven in every single interview because she had a massive part in why I started the DJ/vocal sets. I guess the main reason for doing that was because I was getting bookings as a live PA and I would come on and sing maybe three tracks or I’d have a 15-minute set where I would just sing my songs- I felt a little bit out of control. I’d be looking behind the decks to see the next track, it just all felt a little bit unplanned and I like to be in control of everything. So seeing Katie do that to such a scale was the inspiration. 
 I was awful for about half a year and everyone witnessed it which was, I think, the whole fun of it, and why people can respect now that the journey is real doesn’t happen overnight. But I thought if I could curate my own DJ set while singing my own tunes and being on the mic and connecting with the crowd I felt like the A Little Sound show could really come alive. There’s so much more I want to do with it in terms of live instrumentation.
I think it’s really important for upcoming artists as well to see a woman do it all which is another big reason why I want to for it myself. I don’t need a man to have a wicked show. 
You prefer to have the whole set to yourself…
Yeah, because then it’s my fault if anything goes wrong. I don’t have to rely on anyone else and I can spend as much time on it at home as I want. I have very particular ways that I want to transition tunes. The transitions might not be as intricate as the DJs switching in and out every 30 seconds, but I like to have a clean transition. I put time into every single set that I plan and although I do plan my sets, mainly because the keys need to match for me, I do actually change my sets most shows. It is crazy to think that I’ve managed to do that because it’s a lot of time. The other thing people don’t see behind the scenes is how long it takes to prepare the show I’m stressing about four mixes due now and I just want them all to be perfect and different. 
Live streaming was a massive part of your coming up. Do you still think there’s a space for live streaming?
I would hope so. I think it had such a massive impact in lockdown and it would be sad to lose that feeling. I know it’s not the same as going to a live show. I’m really loving what DnB Allstars 360s are bringing at the minute, just watching that energy and hearing the crowds. Not everyone can go to a rave, we talked about anxiety and stuff and I think it’s so important to make sure that everyone can be a part of the scene whether they’re able to go out or not. I watch live streams if I’m getting ready or I just wanna get in the vibe before set or something. There’s always a place for them, so long as they’re done well.
What’s your go-to livestream?
 It’s really difficult- to be fair any of the Born On Road ones I’m always here for.  Kelvin 373 did a wicked 360 as well. I don’t get to see those guys as much anymore and I used to be on nearly every show with them, so I find it rewarding seeing how well they’re doing and reliving one of their sets. 
You’ve worked with some great people and had some great songs out, do you have any releases that stand out to you? 
The most exciting release has been ‘Twilight’ with Gray just because it was put out independently Born On Road, which feels super underground, it took about a year to get any traction. We didn’t put loads of spend into it like you get with the majors.
It didn’t get playlisted, and it didn’t get radio support but since I’ve been performing it live and since Gray has been playing in his sets, people just seem to love it for what it is. Every time it goes off in the Rave the streams just go up and up regardless of whether it got playlist support. So long as the music connects the people, it will do well and I think it’s just so interesting to look back because over the years. It’s gone up to nearly about 30,000 streams a day.
Because it’s from Gray and he and I grew up in the scene together having a similar journey, it’s just so rewarding to see that quite a raw track that we both really love has been received in that same way. 
Talk to us about your recent single ‘Escape The Lights’…
Another exciting one. Again, it keeps coming back to Born On Road, but Disrupta also released one of his first EPs with them, it was a proper jump-up EP ‘The Night”. So to see, his journey of how far his production has come is amazing. This one is really melodically beautiful and showcases his talent. I love that we’ve finally got into work together because he’s another one that we have had that same journey from the underground to having a foot in the door of the major, which is exciting. 
We wrote it literally in the last 15 minutes of a whole six-hour session because we’d written one track for that whole five hours. But Disrutpa said, let’s just try a little idea on the end, he played a little progression and straight away I said “God, that’s Lush”. This one just fell into place the words, the melody and it just felt right. It wasn’t until we showed our management and the label that the excitement really started building. Originally it was called ‘Escape The Lies’ but we changed it to ‘Escape The Lights’ because it felt like when you can’t find yourself in the scene underneath the lights in the dance or a festival and you just can’t help but be there. Or it could also be a little bit deeper rooted and the lights could symbolise anything, something you can’t escape and you keep coming back to. 
So your lyrics are open to everyone else’s interpretation. When you’re writing them are you considering multiple meanings or have you got your own connection to them?
When writing, especially recently I wanted to have that broad meaning but with ‘Back To Back (B2B)’ my last single I wanted to write using all of the DJ symbolism- I used words which link to going back to back with somebody but then going back to back with someone through life.
How do you feed your creativity as a songwriter, reading, poetry or listening to music?
I wish it was something more intellectual like reading a book, but I find it’s more from listening to music. I tried to branch out of just drum and bass. I try to go back to my roots, when I used to write acoustically I listened to more singers. I find it important to branch out and go back to listening to multiple genres when it comes to writing music because drum and bass is still quite a niche and you find a lot of writers do fall into the same patterns.
When I first started writing over drum and bass I was told I had an almost a kind of country twist on it, which made it stand out a little bit more. And I think you’ve got to have that variety, the people I’m writing with have come from a different side of the music industry so it seems fresh. When I’m at festivals, especially Glastonbury, I will go to every band, I literally ban bass music for the weekend.
So, last question- what should we be talking about in the scene that we’re not currently talking about?
So apart from the equality of women and not making a massive deal and having that performative energy behind it- I think from what I’m seeing on TikTok at the minute, there are a lot of opinions going around just about the scene in general. So I think we need to talk less about certain things honestly, I think a lot of artists are getting stick for being a TikTok D&B raver and it is just unnecessary. 
I saw Brian Gee talking about something on a podcast and he said “I think we should bring back just doing our thing. The scene used to be fun and I think because there were no rules, there were no rules about what you had to do, the scene was just a nice place to be and there wasn’t as much judgment.”
Every single time I’m on my ‘for you’ page on TikTok which is where sadly I spend a lot of my time. It just seems to be people that are very in the scene just constantly sharing unwanted opinions about everything and anything, and I think that’s where it’s turning quite toxic actually and I just think we need to talk less about our dislikes. 
Let’s just enjoy it because it’s about music and whether someone wants to film a set on their phone, I know it might kill the vibe at times but is it that important to make a deal of? I don’t know. I just want there to be positivity in the scene, spread that peace love and unity that we always talk about. it does seem to be getting a little bit left behind at times.  
I will always be an advocate for women in drum and bass that will be something I’ll always talk about and making sure it’s a safe environment. But other than that let’s just leave the unpopular opinions behind. I guess the most important thing is that we keep inspiring the younger generations. We need to be a little bit more open-minded and make sure that we appreciate the fact that it’s still doing so well and it’s having such a big moment at the minute.
The post Catching Up With A Little Sound appeared first on UKF.
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We Need To Talk About Basstripper

Basstripper is taking the D&B scene by storm. He started mixing in 2015 at a local rave in Belgium after he got inspired by his best friends. Thinking to himself, “I can do this too. Why not give it a try,” he quickly got the hang of it, took up music production, and found his way into the Belgian drum & bass scene. After about four years of combining music with a part-time job, he became a full-time musician.
This proved to be a wise decision. Fast forward two years, his megahit ‘In The City’ went viral last summer, and he supported Bou and B-Live on their Australian tour in November 2023. He also remixed Netsky’s ‘Hell in High Heels’ at the end of 2023 and had his remix of Friction’s ‘Supersonic’ released in January of this year. 
With no plans to slow down, 2024 is already shaping up to become the best year of his life.
How’s 2024 shaping up for you so far?
It looks like it will be the best year of my life. The diary is filled with some amazing shows. As much as I’ll be touring this year, I’m taking extra time to make a lot of new music and trying to release as much as possible. I’m also looking to collaborate more with other producers, as much of my work has been solo. It’s going to be interesting to see how my sound shapes up with others. 
I will make a lot of new singles and collaborations. I also get a lot of questions about remixes now because of my latest Friction remix and the Netsky remix in 2023. Still, I mostly want to focus on new original music and collaborations with other producers. I’m going back-to-back with Sota on Rampage, so I’ve got a couple of collaborations with him that we’ve been working on, and I’d love to make some tunes with Bou as well. Because, with Bou, we’ve been talking about working together for years. We started making music at the same time, so we’ve known each other for a while now. 
Your ‘Supersonic’ Remix for Friction is out now, a good start to the year!
It was such an amazing start to the year. If I remember correctly, I made this remix shortly after ‘In The City’ came out. I’ve played it out a lot, and the crowd has always reacted well. It’s been exciting to get it out finally, and it’s doing really well. It was such a cool project to work on as well; everything came together quickly and nicely. I really want to thank Friction and the Elevate team for that.
When they asked me to do the remix, I didn’t hesitate at all. From the moment I got the stems, I started working on it immediately. Everything actually came together very smoothly. This was the first time I’ve done remixes, really. After ‘In The City’ the remix requests came flowing in, but these two were kind of the first ones and instantly the biggest ones I had ever done. It was an amazing feeling to be able to remix Friction and Netsky. If you had told me a few years ago I would be able to remix such sick tracks, I wouldn’t have believed you. But here we are, it’s fantastic. 
On your socials, you mentioned that 2023 was the year many things changed for you. How so?
The last few months of 2023 were by far the busiest of my entire life. Multiple shows every weekend for months on end, something I’ve not been used to. I’ve had bookings for many years now, but not to this extent. All the travelling to different countries whilst doing what I love is a real blessing. It’s truly overwhelming, and I hope to keep doing this for as long as possible. Touring Australia with Bou was an amazing experience as well. I was surprised by how many people there knew me. I was unaware of how far my music had spread across the globe. Huge love to Bou, Evil and the Higher Grnd team too.
It all still feels insane. I was only there for five days, and to have done such a crazy tour for such a short period, it’s surreal. They asked Bou who he wanted as a support act, and he immediately said he was thinking of me, for which I’m still super grateful to him. Touring with him and B-Live, the MC, was a crazy experience. During that tour, we created a good bond because we were together all the time. It was such a nice and unique experience for which I will forever be grateful.
How did you come to this point?
‘In The City’ with the DnB Allstars team gave me a massive push in my career. That song changed a lot for me. It’s grown my fanbase massively, and it’s also helped push my previous releases. We’re almost at 13 million plays on Spotify now. I didn’t expect that at all. You can see the countries on Spotify, in which countries that track is doing well, and it’s always crazy to see that on the other side of the world, for example, it does so well there. That’s insane. Of course, you always have confidence in a track. Especially with this one, I had a hunch that it would do well, but not at this level. Before ‘In The City’ was out, it had been sent out to other DJs and had already gotten quite a bit of live support. A lot of footage was made and thrown online. That also did a lot, I think. 
How are you going to continue this momentum?
By doing what I do best: make tunes, get them out, play shows, and create content. The goal is to get better at what I do. I want to really perfect my sound whilst expanding my audience. I also feel like drum & bass is generally growing, which also helps. It’s such an honour to be a part of this. I’ve got such an amazing team and support network around me. I really feel like the sky’s the limit at the moment. As cliche as this sounds.
Take us back to when you first started DJ’ing. Who were the people you looked up to?
I used to watch my other friends DJing at age 15 or 16. And why not give it a go too? We used to sit together every weekend and have mixes on these tiny controllers.  There weren’t many jump-up or drum & bass events in our town yet, so we organised our first party ourselves, and that’s also where I played for the first time. I remember it being quite late but still relatively crowded. I was super stressed, but as soon as I played the first tune, I felt amazing. I just thought, “I really want to keep doing this. This is it,” and it was my own event, which made it extra special. 
After just mixing for a while, I realised I always wanted to make my own music. Learning production is what really pulled me into this genre. I took huge inspiration from the sounds Hedex and Annix were creating. Meanwhile, I’ve been doing music full-time for two years now. I worked part-time in combination for about four or three years, so to be able to do this full-time now is a blessing. My previous job was physically hard, so I think back to that every time I complain about something from the music industry because I don’t have anything to complain about. It really is a blessing, this job. I feel really grateful that this is my daily life. 
Was it always your ambition to bring it this far?
Of course, like everyone, I always wanted to do well and make it far. But I love making music so much that I didn’t really care where it would take me. I am 100% sure I will make music for the rest of my life. It gives me a feeling nothing else can. The fact that I’m doing it as a full-time career is just a bonus, which I’m very blessed with. 
How has your sound evolved throughout your career?
I have always tried to stay true to my original punchy production, but I make improvements as I learn and grow as an artist. Getting better mixdowns and creating catchier tunes is my focus. I think ‘In The City’ really showed this. I spend a lot of time reading and watching videos from other producers. Having conversations with other artists about this helps a lot; we learn from each other, and I think everyone wants each other to succeed. The community is really strong at the moment. 
You’re from Belgium, a country known for its jump-up. How do you feel about that, and what has that done for you?
Belgium has a very unique scene. One that, of course, has become popular for its jump-up. The Belgian shows used to be solely international artists, usually from the UK, but the Belgian artists have taken over over the years. Most Belgian shows have Belgian headliners now, which is nice to see. All of us Belgian artists are good friends; we see each other regularly, and it’s not even to work on music or anything; we have just become best mates over the years. I love that most of us are in the same boat, especially in touring and travelling. Knowing I’m not in the unknown or on this adventure alone is comforting. 
We have a group chat with all the Belgian DJs like Used, Andromedik, Primate, and others. If we have something questions about music or other things, we always give feedback to each other. We don’t hate on each other, but we give each other advice. So that’s what I really like about this group of friends: we have each other to lean on and go to if we need support. It’s not a competition. There’s no jealousy, either. It’s really pure friendship and pure supporting each other. To get the best out of ourselves, actually, which is super nice.
Follow Basstripper: Soundcloud/Instagram
The post We Need To Talk About Basstripper appeared first on UKF.
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Hospitality in The Woods taking place once again at London’s Beckenham Place Park

This summer, globally renowned drum & bass celebration Hospitality In The Woods returns to the beautiful Beckenham Place Park in London for another unmissable day of raving in the midsummer sunshine, following a spectacular sold-out edition in 2023. This unique one-day celebration takes place on Saturday 17th August 2024 and explores the whole spectrum of drum & bass, thanks to incredible artists such as Pendulum (DJ Set), LTJ Bukem, Spectrasoul, Kings Of The Rollers, Flava D, High Contrast, Break and many more. It truly is the biggest, broadest and best UK drum and bass festival, so get your tickets now at www.hospitalityinthewoods.com.
Hospitality is a widely recognised and influential brand celebrated for its musical innovation and its reputation as a friendly, diverse and inclusive community. This is showcased at Hospitality In The Woods where the entire D&B family is reunited to create non-stop, sun-kissed musical memories. Not only does Hospitality bring together like-minded ravers, but also serves as a connecting hub for some of the biggest brands and labels within the scene. This year, Beckenham Place Park will once again be transformed into a Drum & Bass paradise, with five bespoke stages hosted by Hospitality, Hospitality Friends & Family, Rampage, an insane link up by two of Bristol’s finest, RUN & Rumble In The Jungle, and a very special 20 Years of Shogun Audio celebration. You will be sure to hear everything from liquid to neurofunk, old-school classics to new-school flavours and everything in between.
The latest wave of names include Pendulum, High Contrast, Flava D b2b Lens + P. Money, Kings of The Rollers, LTJ Bukem, Flux Pavilion, Nu:Tone, Break, Skeptical, Dillinja b2b Randall, Mandidextrous, Fox Stevenson, Pola & Bryson and tens more across the five stages with special guests such as Mungo’s Hi Fi, Spectrasoul, Sasasas vs Basslayerz, Ed Rush & Optical and many more to come. 
The venue offers a fantastic escape with its picturesque green landscapes, a serene lake, a grand mansion, and ancient woodlands— easily accessible in London with various transportation options nearby. Not only is the venue incredible but the production across the site is second to none with each stage offering a unique immersive experience with world-class sound systems and show-stopping stage decor. Super tasty street food stalls will also be on site to fuel your raving, The Hospital Shop will be set up for you to purchase your finest raving garms, plus there will be chill-out areas available in case you need to catch your breath.
“We can’t wait to reunite with the entire drum & bass family, connecting brands and fans to celebrate the music we all love” says the team.
Be sure to join the Hospitality family this August down at the Woods for an incredible day of raving in the midsummer sunshine. This is not to be missed, secure your tickets at www.hospitalityinthewoods.com.
The post Hospitality in The Woods taking place once again at London’s Beckenham Place Park appeared first on Decoded Magazine.
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Ableton Live 12 is Now Available

This major update gives music makers new tools for starting and building on their ideas, fresh sounds, and workflow changes. As of March 5, Ableton Live 12 is now available worldwide. The major Ableton update gives music makers new tools for starting a building on their existing ideas, fresh sounds and devices to spark inspiration, [...]
The post Ableton Live 12 is Now Available appeared first on DJ Life Magazine.
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10 Brand-New Songs for Your March Wedding Playlist

Enjoy the March 2024 edition of “Behind the Wedding Music,” a resource to help build wedding playlists for DJs. Each month we will highlight new songs and include a line of song lyrics, a description of the song’s emotional profile, and a few fun facts — designed to help you advise a wedding couple if [...]
The post 10 Brand-New Songs for Your March Wedding Playlist appeared first on DJ Life Magazine.
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Kanye West sued again for copyright, this time it’s Donna Summer’s “I Feel Love”

The Summer estate denied use of the iconic disco song due to "potential degradation to Summer's legacy" and "wanted no association with West's controversial history."
The post Kanye West sued again for copyright, this time it’s Donna Summer’s “I Feel Love” appeared first on 5 Magazine.
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ACRAZE Teams With Pickle & NKY on New Single, “Runny Nose”

Available now through Thrive/Capitol, the newest collab from ACRAZE follows his recent hits “Do It To It,” “In A Dream.” DJ LIFE took some time in 2023 to sit down with ACRAZE – the mastermind behind the explosive smash hit “Do It To It” alongside Cherish appeared as on our Magazine cover last June – [...]
The post ACRAZE Teams With Pickle & NKY on New Single, “Runny Nose” appeared first on DJ Life Magazine.
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Ableton Live 12 is out now

Ableton Live 12 is now available to buy at Ableton.com and local retailers worldwide. If you pre-ordered Live 12, you can now download it from your account page.
This major update gives music makers new tools for starting and building on their ideas, fresh sounds and devices to spark inspiration, and workflow changes to encourage uninterrupted creative flow. For a headstart on the key features, check out their Learn Live videos.
You can also now explore their new interactive companion site to learn about the various kinds of tuning systems that come with Live. Each tuning preset in Live links to a page on the site, where you can read about the tuning, experiment with interactive widgets, and even edit and create your tunings for use in Live.
What’s new in Live 12
Form ideas freely
MIDI Transformations and Generators – Use MIDI Transformations to add ornaments and articulations, draw acceleration and deceleration curves, connect successive notes and chords, and simulate the strum of a guitar. Take advantage of MIDI Generators that let you conjure up playful and original ideas for you to develop and turn into your own.
Max for Live MIDI Tools – Try out additional Max for Live Transformations and Generators that give you deeper ways of working with MIDI, or go even further by building new ones.
MIDI Editor improvements – Use your keyboard and mouse to edit MIDI in new ways. Split a note in two, or chop it into several parts. Select a set of notes and join them together, or make them fill a selected time range. Get access to more tools from the Note Utilities panel, like Fit Scale, Humanize, Add Intervals, and more.
Keys and Scales – Transform or generate ideas within the confines of the selected scale, or sync the scale of MIDI devices to the clip being played.
Tuning systems – Work outside 12-tone equal temperament, and use your chosen tuning with Live’s devices as well as any MPE-capable plugin or hardware.
Modulate more flexibly – Stay in control of a parameter even after it’s been mapped to a modulation source; Max for Live devices like LFO, Shaper and Envelope Follower now lets you freely adjust a destination that’s being modulated.
Freeze and Flatten – Freeze and flatten a track in a single step using the Edit menu or the right-click context menu of a Track Title Bar.
Meld – A highly expressive 12-voice MPE-capable synthesizer that uses FM, subtractive and granular synthesis. Its two independent engines can be individually fed through a range of filter types, letting you produce a wide array of textural and experimental sounds.
Roar – Create everything from subtle and precise mastering-grade warmth to wild and unpredictable sound degradation. Roar is made up of three saturation stages for serial, parallel or even mid/side and multiband configurations. Its built-in compressor and feedback routing give you even more ways to shape your sound, and its modulation section lets you add dynamic, evolving saturation and colour.
Granulator III – The latest iteration of Robert Henke’s granular instrument now has MPE capability, giving you expressive control over parameters like note bend, vibrato and glissando. Plus, you can now capture audio in real-time and start manipulating it immediately.
New Packs – Find new tricks for performing on the fly with the four Max for Live devices of Performance Pack, explore unlikely instruments and unique foley recordings with the Lost and Found collection, and get your hands on authentic hip-hop and trap beats with two drum Packs from Sound Oracle.
Stack Live’s Detail Views – Stack Live’s Clip and Device Views to see more of what’s going on in your track at a glance. View the Clip Editor or automation and the Instrument or Effect you’re working on at the same time, so you don’t have to repeatedly switch between views.
View styling – Live 12’s cleaner, more modern look removes visual complexity and keeps the focus on your music.
Mixer improvements – Use Live’s Mixer in Arrangement View to get more information and control without moving to Session View and breaking the flow. Toggle the visibility of each Mixer section to fit your needs, and benefit from improved readability and feedback.
Sound Similarity Search – Start with a sample and tell Live’s browser to find comparable sounds and instrument or drum presets – with the help of a set of advanced machine learning algorithms.
Similar Sample Swapping – Use sound similarity to find and swap comparable samples in a Simpler or Drum Rack.
Browser tagging – Discover new sounds and find them again more easily with Live’s new tagging system. All factory sound content – including Packs – now comes labelled in the Browser with categories and descriptors. And if you want more tags, you can create your own.
Accessibility and navigation improvements – Visually impaired musicians can now access core workflows in Live with screen readers and other assistive technologies, and use new keyboard shortcuts to navigate to nearly every part of Live.
Pricing and availability
Ableton Live 12 is available for purchase from Ableton.com and, in some countries, through local retailers.
Ableton Live 12 Intro costs 79 EUR / 99 USD / 69 GBP, Live 12 Standard costs 279 EUR / 439 USD / 259 GBP and Live 12 Suite costs 599 EUR / 749 USD / 539 GBP.
Existing Ableton Live owners can log in to their accounts to see upgrade pricing.
The post Ableton Live 12 is out now appeared first on Decoded Magazine.
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Engineer/Artisan Baker Randall Michael Tobin, Unusual Release Formats, And Western Tuning And Harmony On My Latest Podcast

On my latest podcast episode: Listen to it at BobbyOInnerCircle.com, or on Apple Podcasts, Amazon Music, Mixcloud, Google Podcasts, Spotify, Deezer, TunIn Radio, and RadioPublic. Enjoy the show! On my latest podcast episode: Listen to it at BobbyOInnerCircle.com, or on Apple Podcasts, Amazon Music, Mixcloud, Google Podcasts, Spotify, Deezer, TunIn Radio, and RadioPublic. Enjoy the show!
The post Engineer/Artisan Baker Randall Michael Tobin, Unusual Release Formats, And Western Tuning And Harmony On My Latest Podcast appeared first on Bobby Owsinski's Music Production Blog.
View the full article
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EDC Las Vegas Delivers Massive 2024 Festival Lineup

Returning to the Las Vegas Motor Speedway in May of ’24, Insomniac Events’ Electric Daisy Carnival (EDC) will draw 230+ DJs.   More than 230+ artists have been announced to perform at the upcoming Electric Daisy Carnival (EDC) in Las Vegas. From May 17-19, EDC Las Vegas will bring more than 525,000 attendees to the [...]
The post EDC Las Vegas Delivers Massive 2024 Festival Lineup appeared first on DJ Life Magazine.
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Ultra’s RESISTANCE Miami U.S. club residency unveils full Miami Music Week lineup

ULTRA Worldwide’s underground series RESISTANCE will continue its celebrated US club residency during Miami Music Week, hosting five nights of house and techno programming from Wednesday, March 20 – to Sunday, March 24 at M2 Miami. 
After successfully launching during Miami Music Week 2023 with four sold-out nights, RESISTANCE Miami has welcomed underground music lovers to M2 on Saturdays throughout the fall and winter. The residency has showcased some of the world’s most in-demand house and techno selectors, bringing heavy-hitters like Carl Cox, Adam Beyer, Charlotte de Witte, Enrico Sangiuliano, Green Velvet and Claude VonStroke to soundtrack the sprawling, 35,000 square ft. venue.
The second annual instalment of RESISTANCE Miami Music Week will be a tour-de-force of house and techno, commencing on Wednesday, March 20 with the MMW Opening Party. The kickoff soiree will be a Filth on Acid label showcase, helmed by a special live performance from imprint boss Reinier Zonneveld. The evening will also boast three rare back-to-back performances; from Oliver Heldens’ techno alias HI-LO b2b Reinier Zonneveld, trailblazing French producer Space 92 b2b Reinier Zonneveld, and HI-LO b2b Space 92. Belgium techno duo Joyhauser is also slated to support.
On Thursday, March 21, RESISTANCE Miami Music Week will see Dutch legend Joris Voornhost his ‘Joris Voorn presents Spectrum’ showcase, which follows the radio show/event series’ stellar stage takeover at Ultra Music Festival 2023. Voorn will be supported by Greek techno maverick Argy, Finnish progressive house titan Yotto, and Polish artist GIGEE.
On Friday, March 22, Ukrainian techno acts ARTBAT and Miss Monique will make their RESISTANCE Miami club residency debuts, with additional sets by Polish techno act Kasia and American techno artist Sevenn.
Amelie Lens will make her RESISTANCE Miami club residency debut on Saturday, March 23 for a special headlining performance. The Belgian techno queen will be joined by veteran RESISTANCE Miami performers Italian icon Anfisa Letyago and Berlin-based underground duo Pan-Pot, in addition to a RESISTANCE Miami debut set from Italian act Vikthor.
RESISTANCE Miami Music Week will round out on Sunday, March 24 with the Official Miami Music Week Closing Party, headlined by Swedish perennial talent Eric Prydz. Sunday will also feature sets by Danish artist Kölsch, UK progressive house maestro Cristoph, and Argentinian underground act Øostil, concluding Miami Music Week 2024 with a galvanizing clinic of house and techno soundscapes.
In addition to unveiling its Miami Music Week programming, RESISTANCE Miami also recently announced plans to return to M2 in May for the second annual Race Week program, with ULTRA Worldwide mainstay Carl Cox headlining on Friday, May 3. 
ULTRA Worldwide’s underground series RESISTANCE is heralded as the most international house and techno festival brand, boasting active events on all six inhabited continents. The dance institution’s global takeover has included programming stages at Ultra events in 35 cities internationally, tours across Latin America and Asia, its residency in Ibiza at the world’s largest nightclub Privilege, and now to Miami Beach’s two-story venue M2 Miami, where dancefloor denizens can revel in RESISTANCE’s signature, stadium-smashing production in a more intimate, sultry club atmosphere. 
RESISTANCE Miami tickets are available to purchase via https://resistancemiami.com/
The post Ultra’s RESISTANCE Miami U.S. club residency unveils full Miami Music Week lineup appeared first on Decoded Magazine.
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Book of the Month – Life After Dark. A History of British Nightclubs and Music Venues

Nightclubs and music venues are often the source of a lifetime’s music taste, best friends and vivid memories. They can define a town, a city or a generation, and breed scenes and bands that change music history.
In Life After Dark Dave Haslam reveals and celebrates a definitive history of significant venues and great nights out. Writing with passion and authority, he takes us from vice-ridden Victorian dance halls to acid house and beyond; through the jazz decades of luxurious ballrooms to mods in basement dives and the venues that nurtured the Beatles, the Stones, Northern Soul and the Sex Pistols; from psychedelic light shows to high street discos; from the Roxy to the Hacienda; from the Krays to the Slits; and from reggae sound systems to rave nights in Stoke.
In a journey to dozens of towns and cities, taking in hundreds of unforgettable stories on the way, Haslam explores the sleaziness, the changing fashions, the moral panics and the cultural and commercial history of nightlife. He interviews clubbers and venue owners, as well as DJs and musicians; he meets one of the gangsters who nearly destroyed Manchester’s nightlife and discusses Goth clubs in Leeds with David Peace
Available via Amazon and other leading book retailers
The post Book of the Month – Life After Dark. A History of British Nightclubs and Music Venues appeared first on Decoded Magazine.
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