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Sony Taps Post Malone to Launch Latest Noise Canceling Headphones

Photo Credit: Sony
Sony has tapped Post Malone to launch its WH-1000XM6 noise canceling headphones. Posty is bringing his credibility and passion for the sound of music to the forefront of Sony’s ‘For the Music’ campaign.
“Great sound is essential for me when I’m making and listening to music,” says Post Malone. “These new noise canceling headphones make you feel completely inside the music.” Sony has enhanced the adaptive noise cancellation optimizer on this refresh of its popular ANC headphones—covering a broader range of frequencies to minimize ambient noise.
The WH-1000XM6 headphones are powered by Sony’s new HD Noise Canceling Processor QN3, which is seven times faster than its predecessor. It also works in tandem with a 12-microphone array—up from eight in the previous model. This advanced system delivers real-time adaptive noise cancellation, precisely tuning out distractions from a bustling street, noisy office, or the hum of the airplane while in flight. The headphones also feature a new driver unit for richer detail, clearer vocals, and improved balance.

The WH-1000XM6 offers up to 30 days of battery life with ANC enabled and a quick-charge feature that provides three hours of playback with just three minutes of charge time. At launch, this new model is available in three colorways including Black, Midnight Blue, and Platinum Silver. The design is also more compact and portable, featuring a foldable structure and a newly designed, asymmetrical headband for improved comfort during long listening sessions. With foldable earcups, the XM6 is already improved as part of an everyday carry kit compared to the XM5’s fixed design.
Sony also refined the shape of the buttons on the side of the earcup based on user feedback. The power button is now round, which helps distinguish it from other buttons by feel alone. One common complaint about the XM5 series is that the similarly shaped buttons were not easy to tell apart when wearing them. The XM6 refresh also includes physical + and – buttons for volume control, rather than relying on touch swipes as previous models did.
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Dimitri Vegas & Like Mike Kick off Ushuaia Residency With Beautiful Reflection Of Love Stage

Tomorrowland and Dimitri Vegas & Like Mike have celebrated the start of their 18-week residency on Wednesday at Ushuaïa Ibiza at yesterday’s spectacular opening party with epic performances by the legendary Belgian brother duo, as well as Agents Of Time, Lost Frequencies and MATTN. This season will welcome a series of world-class special guests from the likes of Oliver Heldens, Robin Schulz, Steve Aoki, Timmy Trumpet, and many more. With a string of 17 mesmerizing shows ahead, it’s time to make this summer one to remember. Tickets are now available right here.
Inspired by the mesmerizing universe of ‘The Reflection of Love’ – one of Tomorrowland’s most iconic festival themes that has also travelled to Tomorrowland Brasil and Tomorrowland Winter – this year’s stage design will light up Ibiza like never before during a series of breathtaking Wednesday shows. More than just a theme, ‘The Reflection of Love’ embodies unity, radiating the positive energy that defines Tomorrowland, and now finding a new home in Ibiza. Get ready for 17 more extraordinary Wednesdays filled with unforgettable performances at the legendary poolside stage Ibiza’s #1 outdoor club, designed by the creative team behind Tomorrowland, hosted by the legendary brother DJ duo Dimitri Vegas & Like Mike, alongside a line-up of the world’s finest talents and special guests all summer long.
Tomorrowland and Dimitri Vegas & Like Mike 
​Wednesdays at Ushuaïa Ibiza
​May 14 – September 24, 2025
​Tickets & info right here.

The post Dimitri Vegas & Like Mike Kick off Ushuaia Residency With Beautiful Reflection Of Love Stage appeared first on EDMTunes.
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Chris Brown Arrested for Attack in Manchester Ahead of Tour

Photo Credit: Chris Brown by Pelpa Time Production / CC by 3.0
Chris Brown was arrested at a hotel in Manchester on suspicion of causing bodily harm to producer Abe Diaw at a London nightclub in 2023.
Police arrested Chris Brown on suspicion of causing “grievous bodily harm” to music producer Abe Diaw at the Tape nightclub in London back in February 2023. Brown was arrested just after 2 AM at the Lowry Hotel.
The 36-year-old flew into Manchester Airport on a private jet on Wednesday afternoon, likely to begin rehearsals for his tour. The tour is slated to begin its UK leg on June 15 in Manchester. British tabloid The Sun contacted authorities after confirming Brown was in the country, asking if he would be placed under arrest for the 2023 incident. After receiving the tip, detectives travelled to Manchester to place the R&B star under arrest.
According to Diaw, Brown attacked him unprovoked at around 3 AM on the night in question. Brown was attending a Dirty Martini club night at the Tape nightclub with his entourage, when Diaw claims Brown broke a bottle over his head and punched him. He said Brown continued attacking him with kicks after he fell to the ground, and he sustained injuries that saw him taken to the hospital to recover.
Diaw launched a civil suit against Brown for £12 million ($16 million) in damages for injuries and losses suffered as a result of the attack. Brown remains in custody since his arrest. The investigation into the incident is being led by detectives from the Central West Area Basic Command Unit.
That leaves the future of Brown’s upcoming tour—Breezy Bowl XX, a celebration of his 20-year career—uncertain. The tour is scheduled to kick off on June 8 in Amsterdam, before heading to the UK, with dates in Glasgow, Manchester, Cardiff, London, and Birmingham.
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Taco Bell Launches ‘Feed the Beat’ Vinyl Record Club

Photo Credit: Taco Bell
Taco Bell announces the launch of the Feed the Beat Record Club, bringing vinyl records from Feed the Beat artists to 300 Taco Bell Loyalty Members.
On the heels of announcing its Feed the Beat Class of 2025 artists—100 artists across the globe whose content will be featured in Taco Bell content—Taco Bell unveils the launch of its Feed the Beat Record Club. The program provides 300 Loyalty Members with the opportunity to claim a package that includes a vinyl from one of three Feed the Beat artists and more goodies.
Featured Feed the Beat artists for the inaugural Record Club drop include Anxious, Magdalena Bay, and Frankie and the Witch Fingers. Packages in the first drop include a vinyl from one of the aforementioned artists, a Feed the Beat vinyl slipmat, a unique insert with artist information, and Feed the Beat stickers. The Record Club launches as a Tuesday Drop in the Taco Bell app, on a first come, first serve basis, next Tuesday, May 20 at 2 PM PST.
“Since its start in 2006, Feed the Beat has been Taco Bell’s driving force for artist discovery,” reads Taco Bell’s announcement. “The program has backed over 2,000 artists, feeding them on the road and in the studio, so they can focus on what’s post important to them: their music.”
Taco Bell gives Feed the Beat artists the chance to have their music featured in Taco Bell content and provides amplification through Taco Bell’s social presence. Music enthusiasts may have already discovered previous artists to join the program, such as Tanner Adell, who picked up the Breakthrough Feed the Beat Artist Award at Taco Bell’s Live Mas Live event in New York back in March.
This year’s Feed the Beat class highlights a wide array of musicians and musical genres, including The Altons, Die Spitz, Tanner Usrey, Tiny Habits, and End It.
Feed the Beat Class of 2025
54 Ultra
Abby Anderson
Aidan Bissett
Alexandra Savior
ALEXSUCKS
Ally Evenson
Archetypes Collide
Arts Fishing Club
The Altons
Anella
ARIEL
The Beaches
Been Stellar
BEL
Caleb Calloway
CARLIAN
Certainly So
CHESCA
Clover County
Common Sage
Courting
The Criticals
Damaris Bojor
Daya
Deante Hitchcock
Debbii Dawson
Die Spitz
Dizzy Fae
The Droptines
End It
Evann McIntosh
Famous Friend
Felly
Frost Children
Getdown Services
Good Neighbours
Gouge Away
Gridiron
half-alive
Hannah Bahng
hemlocke springs
Improvement Movement
J Verse
Joe P
Jojo Lorenzo
Juan Wauters
judith
Julia Wolf
Kasey Tyndall
King Isis
L.S. Dunes
Lauren Sanderson
Levity
Little Image
Luke Tyler Shelton
Lyn Lapid
Magnolia Park
Mamalarky
Man/Woman/Chainsaw
Master Peace
Medium Build
mmeadows
Momma
Naked Giants
Noah Floersch
Pain of Truth
People R Ugly
PUNCHING BAG
Rae Khalil
Ray Bull
Restraining Order
Rocket
SAILORR
Shallow Alcove
Sheer Mag
Shuba
Sitting on Saturn
Skegss
South Arcade
Spaced
Stacey Ryan
Stateside
Stray View
Sub Urban
Tanner Usrey
Teen Mortgage
Teenage Priest
Telescreens
Tiny Habits
TEED
Trousdale
Um, Jennifer?
VALÉ
Water From Your Eyes
Wavedash
Wine Lips
Wishy
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FTC Warns StubHub Over Slow Rollout of ‘All-In’ Pricing

Photo Credit: Ian Hutchinson
The Federal Trade Commission (FTC) has issued a formal warning to StubHub over the secondary ticket market’s slow rollout of all-in pricing.
The FTC’s rule requiring ticket sellers to display the total price of tickets upfront went into effect on May 12. The regulation applies to all ticket sellers, both primary and secondary. Ticketmaster was compliant on the rollout date, while secondary market SeatGeek issued its update on May 9 ahead of the deadline. But StubHub dragged its feet—with the mobile app only—to take advantage of the NFL 2025 schedule.
StubHub updated its website to comply with the all-in pricing requirement, but 48 hours after the deadline the mobile app failed to show the total price. The FTC notes that a significant portion of customers purchase tickets for upcoming events on their mobile devices—meaning StubHub was taking advantage of its mobile user base.
The FTC highlighted how StubHub’s non-compliance came at a time when the NFL’s 2025 schedule dropped. That always results in a high volume of traffic and sales. By not including all fees upfront, StubHub gained an unfair competitive advantage during one of the busiest ticket-buying periods of the year. Chris Mufarrige, Director of the FTC’s Bureau of Consumer Protection doesn’t buy the excuse that the mobile roll-out took longer.
“Companies have had sufficient time to prepare for these changes and update their advertising to ensure the total price of each product or service is appropriately disclosed,” Mufarrige said. “As this letter shows, the Commission will not allow companies to circumvent the rule to gain a competitive advantage.”
While the FTC did not issue an immediate penalty for the slow-walked rollout, it did put StubHub on notice that further non-compliance could result in enforcement action—including fines. The FTC also took this opportunity to alert other ticketing platforms that it would be monitoring them to ensure industry-wide adherence to the new transparency rules. Violations of the all-in pricing rule could result in civil penalties of up to $53,088 per violation.
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Anyma Reveals Tracklist of Third Album, "The End Of Genesys"

Anyma has revealed the tracklist of his long-awaited third album, The End Of Genesys.
Scheduled for May 30th, the release will wrap a trilogy of albums that started with 2023's Genesys and its predecessor the following year, Genesys II. The album "marks the end of one era and the dawn of Anyma’s next chapter," per a press release.
The End Of Genesys features recent singles like "Neverland (From Japan)" and "Hypnotized," the fan-favorite track Anyma released in January alongside Ellie Goulding. The album will also include collaborations with Grimes, Yeat, fknsyd, Sevdaliza, 070 Shake and Empire of the Sun's Luke Steele.
Anyma initially revealed the album during the finale of his historic Vegas Sphere residency, by which he became the $2.3 billion venue's first-ever electronic headliner. The Italian techno superstar's immersive shows there effectively redefined the optics of live electronic music concerts, projecting his transhumanist visuals on its record-breaking, 16K LED wraparound screen.
You can check out the full tracklist of The End Of Genesys below and pre-save the album here.
Anyma - The End Of Genesys Tracklist:
Lucente Voices In My Head Hypnotized (feat. Ellie Goulding) Taratata (with Grimes) Neverland (From Japan) Fortuna (feat. Sevdaliza) Atmosphere Work (feat. Yeat) The End Of Genesys Leave A Mark In My Mind Entropy (feat. fknsyd) Angel In The Dark Human Now (feat. Luke Steele) Joke’s On You (feat. 070 Shake) Follow Anyma:
X: x.com/anyma_eva
Instagram: instagram.com/anyma
TikTok: tiktok.com/@anyma
Facebook: facebook.com/anyma.ofc
Spotify: tinyurl.com/2p976k79
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Apple Music Testing Music Transfer Tool in Australia & New Zealand

Photo Credit: Daniel Cañibano
Apple Music has introduced a highly anticipated feature—a built-in music tool to make transferring from another digital service provider (DSP) like Spotify much easier. The tool will help users import their libraries and playlists from other music services directly into Apple Music.
The only caveat is that the tool is currently in a testing phase and is only available to Apple Music subscribers in Australia and New Zealand. Switching music streaming services is not a painless process, it’s why paid services like SongShift have existed for years. But this tool would take a lot of the pain out of shifting over to Apple Music for users unsatisfied with their current streaming service.
Users must be an active Apple Music subscriber and on the latest version of the Apple Music app on their iPhone, iPad, or Android device to use the feature. The process of transferring music is pretty straight forward.
How to Transfer Music to Apple Music
On an iOS device, tap the Settings > Apps > Music. On an Android device, open the app and tap Settings > ‘Transfer Music from Other Music Services.’ On the web, sign in at music.apple.com and click your profile, then choose ‘Transfer Music.’ After selecting the source music service and signing in, users can pick which songs, albums, and playlists to transfer. Apple Music then matches the selections with its own catalog and adds them to a user’s library. This new tool supports transferring content you’ve saved or playlists you’ve personally created. Playlists generated by the music service itself are not eligible for the transfer—so no re-creating Rap Caviar on Apple Music.
Apple says if it can’t find an exact match for a particular song or album, it will suggest similar alternatives. Users have up to 30 days to review and approve these alternate versions before the transfer is finalized. Currently there’s no word on when the feature will be expanded to other countries, but anyone in AUS & NZ looking to make the switch now has an easier time doing so. This tool arrives at a time when Spotify’s premium subscriber growth appears to be stalling in the United States.
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Anjunabeats Relocates NYC Takeover As Brooklyn Mirage Opening Delayed Again

The family of labels has agreed to move elsewhere to keep their promised dates.
With the uncertainty surrounding the re-opening of the iconic Brooklyn Mirage, all acts who had scheduled shows there these weekends have had to go down one of the following routes: postponing, moving out to accommodate their shows on the same date, or cancelling. The Anjuna family of labels has chosen the second.
Anjunabeats had been posting about this uncertainty for over a week already, aiming to be transparent with their crowd and informing them that they were going to follow their planned dates in the Big Apple for their Anjuna25 NYC takeover, even if it meant having to look for and book other places in case Brooklyn Mirage wasn’t ready yet — which was the worst-case scenario.
And since it happened, Anjuna25 NYC will be held this Saturday, but in the following venues: Anjunadeep at The Rooftop at Pier 17 from 3 pm – 10 pm, Anjunabeats at The Great Hall at Avant Gardner from 7 pm – 4:30 am, and an Anjunadeep Afterparty at Brooklyn Monarch from 11 pm – 5 am. Additionally, a Pop-Up instance will occur on Friday at Fora Travel, with a variety of chill DJ sets and meet-and-greets.
Ticket holders from the Brooklyn Mirage show are set to receive a refund of their purchases, and next steps on how to attend the shows this weekend. Below is Anjunabeats’ official statement on the situation:

The post Anjunabeats Relocates NYC Takeover As Brooklyn Mirage Opening Delayed Again appeared first on EDMTunes.
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"Club First, Algorithm Later": Toolroom COO Reveals A&R Strategy Behind Beatport's Top-Selling Label

Some might call it swimming against the current. Toolroom Records, however, would call it knowing what actually makes us all dance.
In a digital age where streaming all too often dominates the conversation, Mark Knight's storied record label has defiantly proven that culture still matters most. The independent electronic music powerhouse recently claimed Beatport's prestigious "Best Selling Label of the Year" award for the second consecutive year, reinforcing its position as a juggernaut in the DJing ecosystem.
With Beatport's massive footprint of 36 million users and nearly half a million DJ customers, the achievement represents the true verdict of the global dancefloor. The platform's sales-based metrics offer an unfiltered glimpse into what's actually moving bodies in clubs worldwide.
There's a sad "stream or die" mentality in 2025, and it can corrode the mentalities of even the most talented artists. But Toolroom COO Miles Shackleton knows that true longevity in dance music is measured on dancefloor impact, not data dashboards.
IMS Ibiza.c/o Press
Two decades since launching, the label continues to demonstrate remarkable adaptability in an industry that transforms as quickly as a TikTok DJ's dignity. As they focus on mashing genres into new microgenres no one asked for, Shackleton has stayed hyper-aware of dancefloor trends through superior A&R instincts and marketing savvy.
We caught up with him to highlight the secret sauce behind Toolroom's industry-leading A&R and marketing strategies. Read on to discover Shackleton's insights in his own words.
1. Our A&R strategy: sign with your ears, not for the algorithm
After lockdown, we took a long look in the mirror. The world had changed, and so had the dance music industry. It was time to realign with the reason Toolroom existed in the first place: to move people, both physically and emotionally, on the dancefloor. 
That meant cutting the noise, tuning back into the clubs, focusing on signing music that truly works in the room. We called it “signing with our ears, not for the algorithm.” We focused on music that carried cultural weight, music that DJs would reach for instinctively.
That shift in thinking led directly to our biggest Beatport success stories of the past two years. Essel’s "Lennon," which emerged from Toolroom Academy, became a clubland essential long before it cracked streaming platforms. And this year, "Dance to the Music" by Tony Romera and Low Steppa followed the same arc: club first, algorithm later.
2. Marketing that embeds the record in the culture
In 2025, you don’t promote a record—you embed it. That means ditching the one-size-fits-all marketing assets and starting with what matters: real club energy, captured and shared by real people.
We’ve rebuilt our marketing playbook around user-generated content, authentic DJ reactions and moments that show our music in its natural habitat: the club. Instead of crafting a polished visual identity in isolation, we seed the records into the scene and let the buzz grow organically. From dancefloor clips in Tulum to iPhone footage from London basements, we work to capture and circulate the moments when a Toolroom track lands. That’s the marketing strategy: insert the record into the culture and let it breathe.
We’ve also gone harder on DJ and tastemaker promo than ever before. We’re obsessive about where our tracks are landing and who’s playing them. It’s not about hype; it’s about creating records that DJs want in their sets. That’s the real win.
3. Long-term artist development is the backbone
Our core artist roster isn’t just a roster—it’s a squad. Essel, Crusy, Martin Ikin, Tony Romera, Cassim… these are artists we’ve grown with, believed in and invested in over the long haul.
Their individual sounds and stories may differ, but what unites them is trust. They trust us to amplify their vision, and we trust them to represent the Toolroom ethos on the world stage. We don’t dip in and out of trends. We build careers. And that long-term view pays off: every chart-topper and Beatport #1 we’ve had is part of a bigger arc. 
These aren’t flash-in-the-pan moments; they’re the result of consistent work and mutual belief between label and artist. This level of trust creates freedom—freedom to experiment, evolve and try new ideas. It’s why we’re proud to say some of our biggest hits have come from artists who’ve been with us for years. They’re not just part of our label. They are the label.
4. Serving the DJs—and the producers
We’ve always had a deep respect for the DJs and producers who make this culture move. That’s why we spend so much time listening, engaging and responding to their needs. Whether it’s through Toolroom Academy, direct A&R sessions or global conferences, we’re constantly in conversation with our audience—not just broadcasting to them.
We know a big part of our fanbase are creators themselves. They’re not just passively listening; they’re playing in clubs, producing their own tracks, and looking for their own breakthroughs. We want to support that journey. That’s why we’ve invested so heavily in education, mentorship and access. When we say “Toolroom Family,” we mean it.
This direct relationship with DJs and producers is a huge part of why our records sell on Beatport. We're not just making music for the scene—we’re in it, and constantly learning from it. That dialogue keeps our catalogue sharp, relevant and useful for the people who need it most.
5. A team that lives and breathes the culture
Finally, none of this happens without the people behind the scenes. Our team has been together for years, many of them for over a decade. They’re not just great at what they do; they’re invested. They live it. They DJ, they produce, they tour, they teach and they bring that understanding into every release we put out.
There’s a deep sense of purpose in the Toolroom offices. We’re not chasing short-term wins; we’re building something lasting. Everyone here understands the mission: to serve club culture with authenticity, creativity and care. That energy radiates outward and artists feel it, fans feel it, and DJs see it in the way we show up.
Our Beatport success isn’t just about the music. It’s about the people. A tight, dedicated crew working together over years to support artists, honor the scene and push this culture forward. That’s the real reason we’re #1.
Follow Toolroom Records:
X: x.com/toolroomrecords
Instagram: instagram.com/toolroomrecords
TikTok: tiktok.com/@toolroomrecords
Facebook: facebook.com/toolroomrecords
Spotify: tinyurl.com/52d8ccxk
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Spotify’s AI DJ Now Takes Your Voice Requests

Spotify is enhancing its AI-powered DJ feature, which originally debuted in 2023, by enabling it to take requests via voice commands from users. This update allows listeners to interact more directly with the DJ.
Initially, the AI DJ curated playlists based on a user’s listening habits, complete with an AI-generated voice guiding the experience. Now, users can speak to the DJ and make requests such as ‘play some unfamiliar indie music’ or ‘find electronic music suitable for a run.’
According to Spotify, this new functionality aims to provide users with greater influence over the automated DJ. It allows for requests that are more contextual, focusing on a mood or specific activity rather than just a particular artist or song. The DJ’s selections will continue to be informed by the user’s listening history, ensuring the music generally aligns with their preferences.
To use the voice request feature, users need to press and hold the DJ button located in the bottom right corner of the Spotify app. After speaking their request and releasing the button, the DJ is expected to respond with appropriate music. Users can change the music by repeating this process or by simply pressing the ‘next’ button to skip the current song.
More details about Spotify’s DJ feature can be found on the company’s official blog.
The post Spotify’s AI DJ Now Takes Your Voice Requests appeared first on EDMTunes.
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New recording studio by Abbey Road, Adidas and Co-op offers “decades of audio expertise and cutting-edge gear”

Abbey Road Studios, Adidas, and Co-op Live have opened the doors to a first-of-its-kind recording studio within Manchester’s Co-op Live arena.
Situated inside the UK’s largest music arena, the Adidas Originals Recording Studio is designed as a “vibrant hub for emerging musical talent and young creative communities”.
The space has been engineered by Abbey Road’s own team of technicians and sound engineers, blending decades of audio expertise with the latest workflows and cutting-edge gear.
READ MORE: “A lot of artists need to understand that it’s part of music production”: Myd on overcoming the fear of a blank DAW Slated to open to musicians this August, the Manchester studio will support up-and-coming talent through a joint effort with several existing creative programmes.
These include Abbey Road’s Amplify and Equalise initiatives – aimed at inspiring the next generation of artists, producers, and creatives while promoting greater diversity in music – as well as Factory International’s Factory Sounds programme, which provides financial support and mentorship to underrepresented groups within the Greater Manchester area.
With on-site access to Abbey Road’s engineers, artists and creative communities will be supported by some of the industry’s most experienced recording and mixing experts – bringing decades of learning and a deep commitment to audio excellence to every session.
Liam Fray, frontman of Manchester-based indie rock band Courteeners, opened the space with a live performance; he also praises the studio for providing opportunities for musicians who may be geographically disadvantaged.
“Opening up a space like this to get people through the door – I’m all for it,” says Fray. “There are obstacles to get into the industry, finance is one of those barriers, but geography is also one. To have something of this level up here that is a focal point in Manchester opens up the industry and takes it to a wider audience. There will be geniuses out there that we don’t yet know about.”
Sally Davies, Managing Director of Abbey Road Studios adds, “The launch of the adidas Originals Recording Studio is a world-first collaboration creating a new, Abbey Road-engineered recording space beyond the walls of our home in London.”
“We are enormously proud to partner with adidas, Co-op Live and Factory International to create a new platform for talent in Manchester and the North-West, expanding our mission to enable and empower the global community of music makers and creators, and shape the future of music making.”
The post New recording studio by Abbey Road, Adidas and Co-op offers “decades of audio expertise and cutting-edge gear” appeared first on MusicTech.
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PREMIERE – BUTTONZ and Garlic Party Join Forces on Bass-Heavy Single ‘Cheese’

Grand Alliance Music is proud to announce the upcoming release of “Cheese,” a dynamic collaboration between acclaimed electronic producers BUTTONZ and Garlic Party, dropping worldwide on Friday, May 16th, 2025.
This visceral track combines glitch-hop and hip-hop influences with funk-infused bass music, creating a sound that’s simultaneously playful and meticulously produced. The cleverly titled “Cheese” references a term for money, delivering both sonic punch and tongue-in-cheek commentary while showcasing the producers’ exceptional technical abilities and creative synergy.
“This is one of the most fun I’ve had on a song in recent memory,” says BUTTONZ about the collaboration. “Working with people like Garlic Party represents what a collab really should be: fun, laid back and receptiveness in all the ways.”. “Keen, keen, keen”, Garlic Party reiterated without hesitation..
The single demonstrates both artists’ signature production styles while venturing into new sonic territory. Listeners can expect hard-hitting bass lines, intricate glitch elements, and innovative sound design wrapped in an infectiously funky package. The track balances technical prowess with accessibility, appealing to dedicated electronic music enthusiasts and new listeners alike.
While this marks their first official release together, both artists have previously released music on Grand Alliance Music, where their creative relationship began. This collaboration exemplifies the label’s commitment to fostering artistic connections across geographical boundaries and pushing the envelope of contemporary electronic music.
The release of “Cheese” continues Grand Alliance Music’s tradition of showcasing boundary-pushing electronic music from diverse artists around the globe. The label has built a reputation for identifying and nurturing unique talent within the bass music community and beyond.
“Cheese” will be available on all major streaming platforms on May 16th, 2025, including Spotify, Apple Music, SoundCloud, and Bandcamp. The track can also be accessed via www.grandalliancemusic.com/releases, where fans can find exclusive content and merchandise related to the release.

The post PREMIERE – BUTTONZ and Garlic Party Join Forces on Bass-Heavy Single ‘Cheese’ appeared first on EDMNOMAD.
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Dom Dolla Sets New Attendance Record at Denver's Civic Center Park

Denver's Civic Center Park hit a new high this past weekend as Dom Dolla drew the largest crowd in the venue's history May 9-10, the DJ announced on social media.
The open-air shows marked a major moment not just for the Australian house music superstar, but for Denver's volcanic reputation as an electronic music hotspot. The park, which has hosted notable acts like Lane 8, Zeds Dead and even a Boiler Room takeover, has seen its fair share of dance shows, but nothing quite like this.
Fans packed into the downtown space, drawn in by a stacked lineup that included Cassian, who recently performed at the record-breaking Las Vegas Sphere as part of Anyma's groundbreaking "End of Genesys" residency; and Girl Math, the formidable duo of VNSSA and Nala.
Across both nights, Dolla leaned into the hedonistic house sound at the heart of his rapid ascent, mixing both recent hits and deeper cuts. Taking place during sunset, his set transitioned smoothly from day to night with production elements that highlighted both the venue’s architecture and the atmospheric pull of his music.
Check out footage from the record-setting performance below.
View the original article to see embedded media.
Follow Dom Dolla:
X: x.com/domdolla
Instagram: Instagram.com/domdolla
TikTok: tiktok.com/@domdolla
Facebook: facebook.com/domdollamusic
Spotify: spoti.fi/3g2cuTm
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Universal Music Expands Deutsche Grammophon and Blue Note Into China, Reveals Initial Signings and Releases

A live performance from Yuja Wang, who’s signed on as an artistic advisor at the newly launched Deutsche Grammophon China. Photo Credit: Quincena Musical
Universal Music Group’s aggressive China expansion isn’t slowing down, as the major has officially brought Deutsche Grammophon and Blue Note to the nation of 1.4 billion.
Universal Music Greater China today announced (and hosted a launch event for) Deutsche Grammophon China (DGC) as well as Blue Note Records China (BNRC). Both imprints will zero in “on identifying and supporting rising Chinese talent,” including by helping their releases find fans on the global stage.
More immediately, the classical-focused DGC has tapped pianists Lang Lang and Yuja Wang, besides Shanghai Symphony Orchestra music director Long Yu, to serve as “artistic advisors.” All three of those professionals are “long-time” Deutsche Grammophon artists, Universal Music pointed out.
On the release front, Deutsche Grammophon China has teed up its first album, Jian Wang’s Bach: The Cello Suites, to debut on May 23rd. Longer term, DGC has scored “a special project with the Shanghai Symphony Orchestra,” which will commemorate its 150th anniversary in 2029 by recording “the complete Shostakovich Symphonies.”
“The Yellow Label has been my recording home for well over a decade,” added Yuja Wang, “and I am delighted to see it engage with young artists in my home country. I am thrilled to support this initiative as Artistic Advisor and to help identify and grow future talent across the full spectrum of classical music.”
Shifting to Blue Note Records China, the label underscored an objective of “helping bring Chinese jazz expression to broader international audiences.” Regarding the nature of that jazz expression – or at least BNRC’s view thereof – Innout has been confirmed as the first signing.
Consisting of guitarist Xiao Jun and drummer An Yu, that “avant-garde jazz duo” is said to integrate “modern jazz, experimental electronics, and free-form composition” into its work.
“Xiao Jun and An Yu are two of the most talented and visionary musicians I’ve ever met,” touted Blue Note president Don Was. “Their music is going to ‘blow people’s minds’ all over the world. It’s a thrill and an honor to be able to launch Blue Note Records China with their music.”
Lastly, the multifaceted announcement also saw BNRC reveal a partnership with Shanghai-based jazz label JZ Music. As described by Universal Music, that tie-up “will focus on live performance opportunities – including artist touring, music festivals, and live house events.”
In addition to underscoring Universal Music’s commitment to building out in China – where Warner Music “lost market share” in Q1 2025 – today’s announcements are seemingly indicative of bigger-picture plans in classical and jazz.
Without diving too far into this subject, it’s safe to say that DGC will factor into Deutsche Grammophon’s Stage+ classical streaming service, which has a well-entrenched competitor in Apple Music Classical.
But classical expansions aren’t underway across the industry; last month delivered rumblings of possible layoffs at Sony Classical.
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Lawrence Lui Dials Up the Dissonance in Eerie Cover of Brian Eno's "Fractal Zoom"

Celebrating the birthday of Brian Eno, acclaimed electronic music producer Lawrence Lui is paying homage to the godfather of ambient music with a cover of 1992's "Fractal Zoom." 
Lui dials up the dissonance on his rework of the track, which appeared on Eno's 11th studio album, Nerve Net. It's out now to align with both AAPI Heritage Month and Eno's 77th trip around the sun.
Awash in atmospheric density, Lui's production somehow feels both spacious and claustrophobic as ghostly samples hover atop layers of grainy textures. Traces of Japanese ambient icon Hiroshi Yoshimura's environmental precision intermingle with the distorted melancholia of Burial, creating something that honors the track's origins while establishing new territory. 
The release serves as a preview of Lui's upcoming album, according to a press release. The cover art by his teenage son adds another layer of generational dialogue, channeling Peter Saville's iconic Factory Records aesthetic.
You can listen to Lui's cover of "Fractal Zoom" below and find it on streaming platforms here.
Follow Lawrence Lui:
X: x.com/lawrencelui
Instagram: instagram.com/lawrencelui
Spotify: tinyurl.com/4euv7dfp
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Here's How to Livestream EDC Las Vegas 2025

As nearly half a million ravers prepare to descend on the Las Vegas Motor Speedway for EDC, the festival's organizers at Insomniac are making sure its signature sounds and colors travel far beyond Nevada’s borders.
North America's largest electronic music festival is returning to Las Vegas from May 16-18, and it's delivering an expansive livestream offering across Insomniac TV and YouTube.
The stream begins each day at 6:45pm PT, capturing the full play-by-play of EDC's neon-drenched dreamscape. For its 2025 edition, Insomniac will broadcast live from five of the festival's celebrated stages: kineticFIELD, cosmicMEADOW, circuitGROUNDS, neonGARDEN and bassPOD. Each will stream on its own dedicated feed, allowing remote viewers to curate their own festival experience.
The free livestream is available here, with simultaneous coverage on Insomniac’s YouTube channel.
View the original article to see embedded media.
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John Summit Doubles Down: His Biggest Solo Show Is on Sale Now as ‘Silence’ Remix Drops

From Ibiza to Colorado, John Summit’s rise continues with a 50,000-capacity stadium solo show and the release of his long-awaited remix of ‘Silence’. Fifty thousand ravers could take over Folsom Field in Boulder on October 18, 2025, marking the biggest solo headline show of John Summit’s career. You could call it the year of John Summit. But that would be an understatement.
From selling out Madison Square Garden to packing BMO Stadium and Kia Forum, the Chicago-born producer keeps breaking limits. Now, Boulder becomes his next monumental chapter. While fans rush to grab tickets as general sales open, Summit fuels the hype with something even bigger. Finally, his long-awaited remix of Delerium’s ‘Silence’ featuring Sarah McLachlan is here. Out now on Tomorrowland Music, the remix takes one of dance music’s most sacred anthems and injects it with Summit’s signature energy.
The Soundtrack of a New Era
The remix first turned heads at his sold-out MSG debut. Thousands stood in awe as Sarah McLachlan’s ethereal voice echoed through the arena. John Summit’s version honors the trance classic while pulling it straight into 2025’s tech-driven underground. The track comes fused with pounding basslines and hypnotic rhythms. Already a staple in his recent sets, the remix feels like the anthem for a year that’s seen him play eight shows in three days through his Experts Only brand, headline Ultra Miami with Everything Always, and make his Vegas Sphere debut.
“As a long-time raver and trance fan, it’s an absolute honor to remix ‘Silence’,” John Summit shared. “I made this as a special edit for my MSG show, and seeing the reaction was unreal. It’s hard to give justice to such a classic, but I think Sarah’s powerful vocals and my modern tech house spin bring it to life in this era.” he concludes.
From Arena Shows to Club Culture
Summit isn’t just scaling stadiums. The globally acclaimed DJ returns to LIV Beach on Sunday, May 18, during EDC week. He brings primetime energy to a massive daytime session under the Las Vegas sun. The celebration continues the next night, Monday, May 19, when Summit takes over LIV Las Vegas nightclub for one final blowout.
Over to Spain, Hï Ibiza opens its doors for his first headline residency. Set for June 20 and June 27, the two-night takeover will see John Summit bring Experts Only to the world’s number one club. Green Velvet, Kevin de Vries, and underground talents round out the lineup, showing his ongoing mission to support every level of the dance scene.
It’s a return to where it all started—the club—but with a global spotlight on him now.
John Summit’s Biggest Solo Show Yet
All of this momentum rides on the back of his debut album ‘Comfort in Chaos’, which charted at #2 on Billboard’s Top Dance/Electronic Albums and #39 on the Billboard 200. From Australia’s arenas to Europe’s festival stages, Summit has turned his personal project into a global movement. The road ahead looks even bigger. This summer, he steps onto the Tomorrowland Mainstage, officially placing himself among dance music’s elite.
Whether it’s 50,000 people in Boulder or intimate nights in Ibiza, John Summit’s dominance is impossible to ignore. The ‘Silence’ remix is just the soundtrack to a career that shows no signs of slowing down.
Tickets to John Summit’s solo show at Folsom Field can be purchased here.
The post John Summit Doubles Down: His Biggest Solo Show Is on Sale Now as ‘Silence’ Remix Drops appeared first on EDMNOMAD.
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At $60, Arturia’s MicroLab MK3 MIDI controller could be perfect for bedroom producers

Arturia has released the MicroLab MK3, a small but seemingly powerful MIDI controller that could fit nicely in your bedroom studio and your backpack. Plus, with licenses for Ableton Live Lite, Analog Lab Intro, and a handful of nifty features, the $60 asking price seems pretty tantalising.
The third model in Arturia’s MicroLab controller series, the MK3 sports a compact, minimalist design with plug-and-play USB connectivity. You’ll be able to hook this up and get playing within seconds, whether you’re in the studio or on the move with your laptop. The wooden panels on the side are a nice touch, too.
You’ll have two octaves to play across on the MicroLab MK3, with velocity-sensitive mini-keys, which Arturia says are “the best quality slim keys on the market at this price point.” There are also two touch strips for pitch bend and modulation (or whatever you want to map them to) and a sustain pedal input on the back. In addition, the Chord Mode lets you play multiple notes of your choice with one finger — “perfect for effortless songwriting”, says Arturia.
If you’re new to music production software, the bundles that come with the MicroLab MK3 will be particularly useful. Ableton Live Lite — an introductory version of one of the world’s most popular Digital Audio Workstations — is included with your purchase. Here, you can record, perform and produce entire tracks using the included sounds and editing functions. Plus, for even more playable instruments, the included Analog Lab Intro package with the MicroLab MK3 gives you hundreds of sounds from Arturia’s V Collection software. Think vintage synthesizers, modelled pianos, lush pads and heavy bass sounds.
You can pick up the MicroLab MK3 in black or white now for €60/$60 from Arturia.
Arturia has been on a run lately, releasing V Collection 11 and V Collection Intro, and receiving a high score in our review of its flagship software synth, Pigments 6. The French brand also just announced a partnership with Native Instruments, which allows KeyLab and MiniLab owners to get more hands-on with NKS plugins.
Find the best deals for the Arturia MicroLab MK3 at Thomann, Sweetwater, Zzounds and Reverb. 
The post At $60, Arturia’s MicroLab MK3 MIDI controller could be perfect for bedroom producers appeared first on MusicTech.
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Live Nation is Bringing a Music Venue to a New Downtown Atlanta Development

*Featured Cover Photo Credit: Centenial Yards
Centennial Yards Company has teamed up with Live Nation to create a new music and entertainment venue in Downtown Atlanta. According to an article from Atlanta News First, this venue will be part of a vibrant sports and entertainment area next to State Farm Arena and Mercedes-Benz Stadium. As of this writing, this exciting, upcoming venue is under construction. In summary, this partnership is a big move for Centennial Yards, this venue is a 50-acre project worth over $5 billion. Additionally, the venue aims to transform an underused part of the city into a lively space for sports, culture, and shopping. Furthermore, the venue will hold 5,300 people and add to the existing entertainment options like the Tabernacle and Fox Theatre.
The new venue in Atlanta will feature bountiful ways for everyone to fulfill their entertainment needs
It will feature a variety of performances, focusing on fan experience with great sound, clear views, and tasty food options. Construction is already underway, with plans for other spots like Cosm, a large entertainment venue; Hotel Phoenix; and The Mitchell, a new apartment building, all expected to open later this year. Centennial Yards will have over 8 million square feet for homes, shops, hotels, and entertainment. The area known as Centennial Yards South is open now, offering lofts for students and young professionals, along with events hosted by Wild Leap Brewery. Before shows, fans can enjoy food trucks, live music, and activities at the Tailgating Experience on Steele Bridge. Overall, Centennial Yards will definitely revitalize Downtown Atlanta.
Brian McGowan, President of Centennial Yards Company, describes how the new venue will enhance the revitalization of the city’s downtown
“Centennial Yards is poised to be the epicenter of sports and entertainment for the southeastern United States where people of all ages can enjoy concerts, sporting events, bars, restaurants, and retail stores—all in one vibrant mixed-use district. Partnering with Live Nation brings us one step closer to creating a thriving hub where unforgettable experiences happen. This new Centennial Yards entertainment venue is exactly what our region needs and adds a key element to what has already been a catalyst for the revitalization of Downtown Atlanta”.
Jordan Zachary, President of Global Venues at Live Nation, shares thoughts about how the venue continues to strenghtens Atlanta’s position as a cultural and economic powerhouse
“Atlanta has long been a cornerstone of American music and live entertainment, and we’re thrilled to help write its next chapter downtown with this new venue at Centennial Yards. This venue fills a key gap in the local entertainment landscape and we believe it will further strengthen the city’s position as a cultural and economic powerhouse. We’re proud to partner with the Centennial Yards, CIM Group and the Hawks organizations to deliver a destination that draws fans from across the region and contributes to the growth of Atlanta’s vibrant music scene”.
The post Live Nation is Bringing a Music Venue to a New Downtown Atlanta Development appeared first on EDMTunes.
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“Don’t turn the music into the wallpaper in a kid’s bedroom”: Two video game soundtrackers on crafting music that players actually hear

To close out his panel on video game composition for the debut edition of the London Soundtrack Festival, Steve Schnur, President of Music for Electronic Arts, asked the composers on stage the following question:
“What composers have influenced you?”
Sitting on the panel were lauded game composers such as Ludvig Forssell (Death Stranding) and Stephen Barton (Star Wars Jedi: Survivor), the latter of whom organised the video game programming for the festival.
READ MORE: Behind the sound of Star Wars Outlaws: a polarising game with a Grammy-nominated soundtrack
After everyone had their turn, naming musical greats from Jerry Goldsmith to Tim Hecker to Ryuichi Sakamoto, Schnur closed by saying:
“The people who are about to study composition, their answers will be the people on this stage.”
Today, video game music is held in the same esteem as film scores. It’s unsurprising, then, that the London Soundtrack Festival hosted masterclasses with composers such as Gordy Haab, plus performances of music from Baldur’s Gate 3, Battlefield 2042, and Metal Gear Solid, among others.
“[The festival] was in memory of a composer called Christopher Gunning,” Barton says of the programming. “He did TV, he wrote symphonies, he did concert music, he did film — he did everything. He would have undoubtedly done video games if they’d been a thing sooner. Honouring games seemed like a natural thing to do.”
From AAA titles within an iconic franchise such as Star Wars to auteur-driven indie games such as Death Stranding, the music is evolving with the format. But one thing remains true: game music is more grounded in technology than music for any other form of visual media.
“On a film, you deliver your stems, and it goes into Pro Tools at some point to be mixed. It’s no different from our music mix process. Just an extension with dialogue and effects. With games, we’re dealing with a technical architecture and sometimes writing for that architecture,” Barton says.
Within that technical architecture, the central processing unit of the game system or personal computer delivers the music in real time along with the sound effects, graphics, dialogue, enemies, environments, and everything else seen and heard.
The music is woven throughout that library of coding that’s like a Jenga tower; if something is out of place when the audio team implements the music into the game engine, the entire tower could topple over.
“Most of the time, the doesn’t want the composer anywhere near the build because we’re pretty good at breaking it,” Barton says with a laugh, going on to mention that certain game companies require 16-bit audio for every piece of music he writes.
“Game engines are so fragile. I’m in 24-bit, 48 kHz all the time, as is everybody. But that game engine is coded in such a way that it always only puts in 16-bit audio files. If they accidentally drag a 24-bit file into the structure, it will just crash the game, and it’s a major AAA game.”
Composers are also constantly working around sound design in the games. Barton composed for EA’s Titanfall series, in which the player pilots a titan, a giant robot. At these moments, the titan’s massive weapons and mechanical motions swallow the bulk of the low and mid-range.

“Everything [Titanfall] does is loud, so quite quickly I realised tons and tons of bass isn’t going to work here. You’ve only got so much headroom. The sound effects are certainly going to be the thing that takes over. One thing is going to have to win,” Barton says, adding that the HDR mixing function in games will lower the volume on everything else when these big sounds are running. “I found it was better to use higher frequency stuff and find my moments to use low bass-end sounds and then get out of the way, because I’m not being turned down.”
When Ludvig Forssell served as composer and audio director for Death Stranding, the open-world action game from Hideo Kojima’s Kojima Productions, he made those moments himself because he directed both the sound design and music.
“Having the power to influence in that way as a composer is very unusual and very privileged,” Forssell says. From this privileged position, he spent years “throwing shit at the wall to see what sticks,” as he developed the game’s overall sonic aesthetic.
Games have far more room for ideas to stick because players can spend hundreds or even thousands of hours on one game. Star Wars Jedi: Survivor has six hours of music. The composer and the technical team work together on how that music exists within the gameplay.
“That’s often the challenge. Balancing musicality versus something that’s actually going to make sense,” Barton says. “A lot of it is trying to think about why we want to start music or stop music; the way the transitions work and how you go from one musical state to another.”
The in-game music in Death Stranding mostly starts and stops depending on combat. As with Kojima’s famous franchise, Metal Gear Solid, the combat is at the player’s discretion. They can choose to be stealthy, face the enemy head-on, or avoid combat altogether.

To allow the music to naturally shift between these states, Forssell focused a great deal on layering three primary modes: caution, evasion, and alert. Caution means the enemy is suspicious that you are there. Evasion means they saw you, but you’ve escaped their immediate sight. Alert means they see you and they are engaging with you.
Then, each of these states has multiple layers dependent on factors like the number of enemies and the physical distance from enemies. As the danger increases and decreases, more layers fade in and out. This is especially crucial for stealth when players need to hear enemies to avoid being seen.
“I provide the music editors and [implementors] with as much material as I can,” Forssell says. “So I write very, very densely. If we put stuff in that’s supposed to be for the mid-caution tension layer, and it doesn’t feel like it’s intense enough, or it’s too intense, there are always small layers that we can add or take away to mitigate that. We do a lot of balancing after production on the music is done and it’s been implemented to make sure that those different layers of tension are adequately presented to the player.”
Star Wars Jedi: Survivor also allows the player to explore the various planets they visit as the protagonist, Cal Kestis. Barton and his co-composer Gordy Haab wrote exploratory music, but they also use music to serve the narrative by creating suspenseful loops as a boss fight approaches or inserting melodies to inform the player they’re going the right way towards their current objective.
By LucasFilm’s directive, the score captures a similar aesthetic that John Williams immortalised in Star Wars. Barton recorded the score at Abbey Road as well, which is where Williams recorded every Star Wars score from The Empire Strikes Back moving forward. But Barton wanted to capture that spirit without biting those iconic melodies. In fact, he only wrote with “Binary Sunset,” also commonly known as the “Force Theme,” twice in the whole game.
“We don’t need the music to perpetually remind you you’re playing a Star Wars game,” Barton says. “Let’s not make the music the wallpaper in a kid’s bedroom.”
Kids have been playing video games in their bedrooms for decades, but only the most recent generation has been exposed to music on par with classic films. Today, one young gamer might just grow up to be one of the most prolific composers of their time.
Read more music production features. 
The post “Don’t turn the music into the wallpaper in a kid’s bedroom”: Two video game soundtrackers on crafting music that players actually hear appeared first on MusicTech.
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To All Independent Artists And Record Labels, Distinctive Promo Is Built To Support Your New Music Releases!

Credit: Distinctive Promo
We are Distinctive Promo. Distinctive Promo was created because new music was not properly being discovered. Independent artists and record labels had access to get music released on DSP’s, but they didn’t easily have access to tastemakers that could support these new releases such as DJs, radio programmers, curators and early adopters. We believe that getting music to the right people at the right time still matters, now more than ever.
The following was created in collaboration with Melody Rights.
So, how do you cut through the noise to get a new music release heard with an overwhelming number of new releases daily?
The answer is Distinctive Promo.
Distinctive Promo has integrated a more strategic approach. We focus on directly reaching industry professionals who can make a difference. Our service cuts through the noise and puts new releases directly in front of a global network of vetted tastemakers who are in positions to make a difference. They are the ones who start the buzz.
Building and leveraging a network of key relationships in the music industry is a valuable asset, and Distinctive Promo is well-aligned with this approach. By focusing on an influencer network of genuine connections, independent artists and record labels can increase their chances of getting their music heard in a crowded market. Here’s how having direct relationships with influential club and radio DJs, radio stations, playlist curators, music blogs, industry tastemakers and leaders in the music industry can benefit creators:
Credibility And Trust: Distinctive Promo’s relationships with influential figures in the music industry lends credibility to our client’s releases. Releases that come through Distinctive Promo are more likely to be reviewed and programmed, as well as added to playlists, because they came through a creditable source.
Access To Targeted Audiences: Distinctive Promo’s key relationships provide access to engaged audiences with followers that are more likely to appreciate new music releases. DJ’s, playlist curators and tastemakers have followers who trust their judgment, making them extremely valuable channels for promotion.
Strategic Analytics And Feedback: Distinctive Promo uses technology to streamline the discovery process and provide analytics and feedback to our clients. One noteworthy statistic to mention is the above average “open rate” for each music promotion delivered. The higher open rate for Distinctive Promo indicates a strong level of user engagement and interest among our vetted users. Additionally, the Distinctive Promo “click rate” is also well above industry standards. Data is important to our business model.
Our model is built on relationships and experience that we have developed over decades. We work closely with creators and their teams to make sure the music reaches decision-makers who care about new music.

In an industry as dynamic and competitive as music, we are a team with extensive backgrounds leading a promotion service that makes a significant difference for music discovery. Behind Distinctive Promo is our executive team with over a combined 60 years in the music industry. Our team leadership is comprised of forward-thinking music executives who have been responsible with everything from A&R, Studio Production, Artist Management, Marketing and Promotion.
What makes us different is simple: We understand what tastemakers want to hear and we’ve built trust by consistently delivering it to them. That trust is what makes our approach work. It’s also why our analytics and feedback are at the forefront with real and actionable data.
We are proud of the role we play in helping artists grow. The industry is changing fast, and it’s easy to feel lost in the noise. Our job is to help you cut through that noise and make sure your music gets in the right ears.
Learn more at Distinctive Promo.
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House Legend Todd Terry Announces First-Ever Solo Ibiza Residency at Eden

House music icon and Grammy-nominated producer Todd Terry is making history in 2025 with the announcement of his first-ever solo Ibiza residency; launching under his Freeze Project at the world-renowned Eden Ibiza. Running every Wednesday from June 25 to September 17, this landmark residency marks a new chapter in both Todd’s legacy and the island’s house music story.
The residency will feature a curated lineup of artists who have each left their own indelible mark on the dancefloor. From Mark Knight and Kevin Saunderson to Julie McKnight, Majestic, and Fat Tony, the line up balances pioneering talent with enduring influence that defines House music at its best; stripped-back, raw and built for the floor. Todd Terry will host a weekly pre-party at Itaca Ibiza from 9pm,  setting the tone before the main event at Eden. 

On his residency, Todd Terry Comments:
“We’re going to take you back to the funk and soul of House, and we need that! More music, more variety, and better than anyone else. True House Music fans, you need to come check us out!” 
A mainstay of Ibiza’s club culture since 1999, Eden is no stranger to driving Ibiza’s musical evolution. With a brand new, fully-refurbished back room, the club is primed for its most ambitious summer yet. Todd Terry’s Freeze residency leads the charge this June blending international appeal with deep-rooted House history.
From Brooklyn beginnings to worldwide acclaim, Todd Terry’s impact on Dance music is undisputed. Globally known for chart-topping hits and iconic remixes, with classics like “Keep On Jumpin” and “A Day in the Life”, plus remixes for Björk, Jungle Brothers, Everything But The Girl and countless others. Todd has continued to shape the direction of dance music for over three decades. 
 
This marks an important cornerstone in his longstanding island legacy, bringing his own brand to the forefront and leading a season of cutting edge and classic House music at one of Ibiza’s favourite venues.
 
Phase 1 Lineup 
 
Mark Knight | Kevin Saunderson | Majestic | Ferreck Dawn | Beyond Chicago | Julie McKnight | Barbara Tucker | Angelo Ferreri | Janika Tenn | Martin Ikin | Fat Tony | Doctor Feelgood | 
Lovely Laura & Ben Santiago | Junior Sanchez | Illyus Barrientos | 
Lee Grant aka MC Gee | Steve Taylor | Richard Earnshaw

Tickets Now Available:
https://www.edenibiza.com/toddterry/
Find Out More & Follow 
Todd Terry Instagram | Spotify | Tiktok | Web
Eden Ibiza Instagram | Web
 
The post House Legend Todd Terry Announces First-Ever Solo Ibiza Residency at Eden appeared first on Electric Mode.
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EDC Colombia Coming to Medellin in 2026

EDC Colombia marks a major milestone for Insomniac’s global expansion, Electric Daisy Carnival (EDC), is coming to Medellín, Colombia in October 2026. The electronic music festival will take over Unidad Deportiva Atanasio Girardot. This notorious stadium houses the world famous football team, Atlético Nacional. Produced in partnership with Páramo Presenta, Insomniac aims to bring EDC’s unique blend of music, art, and community to one of South America’s most vibrant cities.
A New Chapter for EDC and Medellín music scene
EDC Colombia promises to be a groundbreaking event, bringing their massive lineup of electronic music’s biggest stars to Medellín. The festival will feature EDC stage designs, large-scale art installations, carnival rides, and local cultural elements. All these elements will reflect the heart and soul of the city. This move marks the beginning of EDC’s and Medellín music scene’s next chapter, with Insomniac’s insane production and commitment to connecting with the local communities. Insomniac Founder and CEO Pasquale Rotella emphasized the importance of working with a local partner who shares their values. Also, he emphasized that Páramo Presenta fits that role perfectly. Altogether, Medellín’s choice of venue and local demand made it an ideal choice for the next EDC destination.
Páramo Presenta’s Role in EDC Colombia
Páramo Presenta, Colombia’s leading live entertainment company, will help bring EDC Colombia to life. Popular for producing record-breaking events and attracting millions of fans, Páramo Presenta has earned a reputation for organizing some of the most successful concerts and festivals in Colombia. The company’s history of bringing global stars like Shakira, Travis Scott, and Paul McCartney to Medellín. Altogether, this makes them an invaluable partner for Insomniac in this exciting new venture. With a wealth of experience, Páramo Presenta is committed to ensuring EDC Colombia is a monumental success.
Get ready for EDC Colombia and stay tuned
Fans can expect EDC Colombia to deliver the nostalgic vibes and energy that the festival is popular for, with immersive visuals, world-class performances, and a celebration of Colombia’s unique culture. The dates, lineup, and ticketing details will be released in the coming months. Stay up to date by visiting EDCColombia.com and be part of this exciting new chapter in EDC history.

The post EDC Colombia Coming to Medellin in 2026 appeared first on EDMTunes.
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Laurent Garnier set to host a Cod3 QR anniversary party

As the summer comes to an end, Laurent Garnier returns to Maastricht’s Muziekgieterij, only this time he has called in a crack team of personally selected dancefloor destroyers to cover all basses. Gathering together artists from house, techno, electro and beyond, the Cod3 QR party vibe will be given a diverse genre polish from label affiliates such as Bel Air LTD (aka Mirko Loco), Carlos Nilmmns (live), DJ Deep, Hilit Kolet, Marco Bailey, Oliver Way & Dany Rodriguez, The Last Souldancer (aka ROD), Voltaire (live), The QR Chill Crew and of course Mnsr. Garnier himself – with two DJ sets!
Playing alongside Laurent we have Swiss-born DJ/producer Bel Air LTD (aka Mirko Loko) who dispenses sounds that take shape at an invigorating intersection between Detroit-inspired techno and the subtle stripped-down side of house. As a DJ, he’s played Detroit Electronic Music Festival, Miami WMC, Circoloco in Ibiza, Sven Väth’s Cocoon Club in Frankfurt and the best clubs in Berlin, while recent productions include an EP on Loco Dice’s Desolat imprint and a solo album on Luciano’s Cadenza.
Not one to be missed is a live set from versatile producer Carlos Nilmmns. Carlos has become synonymous with an eclectic but often deep and sensual sound of jazzy house, influenced by the traditions of Chicago and Detroit. In the past, he’s released on some of the best-of-breed labels in the world including Circus Company, Cocoon, Ornaments, KMS, Planet E and Dopewax.
Joining him is Parisian deep house authority, DJ Deep, the French techno and house producer and DJ who runs the Deeply Rooted label, formerly Deeply Rooted House. Outside of his own label, the music obsessive has continually brought new depths and dynamism to house and techno over the years having released on Rekids, Kaoz Theory, Tresor and of course, on his longtime DJ friend’s label, Cod3 QR.
Hilit Kolet is the London-based DJ and producer delivering an intense percussive blend of energetic jacking house music with razor-sharp technique on every release and throughout her high-octane DJ sets. Her finely-crafted update of Laurent Garnier’s underground classic ‘Crispy Bacon’ is loved by Laurent himself, who released it as a bonus track on his most recent album.
Of course, in need of little introduction we have the Cod3 QR grand fromage himself… the Cod3 Daddy… Laurent Garnier wrapping things up with not one but two DJ sets as he dons his ‘house’ and ‘techno’ hats with equal panache. A double-DJ serving that will be as emotional, surprising and downright funky as his recent set of fabric mixes!
Marco Bailey is somewhat considered an icon when it comes to techno and the dance music industry as a whole. It starts with a beat, and for Marco that as in the late 80’s. In 2024 he celebrated 35 years of music, a true achievement for someone who is an ambassador for the scene as well as an amazing DJ and producer.
EPM’s Oliver Way & Link Audio’s Dany Rodriguez have teamed up together numerous times in the studio with their hybrid techno/electro studio work so it’s no surprise to find the dymanic duo pairing up, this time behind the decks!
The Last Souldancer (aka ROD) is the new moniker from Benny Rodriguez who unveiled his new alias earlier this year on Cod3 QR. In his own words, Benny says: “The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked.” 
After a number of acclaimed tracks and EPs, the southern newcomer on the French electronic scene, Voltaire will be releasing his debut album on Laurent Garnier’s COD3 QR label this year. On the 29 August he will hit us with a live set, unveiling freshly baked electro from his new sonic opus.
The line-up is: (alphabetical order)
Bel Air LTD (aka Mirko Loko)
Carlos Nilmmns (live)
DJ Deep
Hilit Kolet
Laurent Garnier
Marco Bailey
Oliver Way & Dany Rodriguez
The Last Souldancer (aka ROD)
Voltaire (live)
The QR Crew Chill DJ set
Cod3 QR merch will be for sale in the bar / foyer area alongside music from The QR Crew.
EVENT INFO / TICKETS:
https://muziekgieterij.nl/event/cod3-qr-label-anniversary-party-2025-08-29

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Bang & Olufsen unveils Atelier Limited Edition Art Deco

Bang & Olufsen has launched the Atelier Limited Edition Art Deco, a striking new sound system that reimagines the brand’s iconic Beolab 28 speakers and Beovision Theatre through the lens of Art Deco – the defining aesthetic of the 1920s and the decade of Bang & Olufsen’s founding. 
“This edition is a tribute to our origins and our journey,” says Bang & Olufsen CEO Kristian Teär. “It’s a fusion of design heritage and technical mastery, crafted to celebrate 100 years of innovation through timeless form,” he continues. 
With the same sculptural elegance and refined details that made Art Deco an enduring icon, the Atelier Limited Edition Art Deco pays homage to a century of design excellence and acoustic craftsmanship by drawing on Art Deco’s bold geometry, rich materiality, and exquisite craftsmanship. Limited to just 100 units globally, this release marks a rare convergence of performance and artistry. 
Crafted from dark rosewood and anodised in chestnut aluminium, the system showcases alternating lamella panels in tapered wood and straight aluminium, evoking the rhythmic facade of classic Art Deco architecture. A matching rosewood case handcrafted at Bang & Olufsen’s headquarters in Struer houses the engraved Beoremote, finished in chestnut aluminium and certificates of authenticity. The aluminium surfaces feature a precision-etched geometric motif blending modern machining with classic ornamentation. Hidden within the pattern, 100 engraved strokes subtly commemorate each year of Bang & Olufsen’s legacy. 
The attention to detail and tactility continues with Beosound Theatre’s newly introduced wooden top cover, sculpted in a radial pattern inspired by Art Deco sunburst motifs. Beyond its visual elegance, the cover enhances acoustic transparency, exemplifying  Bang & Olufsen’s commitment to harmonising form and function. The Beolab 28’s floating acoustic lens, encircled by a finely detailed radial ring, anchors the system as a sculptural centrepiece.  
The Atelier Limited Edition Art Deco starts from 65,000 USD, excluding the screen and is available exclusively at select Bang &  Olufsen stores.
The post Bang & Olufsen unveils Atelier Limited Edition Art Deco appeared first on Decoded Magazine.
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