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Rising Force DJ Hydra Drops Debut EP ‘Moyo Wa Upendo’ OVAVA Music

A rising force in the Afro House scene, DJ Hydra’s ‘Moyo Wa Upendo’ marks OVAVA Music’s 8th release. Having gained serious momentum in the run-up to his debut single release ‘Bamidele’ set for May 30th, this two-track EP further establishes DJ Hydra’s position as one of the genre’s most exciting new talents. 
 
The emotionally charged track ‘Moyo Wa Upendo’ leads the EP. Meaning ‘heart of love’ in Swahili, the single uses an emotive blend of Afrocentric rhythms, warm electronic textures, and original Swahili vocals. Blending tight rhythms, textured electronic soundscapes, and evocative storytelling, it showcases DJ Hydra’s signature style and bold artistic vision. Rooted in tradition yet forward-thinking in its execution, ‘Moyo wa Upendo’ is a powerful tribute to heritage and a symbolic return to his roots. An intimate journey inviting listeners to connect with sound, culture, and identity, this release cements Hydra as one of Afro House’s most compelling new voices. 
 

The B-side track, ‘Like House’, completes the stand-out EP, complimenting the lead with high-energy percussion and a raw Afro House spirit, crafted for the dancefloor but standing in authenticity. Together, the tracks showcase DJ Hydra’s distinct musical vision, bridging introspective storytelling with energetic impact.
 
Set to drop his own label, Suru Records, with the release of Bamidele later this month, DJ Hydra has spent years refining his signature sound. Drawing inspiration from musical legends like Keinemusik and Black Coffee, his releases span intimate dancefloors and the biggest stages. Adding to his momentum, this signing on OVAVA music is set to elevate the artist’s success to another level. 
 
Following a standout year for OVAVA Music and its label head Ollie Mundy, the institution continues to celebrate major successes. Since its launch, OVAVA Music has become a recognised industry leader for its cutting-edge releases, collaborations, and chart-topping hits. With high-profile support, Ollie Mundy and the label have been spotlighted in the likes of Mixmag, DJ Mag, and Techno Mood and with an exciting year ahead, including his returned residency at the renowned Pikes ‘Back To Mine’ in Ibiza, fans can look forward to a stream of releases and milestones for the summer and beyond. 
With this release, DJ Hydra continues his ascent as one of the most compelling new voices in global Afro House, amplified by the support of OVAVA Music. ‘Moyo Wa Upendo’ will be available exclusively through Beatport on June 6th and will follow on all major digital streaming platforms. 
DJ Hydra – “Moyo Wa Upendo” 

Presave | Beatport Preorder 
Release Date: 06/06/2025 
Find Out More & Follow
DJ Hydra Instagram | Soundcloud | Youtube
OVAVA Music: www.ovavamusic.com
The post Rising Force DJ Hydra Drops Debut EP ‘Moyo Wa Upendo’ OVAVA Music appeared first on Electric Mode.
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How Allan Hall went from hobbyist to Hans Zimmer’s favourite synth maker

Allan J. Hall had no intention of building synthesizers for a living when he first created the MiniMod. It was a DIY project purely for himself. He’d played guitar and dabbled in keyboards for years as a hobby, but it wasn’t a career. Then, he sold the company he owned and, suddenly, Hall says, “I didn’t really need to do much and I had a lot of spare time.” Free from the responsibility of running a 25,000 square-foot factory building decorative fireplaces (and a few million dollars richer), he threw himself into his hobby, and specifically spent a lot of time on the technology side. Hall built some guitar pedals, tackled a few DIY synth projects, and even spent time as a technician fixing up synthesizers and other music gear.
READ MORE: Myd locked himself in the studio for 168 hours and livestreamed every minute — but did it really help him finish an album?
Hall had plenty of vintage instruments and had built out a sizable 5U system, but when he ventured into the smaller form factor of Eurorack, he was disappointed. “I just thought, they sound terrible, why on Earth don’t they sound like the 5U stuff? Why don’t they sound like the vintage Moog stuff?” he says. This led to his fascination with vintage synth circuits; he needed to understand what made them sound different from his Eurorack system.
He set his sights on the Minimoog Model D, which he refers to (repeatedly) as the “Stradivarius of monosynths.” And what he discovered was, it’s not what vintage synths do well, it’s “what they don’t do well that makes them sound so damn good.” Eventually, he’d cobbled together essentially a Model D in Eurorack form. This wasn’t the “one trick pony” of a real-deal Moog, though. Hall embraced the open architecture of modular synthesis, breaking the Minimoog down into its constituent parts that could be freely assembled, patched and rearranged as desired — the first MiniMod system. “So if you wanted to try five VCOs with or try it with an Oberheim filter,” you’d be able to do that, according to Hall.
All of this was simply something to occupy himself, something he was doing for fun, having more or less retired at 42 years old. But a few friends heard the system and asked if he’d build one for them. And as the requests piled up, Hall began exploring the possibility of turning his creation into an actual commercial product and, 18 months later, AJH Synth debuted the MiniMod at Frankfurt Musikmesse in 2015.
Ten years later, AJH Synth has grown from a hobby to one of the most respected manufacturers in the Eurorack space. Part of that is down to the quality of the modules. AJH’s oscillators and filters do capture the warmth and edge of the vintage gear it’s modelled after, but adapted for use in the expansive universe of Eurorack with tons more inputs, outputs and controls than the Model D.
The other factor is that Allan claims his decisions for what modules to make are “never ever driven by the market.” The company doesn’t waste time chasing fads. Instead, Allan’s own whims decide what to make next. “The thing I did then, and I’m still doing now, is I’m building myself the ultimate modular system,” he says, so he just goes where his interests and desires for his own system lead him. This has led to some slightly wacky devices like the Lunar Module, which is designed to recreate the sound of Apollo-era space-to-ground communications.
That sincerity is obvious when you talk to Hall, and it’s likely part of what has endeared him to the synth scene. His passion and knowledge are obvious. But he also recognises the lucky position he finds himself in. “I’d just do this stuff for fun, and people are kind enough to buy this stuff,” he says.
This authenticity and dedication to quality are likely part of what caught the attention of Hans Zimmer. Hans had been using an AJH system for some time, including on his many scores for Christopher Nolan, like The Dark Knight. He’d gotten in touch with Allan just to compliment him on the quality of his work. Still, when Hans decided to recreate the BBC Radiophonic Workshop, it was something of a surprise to Hall when he was tapped to create “the ultimate modular system” for it.
It’s a daunting and admittedly sort of vague design brief, but ultimately, Hans and Allan landed on a system based loosely on the EMS VC3 layout with a stereo signal path — a necessity when scoring film. The two batted around a few ideas for what shape the synth would eventually take. But Allan chose the VC3 because of its importance to Hans. The EMS VC3 was the first synth that Hans Zimmer ever owned, but being a struggling musician in London, he was eventually forced to sell it, something he told Allan he always regretted. But don’t worry, the story does have a happy ending. Hans eventually tracked down his VC3 and bought it back.
Allan would tell you, unequivocally, that creating that system (two of them in fact) for Hans Zimmer and being part of an effort to resurrect the BBC Radiophonic Workshop is the highlight of his career at AJH. But that doesn’t mean he’s ready to say he’s peaked and move on. Ten years after the introduction of the MiniMod, when asked what’s next for AJH, Allan Hall simply responds, “The next 10 years.”
The post How Allan Hall went from hobbyist to Hans Zimmer’s favourite synth maker appeared first on MusicTech.
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My Forever Studio: Charlie Deakin Davies’ perfect vocal chain is attainable

In this episode of My Forever Studio, brought to you in partnership with Audient, we speak with self-taught production prodigy Charlie Deakin Davies. After kickstarting their professional career as a teenager recording in their shed, Davies went on to become the youngest producer ever to get BBC Radio 2 airplay, and has worked with huge artists like Fred Again, Laura Marling, and other My Forever Studio guests, Gary Barlow and Ellie Dixon.
But our guest wears more than one hat, and takes to the stage as Charlieeeee, a crossover indie Drum ‘n’ Bass artist with a live show that’s driven by high-energy singable tunes, audience participation – and Beyblades.
This time, Charlie joins us at TYX London as we learn what they use for an instantly great vocal sound, how they survived having their laptop drowned the day before Glastonbury, and why they chose to record two simultaneous drummers on a monster live Drum ‘n’ Bass session.
Watch the full episode below.

Last week, we heard from TOKiMONSTA, who joined us fresh off the release of Eternal Reverie to talk affordable bass synths, using field recordings, and the classic synth she’d steal off an iconic producer — if she could. The Brainfeeder mainstay reflected on her creative roots, her battle with Moyamoya disease, and how breaking the rules often leads to the most honest music.
The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio, wherever they want in the universe. However, hosts Chris Barker and Will Betts impose some strict rules in the Forever Studio. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles!
Subscribe to My Forever Studio on Apple Podcasts and Spotify, and check out all episodes so far via MusicTech.
The post My Forever Studio: Charlie Deakin Davies’ perfect vocal chain is attainable appeared first on MusicTech.
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It’s Official: John Summit Brings Experts Only to Hï Ibiza

John Summit takes control of Hï Ibiza this June with his Experts Only takeover. The Chicago-born superstar brings two powerful nights that promise to shake the island. Known for his massive festival appearances and viral energy, John Summit flips the script by curating a residency focused on underground talent and community-driven club culture. This is a key highlight to a long list of Ibiza residencies this summer.
Experts Only is more than just a name. It’s Summit’s personal mission to celebrate the entire spectrum of electronic music. From massive techno drops to groove-heavy Afro House, Summit’s curation reflects his love for sounds that live beyond the charts. This summer, the world’s most awarded nightclub becomes his playground.
June 20 and June 27 mark the first-ever Experts Only residency at Hï Ibiza, headlined by John Summit in Theatre, delivering his signature mix of high-energy house, tech-house, and surprise edits that fans have come to expect. But he doesn’t do it alone. He shares the stage with global heavyweights and underground heroes.
June 20: Big Room Meets Underground Roots
The first night kicks off on June 20 with a high-impact b2b set from Chris Avantgarde and Kevin de Vries. Both artists are known for their melodic techno mastery, creating a journey built on emotion and power. Joining them is Max Styler, a rising star pushing the boundaries of tech-house, and Kitty Amor, one of the leading voices in Afro House.
While the Theatre delivers headline energy, the Club Room goes deep. Ewan McVicar returns to Ibiza with his relentless house selections. Sally C brings her gritty, old-school sound. Dam Swindle, known for his Amsterdam roots in house and disco, rounds out the vibe with grooves that feel timeless.
June 27: A Chicago Legend Returns
Summit returns on June 27 with Green Velvet, the Chicago house legend behind iconic tracks like “La La Land” and “Flash.” Velvet’s unmistakable voice and jacking beats make him a perfect match for Summit’s energy. Layton Giordani, a new-school techno tastemaker, adds weight to the lineup with driving beats and emotional builds.
Adding depth to the night is Milushka, whose emotionally charged sets bring raw feeling to the dance floor. In the Club Room, Ewan McVicar returns alongside Young Marco, the eclectic selector known for his genre-blurring sets that span everything from disco to trance. More names will be announced soon, building anticipation for a lineup already loaded with talent.
John Summit Experts Only: For the Next Generation
While John Summit headlines festivals and stadiums worldwide, Experts Only brings him back to the club roots that shaped him. He built the brand not just as a record label, but as a movement for the underground. By booking artists who thrive in smaller, intimate spaces, Summit uses his platform to lift others.
“Experts Only is about building a community that celebrates every side of dance music,” says Summit. “It’s not just about the big names, it’s about giving a space to those who deserve the spotlight.”
This residency at Hï Ibiza captures that spirit. It bridges Summit’s superstar profile with the raw energy of emerging artists. It’s a bold statement about where club culture is headed, and who gets to shape its future
Experts Only at Hï Ibiza takes place on June 20 and June 27, 2025. Doors open at 23:30 both nights. Tickets are now available at hiibiza.com.
The post It’s Official: John Summit Brings Experts Only to Hï Ibiza appeared first on EDMNOMAD.
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GTA Meets EDM: Is Vice City The New Rave Playground?

GTA 6 tapping into EDM and rave culture is not far from possible. From underground nightclubs to international DJ cameos, the Grand Theft Auto franchise has brought some great electronic dance music culture in gaming. As anticipation builds for GTA 6, fans and music lovers alike are asking: what kind of nightlife and EDM experience will the next chapter bring?
Rockstar Games has a track record of merging real-world club culture with immersive gameplay. With GTA 6, it is likely that the publisher will take a step even further with its EDM offerings. Here’s a look back at how EDM has already shaped the world of GTA, and what we might expect when the lights go down in Vice City once again.
How GTA Became an EDM Playground
With the release of the After Hours update in 2018, Rockstar transformed GTA Online into a full-blown digital nightlife experience—centered around a rotating cast of real-world DJs. Players could own and manage nightclubs across Los Santos, and even book legendary electronic artists as resident performers. Rockstar motion-captured and voiced each DJ, building custom in-game missions and exclusive music mixes to bring their residencies to life.
Los Santos Underground Radio & The After Hours Era
Central to this update was Los Santos Underground Radio (LS-UR). A new in-game station powered by exclusive DJ mixes from some of the most respected names in house and techno.
It starts with Solomun. Players must complete a mission to secure his residency, unlocking his hypnotic deep house set “25/8”. A 90-minute mix that included “Customer Is King,” a track with a GTA-themed music video shot entirely in-game. His performances inside the club featured reactive lighting and crowd movement, delivering an authentic Ibiza-style experience.
Next came Tale of Us, the Italian melodic techno duo known for emotional, cinematic sets. Their mix, “Afterlight,”included unreleased material and matched their signature Afterlife vibe. Their setup mission and sleek avatars mirrored their real-world mystique.
Dixon followed, bringing Berlin’s deep house sensibility to the mix. After completing his chaotic airport pickup mission, players were treated to a moody, 63-minute set that reflected his Innervisions sound. It is perfect for late-night club sessions under dim lights and minimal visuals.
Finally, The Blessed Madonna (formerly The Black Madonna) added a bold, disco-infused presence to LS-UR. Her mix “We Believe” blended house and rave energy, backed by a Rockstar-style mission and a knockout trailer moment that made her entrance unforgettable.
The Music Locker Radio
In 2020, Rockstar doubled down on dance culture with the introduction of The Music Locker. It is a subterranean club in GTA Online: The Cayo Perico Heist update. This time, it wasn’t just about the club—it came with a dedicated EDM radio station. It featured real DJ sets from global icons. Players could experience these sets in the club itself or tune in while driving through Los Santos, blurring the lines between gameplay and dance floor immersion.
Moodymann, the deep house legend from Detroit, was the first to take over the decks. He brought his gritty, soul-infused style and even appearing as a character in GTA Online missions. Berlin’s Keinemusik collective followed with hypnotic afro-house and melodic techno, their digital avatars performing signature tracks like “Muye” live in the club. Rounding out the rotation was UK favorite Palms Trax. His retro-tinged house and disco vibes added warmth and groove to the station’s otherwise darker tone.
Music Locker Radio was a digital residency, a festival circuit reimagined inside Los Santos. It showcased subgenres often overlooked in mainstream gaming and gave players a genuine sense of what it feels like to be inside an underground club. With rotating sets, fully voiced DJ characters, and a dedicated venue, Rockstar not only simulate EDM culture— but also embedded it into the core of the game.
Could Club Space Miami Appear in GTA 6?
With GTA 6 expected to return to a Vice City setting—clearly inspired by Miami. A speculation is mounting about the possible inclusion of Club Space, one of the most iconic nightclubs in the U.S.
Here’s why it sounds plausible. Club Space has been at the heart of Miami’s nightlife for over two decades. The club has hosted artists like Charlotte de Witte, Carl Cox, Peggy Gou, and Marco Carola. Given how the Rockstar has previously featured real-world venues and modeled fictional spaces on iconic locations (like The Music Locker’s clear Berghain inspiration), Club Space seems to be a natural fit. While not officially confirmed, fans have noticed architectural details in teaser trailers and screenshots that resemble Space’s unique rooftop design.
With GTA 6 set to release in May 2026, Rockstar has the chance to push this fusion of gaming and EDM even further. They can turn Vice City’s streets into digital dance floors. For fans of nightlife, club culture, and electronic music, the next instalment might just be the most musically immersive Grand Theft Auto yet.
The post GTA Meets EDM: Is Vice City The New Rave Playground? appeared first on EDMNOMAD.
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CBGB Fest Reborn in 2025 with Sex Pistols, Iggy Pop, Jack White, and More

Photo Credit: CBGB Festival
New York City’s CBGB gets a revival in 2025 as a one-day fest under the K-Bridge in Brooklyn on September 27.
Even though New York’s beloved punk venue, CBGB, closed its doors in 2006, the name lived on within CBGB Fest, which was revived in 2012, 2013, and 2014. Now, the festival is back for a new edition in 2025, co-presented by CBGB & OMFUG and The Bowery Presents.
Previous editions of the festival were multi-day events across multiple venues, CBGB Fest 2025 will be a one-day festival featuring three stages. The event takes place Under the K-Bridge in Brooklyn on September 27, headlined by Iggy Pop and Jack White.
This is also the previously “TBD” Brooklyn date listed on the Sex Pistols’ announcement of their first North American tour in over 20 years. Other artists slated to play include The Damned, Johnny Marr, Lunachicks, Marky Ramone, Angel Du$t, Cro-Mags, Destroy Boys, Gorilla Biscuits, Lambrini Girls, The Linda Lindas, Melvins, Murphy’s Law, Scowl, Teen Mortgage, Lip Critic, Pinkshift, Soul Glo, and YHWH Nailgun.
Fans can register now for presale access. Tickets go on sale Friday, May 16 at 10 AM ET, with a presale beginning Thursday, May 15 at 10 AM ET. Discounted “Young Punk” general admission tickets will also be available for NYC residents under 25, and will be sold on Saturday, May 17 at the Music Hall of Williamsburg box office beginning at 12 PM ET. There will be 350 of these available, selling for $73—a nod to CBGB’s official venue capacity, and the year the club opened in 1973.
The CBGB was an icon of “raw energy, rebellion, and underground music,” and helped launch the careers of the Ramones, Blondie, Patti Smith, Talking Heads, and many more. The CBGB Festival pays tribute to New York City’s “gritty, sticker-covered past through the lens of modern punk.” Under the K Bridge Park was chosen as this year’s venue for its cultural relevance in the heart of Brooklyn.
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House Republicans Add 10-Year Ban on AI Regulation Into Budget Reconciliation

Photo Credit: Quick PS
U.S. House Republicans have introduced a sweeping provision in the latest budget reconciliation bill that would prohibit states and local governments from regulating artificial intelligence for the next decade.
Late Sunday night, new language was added to the budget reconciliation bill stating that “no State or political subdivision thereof may enforce any law or regulation regulating artificial intelligence models, artificial intelligence systems, or automated decision systems during the 10-year period beginning on the date of the enactment of this Act.”
The definition of ‘AI regulation’ in the bill is broad, potentially blocking enforcement of both existing and future state laws aimed at ensuring transparency, bias audits, copyright protection, and consumer rights. States like California and New York have recently passed or proposed laws requiring transparency from AI developers as well as audits of AI systems used in employment or creative production. Under this proposal, enforcement of these laws would be suspended—stripping artists and rights holders of crucial AI protections.
Without state-level regulations, AI companies could continue training models on unlicensed music, making it harder for artists to control or profit from their work. It could also accelerate the flood of AI-generated music on digital streaming providers (DSPs) like Spotify, further diluting royalty pools for human musicians.
Laws requiring AI companies to disclose what data they use or to audit their systems for bias would be unenforceable at the state level. This action could make it nearly impossible for artists to know if their work was used to train large language models without permission. Streaming services could increasingly favor AI-generated music to cut costs, potentially sidelining human creators and reducing opportunities for emerging talent to grow their business.
The bill is set for markup in the House and its future in the Senate is uncertain. Critics argue that the tacked on provision is a major gift to Big Tech, prioritizing profits over the rights and livelihoods of human artists and creators. If enacted as is, the bill could set a precedent for deregulation of AI systems at a time when the music industry is already struggling to adapt to AI’s disruptive potential.
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Far-Reaching Protective Order Issued in Drake v. Universal Music Battle — Discovery Tentatively Scheduled to Wrap in May 2026

Photo Credit: The Come Up Show / CC by 2.0
With the ugly Drake v. Universal Music defamation lawsuit – and the discovery process – moving forward, both sides have requested and received a protective order covering “highly confidential or proprietary business information.”
The presiding judge signed off on that protective order this afternoon, on the heels of Universal Music’s firmly worded attempt to dismiss the amended complaint. By now, most are at least generally familiar with the high-stakes legal battle and Drake’s “Not Like Us” defamation qualms.
Less widely known, however, are Team Drake’s aggressive discovery demands. As we reported early last month, the plaintiff and his counsel disclosed plans to seek copies of “all” Kendrick Lamar’s UMG contracts, an abundance of internal communications between UMG execs, and a whole lot else.
Against this backdrop, the major label and the Toronto-born artist agreed that their dispute “is likely to involve the production of certain categories of highly confidential or proprietary business information, specifically, previously undisclosed contracts and information regarding business relationships with non-parties to this litigation.”
In the same letter to the judge, a Drake attorney noted that her side and Universal Music alike had proposed “certain, limited changes” to the court’s protective-order model.
Unfortunately for the public, the now-approved order will therefore provide each side with considerable room to label pretty much any contract-related document “attorneys’ eyes only.”
For Universal Music, the attorneys-only designation is expressly allowed when it comes to professional “relationships with other recording artists or non-parties to this litigation.”
That includes but isn’t limited to “confidential financial or payment information, revenue reports, royalty rates, licensing rates, and any other commercially sensitive documents,” the legal text spells out.
On the opposite side of the equation – and perhaps more interestingly – Drake and his attorneys can slap the mentioned designation on “any documents identifying confidential or proprietary business information regarding Plaintiff’s business relationships with non-parties to this litigation.”
As to where things go from here, the discovery wheels are certainly in motion – though assuming a resolution doesn’t materialize, they’ll remain that way for a while yet before an anticipated three-week trial initiates.
Just scratching the scheduling surface, an order last month set a tentative February 13th, 2026, wrap date for fact discovery, compared to a May 29th, 2026, cutoff for expert discovery.
Closer to the present, Kendrick Lamar (who’s technically not a party to Drake’s UMG complaint) is now facing a separate lawsuit, filed this time by Rodney O, over a Drake diss track.
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5 Electronic Artists You Can't Miss at Lightning in a Bottle 2025

If you've ever been to Lightning in a Bottle, you know it's just as much a festival as it is an adult playground disguised as one. The team behind Do LaB continues to treat staging like sorcery.
The genius of their curation lies not just in their genre-spanning lineups, but in their understanding that context transforms sound. Watching a DJ spin beneath intricate geometric structures as desert winds carry notes across the water creates memories that streaming services could never replicate.
Lightning in a Bottle will once again guide attendees through its whimsical core stages, Lightning, Woogie and Thunder, onwards to its community-driven programming at The Stacks, The Junkyard and The Grand Artique. Each environment features its own unique aesthetic, vision and sound.
This year's lineup is a genre-fluid dream, dipping into indietronica, skittering across UKG and plunging headfirst into dubstep swamps and house grooves. Read on to discover a handful of performances you simply cannot miss in 2025.
Lightning in a Bottle returns over Memorial Day Weekend from May 21-25, 2025. Tickets are on sale via the festival's website.
Tape B
Tape B, who was recently named to the EDM.com Class of 2025, is one today's most sought-after dubstep and bass music producers. Nostalgia is his love language, threading hip-hop throwbacks with growling beats while dusty vinyl crackles ripple through with analog warmth.
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Girl Math
Girl Math is the formidable duo of Nala and VNSSA, who joined forces to infuse a punk edge into their hip-shaking house beats. The former brings Riot grrrl-influenced vocals to the table while the latter smashes it with metal-infused drums.
"I thought being a drummer in a metal band was the coolest thing you could ever do prior to being a DJ," Nala told EDM.com in a late-2024 interview. "So I was like, we need to incorporate this history on both sides and turn this into something that's rowdy and fun and chaotic."
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Claude VonStroke
Dirtybird founder Claude VonStroke recently took flight on a comeback tour following a two-year hiatus that saw him sell his prized record label. After dropping a stunning EP, he's now heading to Lightning in a Bottle for the tour's first festival performance, which is officially billed as "The Return of Claude VonStroke."
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Sultan + Shepard
Few duos in electronic music have stood the test of time quite like Sultan + Shepard, whose emotionally charged sound blends textured synths with pulsating rhythms. Whether they're producing generational progressive house anthems like "Walls" or aching deep house tracks like "Under The Surface," they thread nostalgia and wonder through every release.
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Mary Droppinz
Mary Droppinz's music is a kaleidoscope of genre-defying sounds, fusing house, breakbeat, dubstep and drum & bass under one electrifying umbrella. She's also known to bring unbridled energy to the stage, and with upcoming performances at Lollapalooza, Red Rocks and many more, she's rising at a breakneck pace.
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Follow Lightning in a Bottle:
X: x.com/LIBfestival
Instagram: instagram.com/libfestival
TikTok: tiktok.com/@libfestival
Facebook: facebook.com/LIBfestival
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First the Olympics, Now New Year’s Eve: NBC Taps Snoop Dogg for ‘Once-in-a-Lifetime’ Year-End Special

Snoop Dogg, who’s officially set to host a live New Year’s Eve special on NBC. Additionally, the Death Row owner is preparing to serve as a coach on the forthcoming 28th season of The Voice. Photo Credit: TechCrunch
The Olympics, The Voice, and now New Year’s Eve: Snoop Dogg is officially set to cap off 2025 with a two-hour special from Miami.
NBC formally announced that year-end programming, aptly entitled Snoop Dogg New Year’s Eve, in a brief release today. As things stand, concrete details are limited; we are, of course, seven months and change out from 2025’s end.
But the network teased guest appearances (hinting strongly at a Martha Stewart showing), “unforgettable music performances,” and more for the live event, which will air on Peacock and NBC proper between 10:30 PM and 12:30 AM local time.
(Incidentally, Stewart is hosting a cooking-competition show, Yes, Chef!, that premiered on NBC late last month.)
Furthermore, Snoop Dogg New Year’s Eve will follow the Death Row Records owner’s lucrative Olympics correspondence on NBC, where Snoop has lined up another coaching gig on The Voice.
NBC and the Reservoir-partnered rapper also confirmed that return today. Having previously occupied the coach’s chair for the music-competition show’s 26th season, Snoop is poised to join Michael Bublé, Reba McEntire, and Niall Horan on season 28 of The Voice this fall.
In other words, tapping Snoop Dogg to liven up programs and events seems to be paying off for NBC, which is presumably drawing casual fans into the viewership fold.
(Keith Urban and former Voice judge Blake Shelton are opting instead to take a new stab at the music-competition genre. Meanwhile, Netflix’s Building the Band is reportedly still teed up for a 2025 release despite judge Liam Payne’s October 2024 passing.)
Specifically when it comes to New Year’s Eve programming, it’s safe to say competition for watchers is stiffer than ever; live-performance lineups are decidedly deep as well.
Last year, Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest attempted to attract viewers to ABC with sets from the aforementioned Shelton, Luis Fonsi, Lenny Kravitz, Hardy, Laufey, and a variety of different talent.
Likewise looking to get in on the year-end TV action is four-year-old New Year’s Eve Live: Nashville’s Big Bash. Ringing in 2025 on Central time, the CBS and Paramount+ broadcast featured headline performances from the above-noted Urban, Kane Brown, and Jelly Roll. And CNN’s New Year’s Eve Live saw 50 Cent, Diplo, Sting, and more take the stage.
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James Hype & deadmau5 Spat Online, Following Hype’s Promo Video Troll

In a bout of internet beef, James Hype and deadmau5 traded digital blows over a promo video for Hype’s new “SYNC” live show.
Earlier today, Hype, the British house DJ and producer who has risen to fame on the mantra of “Real DJing” and forgoing pre-recorded sets, shared a video on Instagram to plug the summer dates for his new SYNC performance, a concept that connects on-screen visuals to Hype’s live mixing on the decks.
In that video, Hype took a surprise stab at deadmau5, alluding to the Canadian EDM legend’s famous comment that he regularly plays pre-recorded sets, and claiming to “prove him wrong” with music-synchronized visuals of deadmau5’s famous mouse head, before closing the video with a photo of deadmau5. Check it out below.
Ever up for a social media spat, deadmau5 quickly responded with a video of his own, showing off a home prototype of Hype’s SYNC production that he claims to have made in five minutes. In time with deadmau5’s tapping on his CDJs, the words, “ITS NOT THAT HARD” and “REALLY ITS NOT.” flash on screen.
Deadmau5 also offered up plenty of tech suggestions for Hype’s new show in the comments on the original video. Hype has not publicly commented.
“Next time don’t bring a wet sponge to a tech fight,” deadmau5 wrote. “ I can’t even imagine what it’s like renting a stage / film crew / video tech / audio tech to film a deadmau5 burn only to get ruined by a response made with an iPhone, 100 lines of cpp and MS paint. Feel better soon.”
Check out the back-and-forth in the posts below.


Featured image courtesy: deadmau5. Credit: Leah Sems.
The post James Hype & deadmau5 Spat Online, Following Hype’s Promo Video Troll appeared first on EDM Maniac.
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BLONDETING Unveils a New Direction with “I’m Calling (You)” and “AFTERPARTY”

South East London artist BLONDETING is stepping into her own sound with two new releases that reflect personal moments and real-world chaos. Known for her earlier liquid Drum and Bass work, she now offers something bolder, still intimate, but with a stronger pulse.
“I’m Calling (You)” Feels All Too Familiar
There’s a kind of silence that feels louder than words, and that’s what sits at the heart of “I’m Calling (You).” The song was written about trying to reach someone who won’t pick up, a situation that many know but rarely talk about. It’s not just about missed calls, but missed understanding.
She premiered the single live in Brighton at Volks, supporting Emily Makis during a night that highlighted women in DnB. The event also included previews of unreleased songs set to feature on her upcoming EP.
Compared to her past releases, this one leans into a rougher rhythm. But the softness in her vocals remains. That contrast creates tension, and it suits the theme of chasing someone who keeps slipping further away.
“AFTERPARTY” Captures What Comes After the Main Event
“AFTERPARTY” moves in a different direction. This piece isn’t about longing or silence. It’s about the rush of being completely lost in the night. The idea came from those moments when everything is loud and unpredictable, when your phone stays in your pocket and plans fall apart. You think you’ve missed something, but where you are feels more real than anything that was meant to happen.
The cover artwork captures this mood clearly. A dropped camera, cigarette ends, and scattered memories tell a story of a night that ran off course. It doesn’t rely on perfect recollection, only the feeling that something important happened.
From Intimate Rooms to Iconic Stages
BLONDETING has steadily expanded her reach as a live performer. Her name has appeared on lineups at venues such as The Roundhouse, Moth Club, and Colours Hoxton. She brought her voice to BBC Radio 4’s Loose Ends, and her work has received consistent support from BBC Introducing London and BBC 6 Music.
Her release “Control (Watch Me)” was featured on BBC 6 Music’s unsigned artist roundtable and has been played on Jaguar’s BBC Radio 1 Dance Show. Most recently, she performed at the BBC Music Introducing showcase at Omeara, cementing her place as one of the scene’s most promising names.
Alongside her own work, she has collaborated as a writer, contributing to Lola Young’s “On The Radar” and showing that her creative range extends well beyond her solo catalogue.
What’s Ahead
With more unreleased pieces hinted at during her Brighton set and a full EP in progress, BLONDETING is continuing to shape her own path. Her focus is not on following trends but on making music that reflects how people actually feel.
Whether through the ache of being ignored or the high of a night that slips out of view, her work captures moments that are easy to overlook but hard to forget.

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Dom Dolla, The Prodigy, Christina Aguilera and More to Headline 2025 Portola Music Festival

Portola, which is quickly establishing itself as the Bay Area’s premier electronic music festival, returns to San Francisco's Pier 80 this September with an electrifying 2025 lineup and a wave of rare performances.
Presented by Goldenvoice, the two-day fest from September 20-21 follows a sold-out 2024 edition and promises a genre-spanning bill that includes dance-punk icons LCD Soundsystem and Australian house music superstar Dom Dolla in headlining slots.
In one of the festival's most surprising bookings, Christina Aguilera is set to bring her pop prowess to the electronic stage. Elsewhere on Portola's 2025 lineup are The Chemical Brothers, closing Saturday’s Warehouse with their only West Coast DJ set of the year; Moby, performing live in San Francisco for the first time in over a decade; and Anti Up, the formidable house duo of Chris Lake and Chris Lorenzo.
This year also marks the San Francisco debut of "DESPACIO," the vinyl-only, audiophile dancefloor environment co-created by James Murphy of LCD Soundsystem, the Dewaele brothers of 2ManyDJs/Soulwax, and sound engineer John Klett. The trio will curate all-weekend DJ sets inside the "immersive audio experience," according to a press release.
Loyalty passes go on sale Wednesday, May 14th at 12pm PT before the general on-sale begins the following day at the same time. 2-day GA starts at $399.95 and 2-day VIP starts at $649.95, while single-day GA starts at $279.95 and single-day VIP starts at $399.95.
You can check out the full lineup below and purchase tickets here.
Goldenvoice
Follow Portola Music Festival:
X: x.com/PortolaFestival
Instagram: instagram.com/portolafestival
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Madonna Limited Series Netflix Show On the Way From Director Shawn Levy

Photo Credit: Madonna for Live Nation
A Netflix limited series about the life and music of Madonna is in early development with director Shawn Levy at the helm.
Madonna is partnering with Netflix and director Shawn Levy on a limited series about her storied career. The show is not related to the previous Madonna feature film at Universal Pictures that was scuttled in 2023 when the singer announced her worldwide Celebration Tour.
According to Variety, sources say Madonna “remains committed to making a film about her life one day,” and the star co-wrote two drafts of the film’s script. The film would have starred Julia Garner as the singer, but it’s unknown who might portray her in the newly announced series—or if Garner still has the gig.
“I want to convey the incredible journey that life has taken me on as an artist, a musician, a dancer—a human being, trying to make her way in this world,” said Madonna when the feature film was first announced back in 2020. The star hinted on Instagram last year that the scrapped film might become a TV series.
Levy is best known for the Netflix mega-hit “Stranger Things,” and limited series “The Perfect Couple” and “All the Light We Cannot See.” His 21 Laps has secured an exclusive TV deal at Netflix as an executive producer.
As the best-selling female artist in history, Madonna has sold 400 million records worldwide and was inducted into the Rock and Roll Hall of Fame in 2008. Her impact on pop culture has extended beyond her influence in the music industry, and she has been an outspoken figure for women’s rights and sexuality, and a strong supporter of the LGBTQ community.
Her most recent album, Madame X (2019), sold over 500,000 copies worldwide and became the ninth No 1. album of Madonna’s career. Her career-spanning Celebration Tour became one of the fastest selling tours of all time, with over 1.2 million tickets sold. The star played 80 shows to an audience of 1.1 million.
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Live Nation Petitions Supreme Court to End Mass Arbitration in Class Action Antitrust Suit

Photo Credit: Live Nation
Live Nation has formally petitioned the US Supreme Court to appeal a ruling that prevents the company from forcing arbitration in a massive consumer antitrust lawsuit.
In a petition filed on May 5, Live Nation asks the court to consider its appeal after the Supreme Court upheld a lower court’s decision to strike down “unconscionable” arbitration provisions in Ticketmaster’s terms of use. Live Nation argues that California and the Ninth Circuit Court’s decisions have singled out its arbitration agreement improperly, in conflict, they allege, with federal law and precedent.
Live Nation is seeking reversal in two key areas. Largely, it insists that all forms of arbitration, including “mass arbitration,” deserve protection under the Federal Arbitration Act (FAA). Secondly, it challenges the application of California’s “arbitration-specific” severability doctrine—which Live Nation asserts violates the FAA’s core principle in placing arbitration agreements on equal footing with other contracts.
It’s the latest major move in the massive consumer-led antitrust lawsuit that claims Live Nation and Ticketmaster unfairly dominate the ticketing industry. Recently, US District Court Judge George H. Wu denied Live Nation’s motion to dismiss the case, pointing out plausible allegations of market sway and unfair business practices.
Live Nation’s partnership with a relatively new arbitration service—New Era ADR—has raised questions about procedure, which consumers called “extremely unconscionable” and one-sided. The Ninth Circuit Court agreed and upheld Judge Wu’s earlier ruling that Live Nation’s terms forced claimants into mass arbitration, which lacks many of the safeguards associated with traditional arbitration.
According to Live Nation’s petition, the FAA covers all types of arbitration, and the Ninth Circuit’s refusal to enforce its agreements violates Supreme Court precedent. Further, it challenges the way California courts invalidate arbitration agreements as “unduly hostile,” citing a series of decisions in California where arbitration contracts were invalidated at higher rates than others.
Currently, the consumer antitrust lawsuit continues under Judge Wu in California, with discovery and pretrial proceedings underway. A separate antitrust action filed by the US Department of Justice and 39 states and the District of Columbia is heading to trial in March 2026. Live Nation hoped to delay the consumer suit until after the government’s trial, but Judge Wu denied their request.
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Duke Dumont Announces New Album ‘Union’

Duke Dumont returns with a new album. The internationally recognized British DJ will drop Union on July 25, 2025, through Astralwerks. To commemorate the upcoming release he gave us a brand-new single, ‘Your Loving,’ now streaming. This is Dumont’s first release since 2020’s Duality, which introduced a richer and more emotional sound. Union takes that further now. It combines deep house, progressive soundscapes, and classic dance music into a new explosive package, displaying Dumont’s evolving artistry.
The title single “Your Loving” gets this underway with an upbeat, euphoric vibe. It’s Dumont’s first 2025 single, crafted for the live performance environment. The record’s underlying themes are remarked by what Dumont said:
He recorded each song with the live crowd in mind. The goal? End-to-end listening, not singles for playlists—a signature move by Duke Dumont.
What to Expect From Union
The album contains 12 tracks. It includes previous singles like “Energy” and “Ain’t Giving Up,” and new collaborations.
Union – Tracklist
1. Union
2. The Chant
3. Prelude #1
4. I Need You Now
5. Feels Like This
6. ENERGY
7. Hit Em
8. My Heart (Is Full Of Love)
9. Prelude #2
10. Your Loving
11. Ain’t Giving Up (feat. Clementine Douglas)
12. All My Life (feat. Panama)
Each track was made with the intention of building connection and dancefloor movement. This album is full of energy, emotion, and unity, capturing Dumont’s unique flair.
Big Summer Ahead
Duke Dumont is also going on a huge summer tour. Dates include Creamfields, Day Trip, District 8, and Bittersweet.Since his breakout Coachella performance in 2022, Dumont has pushed the boundaries of live DJ sets. He’s played at Red Rocks, The Mirage, and beyond, using custom visuals and surround sound.The year also marks the 10th anniversary of “Ocean Drive” — one of Dumont’s biggest hits. It went platinum in seven countries.
With over 4 billion streams globally, numerous UK #1 singles, and a passionate fan base, Dumont’s impact runs deep. In clubs, at festivals, and even in headphones, Union is set to be a defining moment for Duke Dumont.
The post Duke Dumont Announces New Album ‘Union’ appeared first on EDMTunes.
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San Francisco’s Portola Music Festival Drops 2025 Lineup

Goldenvoice has unleashed the full lineup for the 2025 edition of San Francisco’s Portola Music Festival.
The two-night festival is back at Pier 80, a 60-acre former industrial site on the San Francisco Bay, for its fourth edition this September 20-21, featuring another high-powered roster of artists at the intersection of electronic and alternative music.
Music lovers can expect everything from ravey house and techno DJs, to indie ensembles, pop stars, and cult favorite acts, with headline sets to come from present-day icons like Mau P, Peggy Gou, Chris Lake & Chris Lorenzo’s Anti Up, and Dom Dolla, pioneering electronic acts like Underworld, The Chemical Brothers, and The Prodigy, and indie legends like Moby and LCD Soundsystem.
On night one, Portola’s lineup also includes house maverick Duke Dumont, surging UKG artists salute and Oppidan, and a slew of underground heroes from all corners of clubland, such as HAAi, ¥ØU$UK€ ¥UK1MAT$U, 1tbsp, X Club, and Prospa B2B KETTAMA, among others.
Highlights on night two include renowned techno selectors KI/KI, Brutalismus 3000, and Blawan, Hamdi’s bass-heavy beats, experimental innovators like Arca and Maribou State, and minimal tech master Chris Stussy, plus two iconic electro-house pairings in 2manydjs B2B Erol Alkan and The Blessed Madonna B2B Tiga. Check out the full lineup below.
Pre-sale registration for Portola Music Festival 2025 is now open here. Pre-sale ticket access will begin this Thursday, May 15, at 12PM PT.
For more information or to purchase tickets, visit portolamusicfestival.com.

Featured image courtesy: Portola.
The post San Francisco’s Portola Music Festival Drops 2025 Lineup appeared first on EDM Maniac.
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San Francisco’s Portola Music Festival Drops 2025 Lineup

Goldenvoice has unleashed the full lineup for the 2025 edition of San Francisco’s Portola Music Festival.
The two-night festival is back at Pier 80, a 60-acre former industrial site on the San Francisco Bay, for its fourth edition this September 20-21, featuring another high-powered roster of artists at the intersection of electronic and alternative music.
Music lovers can expect everything from ravey house and techno DJs, to indie ensembles, pop stars, and cult favorite acts, with headline sets to come from present-day icons like Mau P, Peggy Gou, Chris Lake & Chris Lorenzo’s Anti Up, and Dom Dolla, pioneering electronic acts like Underworld, The Chemical Brothers, and The Prodigy, and indie legends like Moby and LCD Soundsystem.
On night one, Portola’s lineup also includes house maverick Duke Dumont, surging UKG artists salute and Oppidan, and a slew of underground heroes from all corners of clubland, such as HAAi, ¥ØU$UK€ ¥UK1MAT$U, 1tbsp, X Club, and Prospa B2B KETTAMA, among others.
Highlights on night two include renowned techno selectors KI/KI, Brutalismus 3000, and Blawan, Hamdi’s bass-heavy beats, experimental innovators like Arca and Maribou State, and minimal tech master Chris Stussy, plus two iconic electro-house pairings in 2manydjs B2B Erol Alkan and The Blessed Madonna B2B Tiga. Check out the full lineup below.
Pre-sale registration for Portola Music Festival 2025 is now open here. Pre-sale ticket access will begin this Thursday, May 15, at 12PM PT.
For more information or to purchase tickets, visit portolamusicfestival.com.

Featured image courtesy: Portola.
The post San Francisco’s Portola Music Festival Drops 2025 Lineup appeared first on EDM Maniac.
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Ticketmaster’s All-In Pricing Arrives Nationwide—Thanks TICKET Act

Photo Credit: Ashley King / Ticketmaster website
Ticketmaster’s long-criticized ticket pricing with tacked on fees is finally getting a nationwide overhaul, but only after heavy government intervention. The ticketing giant rolled out its ‘all-in pricing’ across the United States starting today.
That means consumers will see the full ticket price—including mandatory fees—up-front, rather than being blindsided when checking out. The move comes in response to mounting pressure from both the FTC and the TICKET Act winding its way through Congress.
For years, music fans and professionals have decried Ticketmaster’s use of opaque pricing, where advertised tickets could balloon as much as 50% with added fees. These ‘junk fees’ have been a significant source of consumer frustration for live music events and contributed to a high number of abandoned checkouts.
It’s estimated that up to 50% of customers abandon their purchase once they see the final price at checkout. Meanwhile the FTC estimates that hidden fees and the lack of transparency in pricing has cost Americans 53 million hours collectively in hunting for actual ticket prices.
The new all-in pricing model, mandated by the FTC and reinforced by the TICKET Act in Congress, aims to restore consumer trust and level the playing field for ticket buyers.
“This consensus legislation will end deceptive ticketing practices that frustrate consumers who simply want to enjoy a concert, show, or sporting event by restoring fairness and transparency to the ticket marketplace,” House Representatives Cathy McMorris Rodgers (R-WA), Frank Pallone (D-NJ), and Gus Bilirakis (R-FL) said in a joint statement at the passing of the TICKET Act.
While all-in pricing is a step towards transparency, it’s a government-forced concession from a company that has long profited from consumer confusion. It also does nothing to limit the amount of tacked on fees and groups all fees into one category—resulting in less transparency in terms of who benefits from the collected fee. Ticketmaster controls over 70% of the market for tickets to live events and has 80% of the market share for concerts since 1995.
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Dance In Multiple Languages at Francis Mercier's Cross-Cultural Chinois Ibiza Residency, "Solèy"

In the perpetually evolving ecosystem of Ibiza nightlife, certain moments signal a shift in the island's cultural aesthetic. Francis Mercier's newly announced eight-week residency at Chinois is precisely one of those moments.
The Haitian DJ and producer is poised to plant his flag at Chinois with "Solèy," a unique DJ residency that treats global rhythms not as exotic accessories, but as essential ingredients. His choice of Chinois, nestled within the Ibiza Gran Hotel and rapidly establishing itself as "the club of Ibiza," speaks volumes about his ambitions.
c/o Press
"Solèy," Haitian Creole for "sun," serves as both the residency's name and its philosophical framework. Its radiant sound will pump from midnight to dawn, allowing you to dance literally until the sun comes up.
Mercier, who cut his teeth as a guest DJ at the venue last season, has committed to transforming Friday nights from June 13th through August 1st into a cross-cultural sonic expedition. His particular brand of musical cosmopolitanism carefully curates an experience where Afro-house beats intersect with Levantine melodics and Caribbean rhythms.
Mercier will also preset performances by Giolì & Assia, Nitefreak and Wakyin, who were named to EDM.com's Class of 2021, 2024 and 2025, respectively. Other notable artists include Something Else, the underground alias of Brazilian dance music superstar Alok; Major League DJz, the deeply influential Amapiano duo; and Sparrow & Barbossa, the Swiss-Uruguayan duo surging through the ranks of Afro-house.
Check out the 2025 schedule for Mercier's "Solèy" residency at Chinois below. Tickets are available now via the club's website.
c/o Press
Follow Chinois Ibiza:
Instagram: instagram.com/chinoisibiza
Facebook: facebook.com/clubchinoisibiza
TikTok: tiktok.com/@chinoisibiza
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FENIK Drops Intoxicating Track ‘Fantasy’ On RDA

Walker & Royce welcome rising talent FENIK back to Rules Don’t Apply with a taunting & haunting banger. FENIK has made our dreams come true with ‘Fantasy.’ The tech house record features goliath drums peppered with a spicy bass line and slicing melodic shards. Searing synths and sultry vocals take the track to another level.
Each sound in the track is expertly produced and delivers a message to our ears. FENIK’s fantasy is one of intense grooves and jolting synths throughout. Hailing from Philadelphia, he is a name you will want to keep an eye out for in the house scene. The use of his own vocals is impressive. At first listen you would assume he had a female record the lyrics. He had this to say about ‘Fantasy’
The success FENIK saw in 2024 included playing in support of top-tier talent like Gorgon City and Sonny Fodera, has continued this year. In January, he kicked off his run in 2025 by heading to Insomniac’s IN/ROTATION with his fresh tech house gem ‘Obsession.’
Make sure to check out ‘Fantasy’ below!
The post FENIK Drops Intoxicating Track ‘Fantasy’ On RDA appeared first on EDMTunes.
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Calvin Harris Drops ‘Blessings’ With Clementine Douglas

Calvin Harris just dropped his latest single, ‘Blessings’, right after his country-inspired jam, ‘Smoke The Pain Away’. This time, he teamed up with up-and-coming UK artist Clementine Douglas to create a sunny dance anthem that totally captures the summer vibe. With its catchy synths, cheerful piano chords, and feel-good energy, ‘Blessings’ brings back the sound that Calvin Harris is known for.
The track highlights the world-class talent of Calvin Harris for making music that connects with listeners everywhere. Clementine Douglas, who has worked with artists like Dom Dolla and TSHA before, adds a soulful touch to the song with her unique vocals, giving it both emotion and appeal for repeat listening. Click ‘Play’ on the Spotify link below to stream ‘Blessings’ from Calvin Harris and Clementine Douglas, a track that is a definite summer anthem for anyone who loves to dance the days and nights away to energetic melodies.
‘Blessings’ showcases the top-notch musical production and songwriting expertise of Calvin Harris and Clementine Douglas
It’s no wonder people are buzzing about the track already. Calvin Harris has built a solid reputation as one of the best hitmakers in electronic music, collaborating with big names like Ellie Goulding, Rihanna, and Dua Lipa. At the same time, Clementine Douglas is carving out her own space as one of the UK’s most exciting vocalists and songwriters in the dance music scene.
With its warm melodies and breezy vibes, ‘Blessings’ is perfect for beach bars, chill sunset jams, and festival stages. The song feels familiar yet fresh, showing how both artists can evolve while keeping their signature sound. As summer approaches, especially as the days get warmer and the nights get breezier, ‘Blessings’ is on track to be one of the season’s top anthems, sure to take over playlists, radio stations, and social media in no time.
The post Calvin Harris Drops ‘Blessings’ With Clementine Douglas appeared first on EDMTunes.
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SoundCloud Says It “Never Used Artist Content To Train AI,” Amid Backlash

SoundCloud has clarified that the company does not use artist content to train AI models, following backlash stemming from an update to its terms of service that, in theory, allows it to do so.
Making digital rounds among artists and highlighted by tech news outlet Futurism last week, the clause, which was added to the platform’s terms in February 2024, leaves legal room for SoundCloud to use music posted to its site to train music-making AI. It reads, in part, as follows:
“In the absence of a separate agreement that states otherwise, you [the user] explicitly agree that your content may be used to inform, train, develop, or serve as input to artificial intelligence or machine intelligence technologies or services as part of and for providing the services.”
Without a clear indication of just how SoundCloud uses AI, the Futurism article drew parallels to the company’s new “assistive AI” products, which were announced one month prior to the change in terms, and “allow artists to upload songs created with assistive AI tools directly to SoundCloud,” according to the company.
In the fallout, Ed Newton-Rex, a composer and the CEO of AI music rights nonprofit Fairly Trained, wrote on X, “My question to SoundCloud is: does this include generative AI models? If so, I’ll remove my music and would encourage others to do the same.”
In a statement published Friday, May 9, SoundCloud said the answer, for now, is no.
The Berlin-headquartered company wrote that it has “never used artist content to train AI models, nor do we develop AI tools or allow third parties to scrape or use SoundCloud content from our platform for AI training purposes.”
The statement went on to explain that the February 2024 terms update was meant to “clarify how content may interact with AI technologies within SoundCloud’s own platform, for things like recommendations and fraud detection. SoundCloud’s current terms of service do not explicitly rule out training generative AI models in the future.
Read SoundCloud’s full statement, shared with Futurism, here.

Featured image courtesy: Unsplash.com.
The post SoundCloud Says It “Never Used Artist Content To Train AI,” Amid Backlash appeared first on EDM Maniac.
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Ekonovah Breathes New Life Into Cazzette's "Sleepless" 11 Years After Release

11 years after "Sleepless" sent shockwaves through high school aux cords, Ekonovah has stepped in to give Cazzette's 2014 dance classic a glossy, high-octane facelift.
For those who have ever felt that house music can be a time machine, his official remix is your first-class ticket. Ekonovah takes the original's haunting, vocoded vocals and supercharges them into a euphoric sprint, transforming a nostalgic house anthem into a cinematic beast for 2025's dancefloors.
The arrangement builds like a pressure cooker, ultimately releasing into a brisk and breathtaking drop. Here, he trades the original's brooding pulse for a head-rushing energy that feels like sprinting through a memory you didn't know you missed.
Remixing a track as beloved as "Sleepless" is brave, but the EDM.com Class of 2023 artist pulls it off with flair, injecting emotion without drowning in sentimentality. Cazzette hand-picked him for the task, according to a press release.
"'Sleepless' is one of those songs that brings me back to high school and those early days where I began falling in love with house music," Ekonovah said. "It’s not every day that you’re asked to remix a legendary piece of dance music history. It’s an honor, and I’d like to think I did the song justice."
You can listen to the new remix below.
Follow Ekonovah:
X: x.com/ekonovah
Instagram: instagram.com/ekonovah
TikTok: tiktok.com/@ekonovah
Facebook: facebook.com/ekonovah
Spotify: spoti.fi/2YTJyGo
Follow Cazzette:
X: x.com/cazzette
Instagram: instagram.com/cazzette
Facebook: facebook.com/thecazzette
Spotify: tinyurl.com/35btfyak
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SoundCloud Says It Doesn’t Allow AI Training on Artist Uploads — Controversy Continues As ‘Opt-Out’ System Elicits Pushback

SoundCloud says it hasn’t used music uploads to train generative AI models. But related debates are ongoing after the platform seemingly left the door open to training undertakings down the line. Photo Credit: SoundCloud
Is SoundCloud using your music to train generative AI models? The company says it “doesn’t allow AI training or scraping with music on our platform,” but questions remain in light of a controversial terms of service update.
Former Stability VP of audio Ed Newton-Rex, a longtime musician who’s currently the CEO of Fairly Trained, recently posted about that update on social media. Added in February 2024, per Newton-Rex and SoundCloud itself, the relevant text authorizes the platform to use uploads “to inform, train, [and] develop” AI.
“You explicitly agree that your Content may be used to inform, train, develop or serve as input to artificial intelligence or machine intelligence technologies or services as part of and for providing the services,” the terms read.
The next paragraph elaborates that “neither SoundCloud nor any third party” can use or reproduce uploaded media “for the purposes of informing, training developing (or as input to) artificial intelligence technologies without authorization from the applicable rightsholders.”
Despite the latter line, which seemingly leaves the door open for AI training should uploaders fail to opt out, the text isn’t sitting right with artists. Moreover, SoundCloud (which isn’t a stranger to artificial intelligence) left the same door open when responding to the controversy.
Here, the Berlin-based platform maintained that it’d “never used artist content to train AI models” and hadn’t allowed “third parties to scrape or use SoundCloud content from our platform for AI training purposes.”
“The February 2024 update to our Terms of Service was intended to clarify how content may interact with AI technologies within SoundCloud’s own platform,” the Musiio owner emphasized on X. “Use cases include personalized recommendations, content organization, fraud detection, and improvements to content identification with the help of AI Technologies.”
When closing out the message, however, SoundCloud said it would “keep our community informed every step of the way as we explore innovation and apply AI technologies responsibly.” And subsequently, communications head Marni Greenberg indicated that “clear opt-out mechanisms” would accompany any future decision to train AI models on user uploads.
“Should we ever consider using user content to train generative AI models,” Greenberg relayed on this front, “we would introduce clear opt-out mechanisms in advance—at a minimum—and remain committed to transparency with our creator community.”
Unsurprisingly, the suggestion that SoundCloud may potentially “consider using user content to train generative AI models” elicited a number of less-than-enthusiastic responses.
Just scratching the surface, many on X criticized SoundCloud for (among other things) possibly deciding against an opt-in model.
“The ‘opt-out’ they commit to in this new statement would be totally unfair on artists, shifting the burden onto them to tell SoundCloud not to train on their music,” Newton-Rex wrote. “Most would miss the chance. Opt-outs are designed to gather as much content as possible for training.”
Driving home his dissatisfaction, Newton-Rex committed to “[d]eleting my SoundCloud” profile, which appeared to still be live on the service at the time of writing.
The decision might be a bit premature at this stage of the game – especially given that some AI companies are alleged to have already trained on protected works without permission. But it’ll be worth closely monitoring the situation (referring not only to SoundCloud’s terms, but those of different DSPs) moving forward.
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