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Afterlife Miami Forced To Make Changes On Night Two After Neighbours’ Complaints

The bass might have been getting a slight tweak at Afterlife Music Festival on the second night during Miami Music Week. Commissioner Damian Pardo announced changes aimed at balancing the immersive experience for festival-goers with noise concerns for nearby residents.
Here’s a breakdown of the changes:
If you were at the event, did you notice any changes in your experience due to these restrictions?
Miami Music Week is pulsating with energy as DJs and music lovers converge on Miami for a week of electrifying events. Today marks the start of the main event, Ultra Music Festival. We hope the festival and Miami Music Week will be able to go on and deliver a full experience to festival-goers this weekend.
The post Afterlife Miami Forced To Make Changes On Night Two After Neighbours’ Complaints appeared first on EDMTunes.
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UKF15- Netsky

The name Netsky is synonymous with the yellow speaker of UKF.
His liquid D&B classics are imprinted in the minds of fans all around the world from the early days of our story and he has continued to play an important role throughout the past 15 years. 
From numerous UKF On Air sets, including in places like New Zealand, and many UKF tour appearances, Netsky has been a constant for UKF. 
The Belgian D&B star, whose real name is Boris Daenen, has evolved somewhat since his first flowy uploads to the UKF YouTube page – now playing enormous EDM festivals around the world, living in LA and collaborating with some of the biggest names in music.
With lots of new music potentially on the horizon, David Harrison spoke with Netsky as we turn 15, to see what the future may hold…..
How has the past year been for Netsky?
It’s been a good year, but it’s been a pretty relaxed year for me compared to the past 3 years. I spent a lot of time in New Zealand towards the back end of COVID and I was very busy over that side of the world for a while.
Since then, I got engaged last year and we bought a house in LA, so a lot of exciting things going on on the other side of life for me – a very exciting year on a personal level.
We did some really cool shows as well, we took part in some great festivals, places like Tomorrowland again in my own country. We also did more and more stuff in the United States, it’s a place which has been treating D&B DJs really well over the past few years, so that’s really exciting.
Chase & Status have just done a massive show in LA, the Worship guys are doing another big stretch out there and I just did a warmup in front of 35,000 people, in a stadium – D&B is alive in California right now, which is great to see.
So yeah, an exciting year, new little surprises and although I haven’t been touring quite as much, it felt very eventful.
What do you think the tipping point has been in the US for D&B to really take off? More and more DJs are going out there, the crowds are getting bigger and more hyped…
It’s always really hard to put your finger on it. In my lifetime, this is the third D&B wave worldwide. I’d consider the mid-90s in the UK the first wave, with Roni Size doing things like Top Of The Pops, it gained some massive traction then.
2008-2012 was another massive wave, which I think was led by the popularity of Skrillex really, particularly in America. Dubstep really took off there, or at least the American version of dubstep did in that era – that had a back-and-forth impact in Europe and the UK.
With this wave it’s much harder to zoom out and identify all the facets. “Baddadan” by Chase & Status was a milestone, but I don’t know what happened leading up to that, apart from the obvious factor of coming out of COVID and everyone wanting to sweat it out and live a little – maybe that is the reason.
You see techno doing very well in Europe and I’m sure the UK too, which must be a reaction to being locked up for a long time – maybe that all had an effect on D&B too.
You’ve now cemented roots out there in the US, buying a house in the country, it must be an exciting time to be out there. What has the reaction been like in the crowds at your shows?
We always used to make a joke between DJs that D&B crowds in America didn’t know how to dance to D&B – they used to dance to it like fast dubstep, but they’re now starting to develop a skank and the right half-tempo moves.
I have to say that the transition of people starting to understand the music a bit better happened gradually over the past 6 years, but it’s hot right now.
The adoption rate of D&B from other DJs, such as house DJs, people like Tiesto and Dom Dolla playing Hedex now and other D&B tunes – that’s really good to see them embracing D&B.
People are getting used to the tempo and recognising it.
You returned to Australia and New Zealand over the festive period, after obviously your big stretch out there during COVID – what was it like going back there after spending so much time in the region before? 
New Zealand is a great country to tour in, it’s a beautiful country with a very small population. D&B has been part of the mainstream for young people in NZ for a long time, Australia too, but less so. 
If you’re 16-25, you go to D&B raves in New Zealand, it’s what you do. It’s an amazing opportunity for us and on top of that it’s an incredible country – the nature is incredible, people beautiful and a lot of us who tour there miss it. 
**Insert Nobody Likes The Records That I Play**
You’ve just released a new tune with Dillon Francis called  –“Nobody Likes The Records That I Play”  what were you going for with this tune? There are various sounds in there.
 I’ve known Dillon since almost the start of my career, since my first tour in America and we have stayed friends ever since – we always wanted to do a song together. 
I’m almost at a musical crossroads at the moment personally, with my project. I’m spending a lot of the time in the studio – I’ve created full albums and scrapped them completely and I’m probably going to continue doing that for a while.
I’m still looking to find what I want to create and release, and this new one with Dillon was just a good opportunity to release a song with a good friend.
What is the dilemma musically? What direction are you thinking of going in?             
I’m missing an artistic redline through a project, where it all sticks together really well. I want to find a sound that is extremely cohesive to one project and doesn’t sound like everyone else at the moment – to put it bluntly.
There is so much D&B at the moment and I need to find a way to walk around this playing field and be happy with the music that I create.
I’ve got so many influences and I listen to so many styles, which makes it really hard for me to figure out what I love to do in D&B and in that genre. I’m just in the lab and I’m at a crossroads – I’m enjoying it and it’s super fun to not be restricted and not be forced in any direction. I’m lucky my label is very patient. 
But I’m working on lots of music, so let’s see, maybe we’ll be ready in a few weeks or a few months.
What are some of those influences you mentioned?
I’m really obsessed with Kanye West. It’s probably not the most popular thing to say at the moment, particularly in California, due to his behaviour sometimes.
However, as a producer he’s legendary and what I really like about Kayne’s music is that he puts the song, and the identity of the song, forward. Some of my favourite songs by him over the past two albums are songs without any drums, where the focus is on the vocals or on the choir in the background – it’s just raw and pure emotion.
I like the idea of trying to take that into D&B. I’m not saying there won’t be any drums, but I will try to get rid of some of the typical distractions and noise you hear on every D&B song. 
Instead put the focus on the identity of the song, the vocals of the melody and get a rhythm or drums to guide that, rather than dictate that.
You’ve worked with some big names in the world of pop over the years and from other genres of music. What’s it been like to step from the liquid classics of 2008-2009, to work with these popstars?
Each song is completely different. I really like working with people who have nothing to do with D&B. 
I like the shocking factor of certain collaborations and I think it’s extremely good to keep a very broad mind when it comes to who you select to work with and try and merge those worlds together.
How do you go about who you select to work with?
I just look at their TikTok followers (only kidding). I’m obsessed with the human voice and I really, really love a beautiful voice and all the tones that come with it. 
They can have such a distinct and different sound than anything you’ve ever heard instrumentally and particularly electronically. I think a voice can carry a message, even if you’re just singing notes and there is something beautiful about it.
With collaborations, I’ve always gone for people like that. For example, someone like Beth Ditto has such an extremely unique voice pattern and that really draws me to work with certain vocalists.
They don’t have to be big figures either, I’ve had sessions with a few people recently who blew me away, by just sounding different. 
Is there anyone you haven’t had the chance to work with, who you would love to work with? 
Yes of course, Kanye would be one for sure.
On the next album – have you set yourself a target in your head for when you would like to get it finished by?
I haven’t set a target like that, that would be my last resort, although that might come in the next few months.
Are you still enjoying the process?
I am, but I can’t say it’s always easy to tour without new music. That is one aspect I find harder, but I still love making music that’s for sure. 
The touring part is harder without something new to bring to the table or something to show which I’m really proud of.
Sometimes I wish maybe I should have taken some time off to be absolutely honest.
But it’s really good to have these contrasts because when I finally tour with the finished album, it will feel amazing. 
You’ve been with the UKF journey for many years now – what are some of your earliest memories? 
My earliest memory of UKF was chatting with Luke on AIM and sending over beats, and him sending tunes back.
It was my first real connection with the UK and UK dance, because I didn’t have the money to take the Eurostar when I was a kid or visit.
I was speaking to all these artists and DJs on Aim and MSN Messenger and Luke was one of the first people I started to properly speak to about this genre and what D&B is in the UK, compared to what it’s like in Belgium – it was really was first connection with this culture. 
It was extremely important to me. It was amazing to see the channel and label grow and grow so much. I grew up watching UKF learn to walk so to speak and go all the way through high school to become an adult. 
What has it meant to you to have UKF’s involvement in your career?
For my early fan base around the world – I think they saw the UKF speaker logo before they even saw my face or knew what I looked like. 
I think it’s an important cultural symbol and it was an important moment in people’s lives in the early era – the era of online community and a small community of D&B fans online.
It created so many opportunities for all of us DJs, not just me.
I look back at people in music in Belgium who I knew back then and bands who I saw struggling a lot, particularly internationally and I always felt so lucky to have a genre and a fan base in a genre who are so embracing of worldwide artists.
You don’t need to go on yearly promos runs with some major labels to play a show in Germany for example, you can actually just go to a D&B club and you get invited if you have a hot tune – it’s an amazing factor about D&B and dance music in general. 
UKF played a huge role in that for me. UKF’s presence not just online, but also with the label, live shows and festival game.
More than ever it’s a way for new producers to get seen and be put in front of crowds. 
What challenges have you faced to make sure you appeal to some of your older fans who came on board in those early years with UKF and also your newer fans who may have heard some of your more of your poppier collaborations? 
It’s been very challenging, since the start of my career. 
I kind of got pigeonholed as the guy from Belgium who makes D&B for girls, before I was getting invited to any of the UK event. I really liked that and decided to embrace it – get girls on the dance floor and hopefully, people fall in love during my sets, rather than just rave.
I was different back then and also with certain collaboration choices since or a random EP I do from time to time, with non-D&B music. I know I challenge fans, especially the D&B fans, but I think that’s incredibly important.
As much as I love D&B, I consider myself a producer, not just a D&B producer. I think it’s important to be honest about my output, rather than going for what is just marketable.
So yeah, I’ve always seen it as anti-commercial, by doing stuff that half of my fan base might not understand.
That must be something you have to consider in sets, depending on where you’re playing?
Yes definitely, I do tweak them a little bit, but then I enjoy those real moments at those festivals – such as playing a really obnoxious or weird EDM tune at Liquicity after a lot of liquid or the other way around at Tomorrowland. Those can be really impactful moments. 
I think shock value is something extremely important and I think it can all get a bit boring if you spend 12 hours at a D&B stage and everyone plays the same thing and tempo, without many surprises.
That said, there are so many D&B DJs surprising the crowds all the time now and taking those risks. 
It’s the most popular D&B has been in my lifetime, I think. 
What have you got coming up this year touring-wise? 
It’s a very busy year for me, very busy summer. I just got back from LA, I will be spending the summer in Europe, until October.
I’ll be doing lots of festivals – a big Liquicity show, Tomorrowland mainstage, Hospitality on the Harbour in Bristol, a big Brighton show. 
I would like to play more UK festivals next year I think, but this year is definitely busy and I can’t ram many more festivals in. 
UKF will be hosting a stage with Rampage at Tomorrowland – what does it mean to have a festival of that scale in your homeland and what’s so special about it?
This is probably the 15th or 16th year I’ve been to the festival and I’ve grown up with the festival – we try to spend every day there.
It’s a cool festival and they are a cool brand, but I also like what they do outside of music – amazing charity projects, building a school, a technology fund they’re starting. It’s amazing to see their vision being so broad and really focusing on what festivals do best, uniting people from across the world and from all lines of work – and using that power to do good. 
I’m absolutely in love with brands and organisations that do stuff like that, and I’m extremely proud as a Belgian to be involved with it.
You’ve helped pioneer the sound of D&B back in your homeland and have had chart-topping albums in Belgium. Who should we be watching out for going forward from your country? 
Ahh man, you’re asking me this question after I’ve been away from Belgium for 8 months. I’m still catching up with Andromedik, I really like his music, I think he’s very talented.
Used was on tour with us in New Zealand, another super talented guy. I’ve just recently done a back-to-back set with Andromedik at Tomorrowland Winter in the French Alps.
If I’m honest, I think I might be a little out of touch with the youngest kids out there in Belgium, because I still consider Andromedik as new.
They’re all great and Basstripper too, plus you can’t forget the OG Murdock.
Do you have any tunes scheduled to be released already? 
I’ve got a very exciting remix coming out in the coming weeks actually, but until I sign the paperwork, I can’t make it public.
It will be a remix first, then an EP or album. I’m working, but I am scrapping full bodies of work. 
You also have some smaller events coming up, club shows, such as two nights at Roxy in Prague. Are you still looking to do lots of club shows?
I think as long as I don’t have kids, I will always still enjoy and love doing club shows. Although I know at some point, I will want to just focus on larger production shows only. 
But ahh man, Prague for example, Roxy is such an amazing club and we have been playing there for 15 years, with similar faces around. Clubs are amazing and an important part of our scene. I still love it. 
Is there anywhere you haven’t played yet, which you would like to?
Yep definitely – South America, I’d love to play there. I just feel like it’s one of the extremely developed electronic music scenes, which hasn’t completely embraced D&B yet. There could be an explosion there and I just love South America and its people, plus I’d like to see more of that part of our world and see the genre develop there. 
We play Mexico and Brazil from time to time, at festivals, but they’re often with a big international crowd.
What would you like to achieve over the years ahead in your career? 
I would like to make an album that sounds unlike anything, that would sound like a new genre or a new musical direction.
I think that will be very important to me, whether that is my next album or the one after that. I want to make a body of work that doesn’t follow the rules, so I will continue not to follow the rules.
What advice would you give to a producer who is at the start of their career, like you were back in those early days of UKF?
Over the last 15 years, my first advice would always be not to copy anyone. However, I’m taking that back slightly because I’m getting older and there are new subgenres popping up everywhere.
I find it fun to try and recreate certain sounds and when mastering them, inputting them into my own style. I think it’s important to learn from other producers, but importantly learn from other genres too. 
Also, try and play an instrument too – learn the piano or something, it really does open your mind.
How excited are you for the future of D&B with the way things are going?
I’m excited to see what will happen to this wave, everything is in such a fast lane, there are new sounds popping up everywhere – in the UK, in New Zealand etc. so many cool producers right now.
I am excited to see how this sound evolves, with this massive presence of it around the world – people will be forced to find new sounds and new directions.
I think that is the thing to look forward to next.
Thank you very much for the chat Boris, let’s hope the UKF and Netsky story goes on long into the future.
Absolutely, tell Luke I love him. I’m very thankful for all the love that UKF and its fans have given to me over the past two decades.
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Ultra Music Festival Has Generated Over $1 Billion for Miami's Economy, Mayor Says

Miami's iconic Ultra is proof that music festivals do a lot more than provide entertainment for fans.
As the 25th anniversary of Ultra Music Festival looms in 2025, the event remains a pillar of Miami's economy, providing an annual economic boon rivaled by few.
The city's mayor, Francis Suarez, stated that over Ultra's 24-year tenure, the fest has generated over $1 billion in revenue for the city. That includes the impact to nearby restaurants, boutiques and other retail and service industry businesses.
The 2023 Ultra Music Festival.Alive Coverage
"For a festival, it’s almost been here for a quarter of a century and has produced over a billion dollars in economic activity," Suarez told 7 News Miami, adding that Ultra is a "worldwide event."
Ultra returns this weekend from March 22-24. With a slew of electronic dance music superstars descending on the city to perform as well as festival-goers from around the globe, it's again bound for a massive year from an economical standpoint.
You can find out more about Ultra via the festival's official website.
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Gryffin Teams Up With Armin van Buuren for Anthemic Collaboration, "What Took You So Long"

No, Gryffin and Armin van Buuren—what took you so long?
Out now is a collaborative effort from one of trance music's most influential figures and a modern-day star who's looked up to him throughout his career. Back in November, we first heard that the duo were working together on a track, but now fans can finally hear what they cooked up.
Out now via Armada, "What Took You So Long" is the debut collaboration from Gryffin and van Buuren. The larger-than-life track is an epic climb through classic trance leads and stentorian vocals, delivering a soaring anthem that will fit well in both artists' sets on the festival circuit.
Fans attending Ultra Music Festival this weekend will surely hear "What Took You So Long" live in Gryffin's set or one of van Buuren's three. For those who can't make it to Miami, check out the new single below and find it on streaming platforms here.
In other Gryffin news, he's gearing up for the release of his long-awaited third studio album, PULSE.
"I hit this huge wave of inspiration where I really wanted to make this album high octane and energetic and almost like you feel the pulse of the music breathing and living as you're listening to the album and experience," Gryffin told us of the album in an exclusive interview. "That's the birth and ethos of it. It definitely still sounds like me. It's still very melodic with a lot of emotion within the album, but I think people are really going to feel a difference. It's going to feel like an adrenaline shot."
FOLLOW GRYFFIN:
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Tchami and Malaa Bring Down the House With Kaskade at Epic "No Redemption" Show in Miami

With help from a legendary friend, Tchami and Malaa found redemption in Miami.
The French dance music superstars took over the Toejam Backlot in the Wynwood arts district for a special edition of their "No Redemption" party, one of Miami Music Week's most coveted. They dropped a dizzying blend of house and techno bangers—including never-before-heard tunes from their new album Veni, Vidi, Vici—but one surprise lingered in the dry Miami air until 2am.
That's when Kaskade emerged to take the decks alongside Tchami and Malaa for a surprise b3b set at the larger-than-life show, organized by Third Eye Hospitality, Trio Miami and Diskonect.
Tchami, Malaa and Kaskade performing in Miami.Illusia Agency
Kaskade was revealed as the event's secret guest after being concealed on its flyer, which featured question marks in lieu of his name. Together with Tchami and Malaa, he brought down the house and delivered not only the rarest "No Redemption" event yet, but also arguably the best.
It was only the second day of Miami Music Week, but the bar is high—even with almost 100 events on the horizon.
Check out our exclusive photo gallery from the night below. All photos for EDM.com by Frank Bonilla and Chris Corradino of Illusia Agency.
View the 14 images of this gallery on the original article FOLLOW TCHAMI:
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Lolah drops ‘States Of Euphoria’ EP on Bamboleo Records with remixes from Cristina Lazic & Sascha Dive

Marking their thirtieth release, Neverdogs’ respected underground imprint Bamboleo Records welcomes Australian-born, Barcelona-based DJ/Producer Lolah with her debut EP on the label. Released on 22nd March and featuring two original cuts from Lolah, her ‘States Of Euphoria’ EP also comes with standout remixes from in-demand Milanese artist Cristina Lazic and renowned German talent Sascha Dive.
The EP kicks off with ‘Hypnotica,’ bringing bumpy drum grooves and glitchy percussive swing fused with a momentous bassline melody, modular sequencing, atmospheric string-led breaks and sleek musicality throughout. The title cut ‘States Of Euphoria’ comes next, delivering yet more weighty, chunky drum work and intricately layered percussive movement. Another killer vocal hook features on this one, diving in between quirky synths, organs and a vivid sub-bass melody, creating endless cadence throughout the mix.
“‘States Of Euphoria’ is a story of the euphoric states I have reached through music, the dance floor, immersed in strangers, obtaining bite-size bits of wisdom that I take into my normal life. Of the global relationships we create, although cultural differences or geographical distance between us, a core fundamental understanding of one another through a simple glance or pass of hand. It is a moment of intense connection. You are not alone.” – Lolah
We move into the second half of the EP with Cristina Lazic as she delivers the first of two trademark spins, taking the original cut and reshaping it into a stripped-back, signature underground roller. Sascha Dive follows this up with his interpretation, delivering his ‘Out Of Body Experience’ remix as an immersive, pleasantly prolonged, and sonically dreamy minimal cut to round off the release.
Lolah’s ‘States Of Euphoria’ EP (incl. Cristina Lazic & Sascha Dive Remixes) is available via Bamboleo Records. 
The post Lolah drops ‘States Of Euphoria’ EP on Bamboleo Records with remixes from Cristina Lazic & Sascha Dive appeared first on Decoded Magazine.
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Rich Furniss Releases Massive Single ‘Release Yourself’ featuring James Patterson & Terry Hunter

Rich Furniss had a massive 2023 filled with sold-out shows and buzzworthy releases. RIch was able to work in a direct support spot for Never Dule at Kings Hall in Brooklyn, while only a few short weeks ago in 2024, Furniss was invited to open for Austin Millz at Webster Hall (Sold Out) – a major moment which has only solidified his notoriety on another level. This only scratches the surface regarding the lexicon of projects and ventures Rich Furniss has been pursuing while simultaneously holding the position as president at Sound Collective in New York.
Now, he’s back with his biggest release to date, “Release Yourself” collaborater James Patterson and the iconic Terry Hunter. “Release Yourself” channels the nostalgic essence of house music’s golden era, blending soulful vocals, hypnotic percussion, and a comforting melody in a captivating arrangement. It’s an ideal addition to any DJ’s live set, designed to elevate the crowd’s experience and evoke the euphoria of peak enjoyment while honoring the essence of house music culture.
Check it out below!
This article was first published on Your EDM. Source: Rich Furniss Releases Massive Single ‘Release Yourself’ featuring James Patterson & Terry Hunter
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Armin van Buuren And Gryffin Back To Their Roots In Debut Collab ‘What Took You So Long’

Two corners of Electronic Dance music collided today as Trance pioneer Armin van Buuren and acclaimed artist and musician Gryffin released their debut collab, ‘What Took You So Long’. The track has been highly anticipated by fans since news of a joint studio session was shared by the artists on social media a little while ago.
“Collaborating with Gryffin was so special because we’re both circling back to our music roots, which puts us at similar points in our artistic journeys despite coming from different generations“, said Armin van Buuren. “What’s more is that the lyrics detail the cherished moment in my life when I first met my wife and knew she was the one I wanted to spend the rest of my life with. The title of the track is a nod to her needing a bit more convincing at first, so this one’s also for her!“.
While Gryffin has cemented himself in the crossover and Future Bass scenes with his previous two albums, he’s now embracing his Dance-centric roots to the fullest, signaled by tracks that will ultimately feature on his forthcoming album, PULSE. Similarly, Armin van Buuren has been revisiting the faster BPMs and uplifting vibes of his early days in his recent album, Breathe In. ‘What Took You So Long’ captures this significant moment for both artists, intertwining a dynamic mix of Dance and Trance elements.
Regarding the release, Gryffin also shared a bit of an insight: “‘What Took You So Long’ came about in a session I was in with Armin, Jake Torrey, Madison Love, and Toby Gad. I remember we were all talking when Armin told us a story around the concept of finding the love of your life and wondering why it took so long to find your person. All of us immediately thought the idea was incredibly powerful. From there, we started working on the production and I told Armin about the direction I was taking with my new album. We decided to dive head-first into the 140-bpm trance world and felt like the intense emotional instrumental perfectly complemented Madison’s vocals.“
Click here to listen to Armin van Buuren & Gryffin – What Took You So Long
The post Armin van Buuren And Gryffin Back To Their Roots In Debut Collab ‘What Took You So Long’ appeared first on EDMTunes.
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M Dot Taylor’s debut album, ‘I Am M Dot Taylor’ expected to take industry by storm

The world of hip-hop and rap constantly evolves, brimming with new artists almost daily. Many feel it’s impossible to stand out genuinely in such a saturated niche. On the other hand, artists like M Dot Taylor with has partnered up with Timo Strattner to announce the upcoming release of his debut album, “I Am M Dot Taylor” with DJ Drama, are acceptable.
Changing the face of hip-hop, M Dot Taylor and Timo Strattner are joining forces to promote Taylor’s debut album with DJ Drama, and multiple upcoming projects that take the entertainment industry by storm. As M Dot Taylor states, “When you work together, there’s absolutely no barriers you can’t break when everyone’s doing their part. When you have a team, everyone must understand their role and purpose and thrive in that space.”
While the new album is yet to drop, M Dot Taylor’s steadily growing audience can expect more ingenuity, as was affirmed within his latest release, which notably received a For Your Consideration nomination from The Recording Academy. The collaboration comes as a breath of fresh air, or more aptly, beautiful music to the ears, particularly in light of the COVID-19 pandemic from the not-too-distant past. While the pandemic created obstacles for all, Taylor found one of his biggest challenges in reinventing the persistent momentum that defined his persona following the events. The announcement of his collaboration with Timo Strattner proves that while it seemed as if the entire world was operating on a new set of guidelines, with enough passion and grit, you can rise to the top.
The debut album features heart-pounding, emotional, and dynamic beats, altering the perception of today’s hip hop and rap music. The collaboration between M Dot Taylor and Timo Strattner sets the stage for his upcoming debut album and showcases a bold leap into the future. In conjunction with his partners, M Dot Taylor is looking at a promising future as a well-toured artist whose influence is sure to spread across music culture and inspire future generations.
Stay tuned for the official album release, slated for April 20, 2024.
The post M Dot Taylor’s debut album, ‘I Am M Dot Taylor’ expected to take industry by storm appeared first on Dancing Astronaut.
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4B And Viperactive Team Up For ‘Throw It Back’

4B and Viperactive just revealed their new collab ‘Throw It Back‘, a powerful club banger absolutely loaded with a bossy bassline and simmering summer sounds. 
‘Throw It Back’ follows 4B’s Dim Mak single ‘Can’t Stop Me‘, which was released earlier this year. Showing off a harder side to his productions, ‘Throw It Back’ has high-octane energy, and Jersey Club sounds perfect for a grimy rave dance floor. 
On the track, 4B comments, “I made this original demo on a flight over to LA. For a week or two, I was stuck on it and decided to send it over to Viperactive for a potential collaboration. What he sent me back absolutely blew my mind. It’s the best of both worlds. I’m excited for it to be out!”
Viperactive adds: “4B is someone I’ve always looked up to in music. I remember hearing Jack U play his remix of ‘Take U There’ way back in 2015 during their Clippers halftime performance, right around the time I started making electronic music. (I was 15 years old!) He and I started chatting earlier this year and I’m super grateful he’s someone I can now call a friend. He shot me an idea for a track he’d been working on and the first version was such a banger, I took the next few days and did nothing but work on it. I’m so happy with what we ended up with, it really is a great blend of our two styles and I can’t wait to finally release it.”
Listen to the release below!
The post 4B And Viperactive Team Up For ‘Throw It Back’ appeared first on EDMTunes.
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Kenya Grace's New Project Heals Scar Tissue With Soul-Cleansing Drum & Bass: Listen

No amount of Häagen-Dazs can cure a broken heart, but if there's anyone to prove its resiliency, it's Kenya Grace and her new project, The After Taste.
Written, produced and performed entirely by Grace, the record is a rare concoction that reinforces the EDM.com Class of 2024 star as one of the scene's most formidable songwriters. Pangs of euphoric rave bliss mingle with introspective whispers and brooding alt angst, all unified by irresistible pop hooks that cut deep like emotional shrapnel.
A sonic bloodletting, The After Taste is what happens when an artist reclaims herself after someone leaches the color from her world. Unshackled from the lie of their affection, Grace manages to craft a masterstroke that their neglect could never conceive.
Kenya Grace.Hannah Diamond
Dissecting the duality of desire and emptiness, the record is more a sensory explosion than an acquired taste. Grace, who is redefining drum & bass music for a new generation of producers, offers a tantalizing bite of dark chocolate: intense, rich and ultimately unforgettable.
She's at her most vulnerable in "Someone Else," an anguished anthem grappling with an identity crisis after a breakup. Leaving smoldering ruins where affection once blossomed, her tortured vocals bleed molten jealousy over melancholic guitar licks.
She then navigates the emotional vertigo of the fallout in the intoxicating "Only In My Mind," a cathartic dance record that moonlight as a captivating cry for help. Here, fluttering synths and hyperactive four-on-the-floor drums soundtrack a descent into passion's delirious depths: "You say you love me, we lie together every night / You touch me, I'm losing track of time / You kiss me, I look into your eyes / But it's only in my mind."
Grace is now taking The After Taste on the road for a North American tour, which will wrap in April by virtue of her landmark debut at the iconic Coachella festival in Southern California. Listen to the new project below and find it on streaming platforms here via Major Recordings/Warner Records.
Follow Kenya Grace:
Facebook: facebook.com/kenyagracemusic
Instagram: instagram.com/kenyagrace
Spotify: sptfy.com/qeu1
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Alber-K Stuns With Emotive, Downtempo House Track, "Stay"

Marking his first single of 2024, Belgian talent Alber-K has returned with “Stay,” a soft, downtempo dance track that invites listeners to cherish the precious moments spent with loved ones.
Having pursued studies in Sound Engineering Applied Sciences in London and Electronic Engineering in Atlanta, Alber-K is a multidisciplinary artist combining a strong passion for music production and audio technology. His career has led him to perform alongside heavy-hitters such as Malaa, Oliver Heldens and Jay Hardway, and he has received support from the likes of Musical Freedom, Laidback Luke, R3HAB, Sam Feldt and more.
Inspired by personal experiences, “Stay” offers a poignant reflection on love and loss, serving as Alber-K’s tribute to a loved one during a challenging period in his life. With its uplifting chords and powerful sound design, the new song showcases his ability to craft soul-stirring music that tugs at the heartstrings.
The track kicks off in a minimalistic way as a mellow guitar riff helps the vocals shine and present the story. As he introduces a melancholic yet punchy synth in the drop, Alber-K enchants with his intricate production and thoughtful songwriting, presenting an arrangement that’s as authentic as it is mesmerizing. "Stay" is as intimate as it is energetic, making for yet another fine addition to Alber-K's ever-growing catalog. Take a listen to “Stay” below.
FOLLOW ALBER-K:
Facebook: facebook.com/alberkmusic
Instagram: instagram.com/alberkmusic
X: x.com/Alberkmusic
Spotify: spoti.fi/48YGp9V
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Jeremy Olander Releases Inaugural ‘HOLMEN’ For New Interstellar Label

Swedish DJ, producer, and label owner Jeremy Olander is gearing up to unveil ‘Holmen,‘ the inaugural release from the brand-new label, Interstellar. Positioned as a new imprint under the Insomniac Music Group umbrella and considered an offshoot of Insomniac Records, Interstellar aims to be a haven for melodic house, techno, progressive house, deep house, and more. Originally planned as a festival last year, which unfortunately fell victim to adverse weather conditions, Interstellar now emerges not only as a label but also as a clubs and events brand. With a mission to create a home for all things ethereal, the label is launching with the release of Olander’s single, ‘Holmen’ on March 22nd.
Holmen
‘Holmen’ is the quintessential embodiment of Interstellar’s sound. It pulsates with a jungle beat that metamorphoses into choppy sounds and twinkling synths. As a consequence, culminating in captivating breakdowns of ethereal melodies. The debut label release is sure to resonate deeply with anyone who comes across it. Featuring long build-ups and emotional peaks, it offers a euphoric journey that transcends genre boundaries. Moreover, it transports listeners to a different state of consciousness.
On the making of the single, Olander shares, “For special shows I like to make new intro tracks, and this particular one was made for Department Festival in Stockholm last summer…“
Magical Path
Jeremy Olander’s path in electronic music started with a groundbreaking partnership. Olander was the first artist who signed to Eric Prydz’s Pryda Friends label. Their collaboration propelled the sought-after producer to the forefront of the melodic house and techno scene. This included gracing iconic venues like Madison Square Garden and Brixton Academy alongside Prydz.  
In 2014, Olander established his imprint, Vivrant, as a platform to showcase his distinct sound and support like-minded artists. His releases on Vivrant and esteemed labels like Bedrock, Last Night On Earth, Drumcode, Diynamic, Anjunadeep, and Watergate earned widespread acclaim. Consequently, solidifying his reputation as an emotive and immersive producer. In 2018, Olander became the first Nordic act in Cercle history to grace the revered filmed series. He joined esteemed artists like Solomun and Tale of Us. This milestone cemented his global presence and his status as a modern trailblazer in electronic music. His commitment to pushing boundaries led to Vivrant’s fifth anniversary in 2020. In effect, showcasing a catalog filled with original releases and remixes. Including artists such as Marino Canal, Hunter/Game, Tim Engelhardt, and Coeus.
He is currently on his Winter/Spring 2024 tour. It includes shows with Mathame in New York, Eric Prydz in Vancouver, Nick Warren in Buenos Aires, and a debut at Drumsheds in London, amongst others. Jeremy Olander continues to captivate audiences worldwide with his evocative performances. Ultimately, sharing his passion for music with fans across the globe.
Jeremy Olander and the label promise to redefine the boundaries of electronic music. As Interstellar takes flight, ‘Holmen‘ sets the stage, piquing listeners’ anticipation for the journey ahead. 
The post Jeremy Olander Releases Inaugural ‘HOLMEN’ For New Interstellar Label appeared first on EDMTunes.
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Mahmut Orhan Debuts ‘Pangea’ Album

Today, Turkish superstar DJ/producer Mahmut Orhan delivers his highly-anticipated debut album, Pangea, out now via Ultra Records. The project arrives just ahead of a string of massive performances at Ultra Music Festival, Coachella, and Tomorrowland. Funny enough, I recently saw Orhan for the first time in Vegas for Art of The Wild Reimagined, and let me tell you, the hype is real!
Return To Pangea
A culmination of Orhan’s diverse musical journey, Pangea blends together musical elements from a wide geographic range, fusing traditional instrumentation with modern dance music. Lending itself to the climactic nature of spine-tingling, dramatic techno, Orhan’s music taps into both the physical and emotional side of the listening experience with booming energy and stirring melodies. Tracks like ‘Nighter‘ and ‘Ederlezi’ reach the darker melodies, while ‘Pangea‘ and ‘Redemption‘ inspire with their beautiful harmonies. The album is a well-inspired and well-balanced success.
The vast range of featured artists on the album reflects Orhan’s vision of music being the connective tissue between starkly different cultures. Hence the title Pangea, which refers to the prehistoric supercontinent of Earth before it drifted apart. From Turkish stars like TUANA, Lebanese singer Ribale Wehbe, Berlin vocalist and producer Paul Brenning, to The Boxer Rebellion singer Nathan Nicholson, Orhan utilizes voices from all around the world. 
Beginnings
Orhan’s story as an artist began when he was growing up in Bursa. One day, at the retail store Orhan worked at as a teenager, a local DJ came in. He asked him to help set up equipment for a show. Orhan ended up working behind the scenes at clubs until he saw could provide further for his family by taking the stage himself as a DJ. The more he learned and played, the more he realized his true passion for music. Against the wishes of his family, who wished for him to have a more traditional career, he chose to pursue music full-time and would write his first hit, ‘Feel‘, in 2016. The track was picked up by Ultra, and Orhan would soon go on to become one of Turkey’s biggest dance music exports.
 
Mahmut’s sound has since resonated with listeners everywhere, amassing over 2 billion views on YouTube, 500 million streams on DSPs, plus a recent explosion on TikTok of #mahmutorhan receiving over 400 million views for his captivating performances behind the decks. In 2018, he was named GQ Turkey’s DJ of the Year. Last year, Mahmut performed on the main stage at EXIT Festival and stole the show. This year, he played the closing Zamna Tulum party, as well as shows in Miami, Paris, and Dubai. 
Pangea Tracklist
Redemption Ederlezi Pangea (feat. Nathan Nicholson) Nighter (feat. TUANA) Bayati Shiraz (feat. Kenan Bayramli) Andalusian (feat. Ribale Wehbe) Karambula Kettle’s Up (feat. Botan) Cutting Ribbons (feat. Paul Brenning) 6 Days (Club Mix) I don’t know about you, but this album got me feeling real good. Start your journey through Pangea…

The post Mahmut Orhan Debuts ‘Pangea’ Album appeared first on EDMTunes.
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Speedy J & Surgeon announce album and share first single

Two Hours Or Something by Multiples (Speedy J & Surgeon) In a formidable display of freeform techno from two masters of the art, STOOR presents the first recorded work from Speedy J and Surgeon as Multiples. Fully improvised, unedited and fuelled by raw instinct, this extended album captures two heavyweight synth explorers going deep into their assembled tools, holed up in the STOOR facility in Rotterdam for two days letting their intuition lead into distinctive, daring sonic territory.
This 51st release in STOOR’s series is also the first time they are pressing the album in a plant for wider distribution, marking a departure from the limited edition lathe cuts they produced in-house for the first 50 releases. There will, however, be a deluxe edition of Two Hours Or Something produced at STOOR with a bonus lathe-cut disc of additional material for the diehard fans.
As pioneers of European techno from their respective starting points in the early 90s, Jochem ‘Speedy J’ Paap and Anthony ‘Surgeon’ Child have pushed the envelope in tandem. It’s only more recently they’ve come together as kindred spirits with a love of live, improvised techno, resulting in scattered festival and club appearances as Multiples. With decades of expertise in their toolkit (along with some highly desirable gear), they’re the kind of artists who can hit record, fire up the sequencers and jump right into the unknown for an audience of thousands.
Without the limitations of an hour-long set or the expectation of a dancefloor, Two Hours Or Something showcases what happens when two such artists can cut loose for days on end and test the limits of their imaginations. There was no overarching plan when they entered Paap’s STOOR lab, just a desire to jam and see where they end up, and the untampered results pulled from the sessions are as surprising as they are accomplished.
As you might expect, there is space for expressive ambience and sound design. The title track is a mesmerising, dissonant chamber of sustained notes and pin-prick ripples which give way to a labyrinth of needlepoint electronica. ‘The Dog’s Name’ cycles through delay-soaked synth figures and grandiose pad tones steeped in implacable emotional intensity.
And from two learned scholars of the kick drum, there are of course some propulsive dancefloor moments as well. ‘Spirit’ is a pummelling slice of electro-drum pressure which blooms into a melodic masterpiece over 11 minutes. ‘System Down’ revels in atonal half-time techno, and ‘Coffee Nerd’ captures the tweaked mischief and twitchy tempo of braindance.
Tracks rarely finish where they started, and they evolve with a dexterity which speaks to the minds involved and the machines in front of them. As 15-minute closer ‘Train To Hoofddorp’ — exclusive to the deluxe lathe-cut edition — confirms, letting Multiples roam free will take you to very unpredictable, intriguing spaces indeed.
Available to pre-order via Bandcamp
Tracklist
Minimum Space Sounds Good To Me Spirit The Dog’s Name Ratterdam Coffee Nerd Two Hours Or Something System Down Walkie Wet Socks Train To Hoofddorp The post Speedy J & Surgeon announce album and share first single appeared first on Decoded Magazine.
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Sharam celebrates 15th Anniversary of ‘Get Wild’ on his Yoshitoshi label

It’s very much a time for milestones at Yoshitoshi and label boss, Sharam. Following on from his recent 25th-anniversary update of Eddie Amador’s seminal ‘House Music’, the renowned DJ and producer now turns full auteur to provide a remix of his own ‘Get Wild’ as it too marks a birthday; albeit in this case, a slightly younger 15!
‘Get Wild’ was the lead single from Sharam’s first solo album of the same name that went on to global success that went beyond his expectations. “I‘ve got a lot to thank ‘Get Wild’ for,” he explains, “I went into the studio with the intention of just doing one track, but as a lead single it led me down a creative rabbit hole and before I knew it a whole concept album was born off the back of it. This ‘1.5 remix’ is my contemporary way of saying a big, musical thank you.”
So, ignoring any self-imposed pressure, although keen to ensure the update did the original justice, Sharam returned to his mixing desk inspired with the very best intentions and the result is there for all to hear. He once again pulls off a magic balancing act, integrating Mario Vazquez’s memorable vocal with a little bit of everything from tech to techno with roaring Reese drops that’s become synonymous with his productions. “The original was huge when it came out and was played by all types of DJs, so I wanted to build on that with something equally universal to reintroduce the record to a new generation of music enthusiasts. It’s quite raw and gritty. That’s where my head is at right now”
Re-presenting ‘Get Wild’ now makes for a fitting, perfectly-timed circle. What was Sharam’s first solo single and album post-Deep Dish also marks the lead into the exciting announcement of his next LP, with the first single set to drop this Spring. Stay tuned…
Buy / Stream link: https://orcd.co/yr293 
The post Sharam celebrates 15th Anniversary of ‘Get Wild’ on his Yoshitoshi label appeared first on Decoded Magazine.
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Released 10 Years Ago: Armin van Buuren – Ping Pong

Ten years ago, Armin van Buuren, a name synonymous with trance music, took a playful detour from his usual sound with the release of ‘Ping Pong’. This track, inspired by the classic video game ‘Pong’, emerged as an unexpected phenomenon in the EDM scene in 2014. Initially created as a bit of fun and a nod to Armin van Buuren‘s childhood love of video games, ‘Ping Pong’ quickly evolved into something much more significant.
The genesis of ‘Ping Pong’ was as unexpected as its success. It was originally conceived for a special moment in the ‘Armin Only’ show, leveraging the event’s impressive 3D graphics. Armin van Buuren, known for his meticulous productions, crafted the “Ping Pong Song” in just two days, initially without any intention of a formal release. However, the overwhelming positive reaction from the crowd at Armin Only led to reconsideration, and the track was officially released.
‘Ping Pong’ is more than just a song; it’s an experience. It embodies the joy and playfulness often found in large-venue music shows. The track’s catchy drop, paired with hilarious visuals, created an unforgettable moment in the Armin Only shows. The special dance invented by the crew and the smiley-face balloons dropping onto the crowd during the track’s climax made ‘Ping Pong’ a standout, memorable event.
This track serves as a reminder that music, especially in a festival or concert setting, is a celebration — a time to let go and have fun. ‘Ping Pong’ with its quirky origin, catchy beats, and lighthearted nature, showcases Armin van Buuren‘s versatility as a producer and his ability to connect with fans in the most unexpected ways.
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