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Nine Inch Nails Announce Future Ruins Festival of the ‘World’s Most Influential’ Film & TV Composers

Photo Credit: Nine Inch Nails by Allina S (chocolate_starfish__) / CC by 2.0
Nine Inch Nails’ Trent Reznor and Atticus Ross announce the full lineup for Future Ruins, a new festival bringing together the biggest composers in film and TV.
Future Ruins is set to take place at the Los Angeles Equestrian Center on November 8, featuring performances that include festival organizers and Nine Inch Nails duo Trent Reznor and Atticus Ross. The festival is described as a “first-of-its-kind music festival: a day-long event where the world’s most influential film and television composers step out from behind the screen and onto the stage.”
“It’s about giving people who are, literally, the best in the world at taking audiences on an emotional ride via music; the opportunity to tell new stories in an interesting live setting,” said Reznor. “Every artist is a headliner.”
According to the festival’s website, “each artist is encouraged to take big swings and re-imagine their work for a live audience. Ranging from electronic sets and live bands to orchestral performances, fans have the chance to experience live debuts from composers who rarely appear on stage.”
Confirmed acts for the event include John Carpenter, Danny Elfman, Claudio Simonetti’s Goblin, Mark Mothersbaugh, Hildur Guðnadóttir, Kyle Dixon and Michael Stein, Ben Salisbury and Geoff Barrow, Questlove, Isobel Waller-Bridge, and Terence Blanchard.
Nine Inch Nails, who have also won multiple Oscars for Best Original Score, are scheduled to perform as well, but they won’t be performing Nine Inch Nails material. The industrial icons have a wealth of soundtrack scores to their names, including The Social Network, Watchmen, Gone Girl, Soul, The Girl with the Dragon Tattoo, Challengers, and more.
Fans looking to hear Nine Inch Nails’ material can catch Reznor and his band during their Peel It Back Tour across the UK, Europe, and North America, starting next month. An extensive run of dates kicks off on June 15 at the 3Arena in Dublin, before they head to Manchester’s Co-op Live on June 17, and London’s O2 Arena on June 18. The tour then heads to mainland Europe and North America.
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Headliners Revealed For Mixmag Ibiza Sessions Debut Residency At Amnesia, Ibiza

Since being founded in 1983, Mixmag has grown exponentially from starting out as a print magazine to becoming a multi-platform brand recognised worldwide. 42 years on from their beginnings they’re continuing to expand their horizons with the debut residency of Mixmag Ibiza Sessions at Amnesia, Ibiza.
Spanning from June 11th to October 1st, Mixmag will be taking over the legendary Amnesia, Ibiza terrace with 8 exquisite events headed up by a lineup of unbelievable artists. Each event features a fresh lineup of DJs from around the world with a variety of different genres on display across each event.
Their kicking off the proceedings in a big way on June 11th with the legends that are Armand Van Helden, Sam Divine, Ares Carter, and a b3b set from Harvy Valencia, Jesse Calosso, and Jean Pierre. In the following weeks the terrace will be graced by even more dance music icons and rising stars including the likes of Boys Noize, Space 92, Oguz, Franky Wah, and Fish56Octagon. The lineup is already top tier and there are still more artists to be announced to join this pool of dazzling DJs.
Grego O’Halloran, Promoter of Mixmag Ibiza Sessions at Amnesia says; “It’s incredibly exciting to be able to launch the Mixmag Ibiza Sessions residency. We will be bringing a high energy dance floor experience to Amnesia’s iconic terrace, creating an unprecedented vibe in that room, on top of a massive multi-genre line-up from all parts of electronic music. See you on the dance floor!“
With some amazing artists, an immersive, up close dancefloor experience, as well as hosting special pop-up shows around the island, Mixmag have cooked up something special. Whether you’re a fan of house, techno, trance, tech house, or all of the above, Mixmag Ibiza Sessions has you covered.
To get your tickets, click the button below:
MIXMAG IBIZA SESSIONS TICKETSYou can follow Mixmag on their socials below:
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Marshmello To Voice Character In New ‘Smurfs’ Movie

Marshmello has been cast to voice a character in Paramount’s forthcoming Smurfs movie reboot.
Though it remains uncertain who he’ll play in the live-action-meets-CGI film, Variety reports that the masked EDM superstar will join an A-list Smurfs cast that also includes Rihanna as Smurfette, John Goodman as Papa Smurf, and other stars like James Corden, Nick Offerman, Dan Levy, Sandra Oh, and more.
Written by Pam Brady, known for her work on South Park and Team America, and directed by Chris Miller, known for Puss in Boots and Shrek the Third, the new Smurfs movie follows Smurfette as she leads her little blue brethren on a quest to save Papa Smurf from evil wizards.
Marshmello’s role in the film may come as a surprise to some, considering the helmeted artist only began sharing his voice in 2021, after years of relying on hand gestures and mimed interviews. Just last week, Marshmello, widely believed to be the alias of producer and DJ Chris Comstock, sat down for a two-hour chat with Daniel Wall in his first full-length voice interview.
When it comes to music, the “Happier” and “Come & Go” hitmaker has released a trio of new singles so far in 2025, linking up with the Jonas Brothers on “Slow Motion,” Argentine rapper Trueno on “Fale Então,” and AR/CO on “Worlds Apart,” following his bass-heavy EP The R∞ts, which arrived late last year.
Fans can catch Marshmello in Paramount’s Smurfs when it opens in theaters on July 18.
Featured image courtesy: Marshmello.
The post Marshmello To Voice Character In New ‘Smurfs’ Movie appeared first on EDM Maniac.
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Listen to John Summit's Remix of Delerium and Sarah McLachlan's 1999 Trance Classic, "Silence"

Remixing dance classics requires both reverence and audacity, qualities John Summit wields with finesse in his new remix of Delirium and Sarah McLachlan's turn-of-the-century trance hit, "Silence."
Summit's official remix is out now via Tomorrowland Music, the record label launched by the iconic EDM festival of the same name. The Chicago-born electronic music superstar manages to inject his anthemic sound while preserving the spiritual quality that made the original a genre-defining moment back in 1999.
McLachlan's timeless, crystalline vocals serve as the bedrock of Summit's reimagining, their existential weight magnified by his contemporary production approach. What emerges is a remarkable dialogue between decades as McLachlan's timeless meditation on human disconnection finds renewed urgency within Summit's propulsive house beats, proving that certain emotional truths transcend the confines of both musical eras and their dancefloors.
The track's journey from Madison Square Garden debut to official release mirrors Summit's own meteoric rise. His ability to bridge the generational gap (he also remixed deadmau5 and Kaskade's 2008 classic "I Remember") speaks to a producer who understands and respects dance music history while pushing relentlessly forward.
"As a longtime raver and trance fan, it’s an absolute honor to remix 'Silence’ by Delerium," Summit said in a press release. "I originally made this remix as an edit for my first ever arena show at the iconic Madison Square Garden and it quickly became a fan-favorite. It’s hard to give justice to such a classic, but I think Sarah McLachlan’s powerful vocals along with my trance infused modern tech house production helps bring this song to life in this current era and I’m so stoked to share this one with the world."
You can find Summit's remix of "Delirium" on streaming platforms here.
Follow John Summit:
X: x.com/johnsummit
Instagram: instagram.com/johnsummit
TikTok: tiktok.com/@johnsummit
Facebook: facebook.com/itsjohnsummit
Spotify: spoti.fi/3oVz7hG
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Party All Week Long At EDC Las Vegas 2025

Every seasoned raver knows: EDC Las Vegas isn’t just a festival—it’s a pilgrimage, a “final boss” of the electronic music world. While the official festivities run from May 16-18, the real magic begins long before the gates of the Las Vegas Motor Speedway swing open.
In true Vegas fashion, the city turns up the volume early, with pre-parties, legendary poolside ragers, and exclusive club events kicking off as early as Tuesday, May 14. From iconic residencies to after-hours sessions, EDC Week is more than a weekend—it’s a full-blown electronic odyssey.
Between the sheer scale of EDC and the nonstop chaos of Las Vegas, planning your weekend can feel overwhelming for veterans and newbies alike. That’s where EDM Maniac comes in.
We’ve done the digging, sorting through the sprawling lineup of events before, during, and after the festival to curate the ultimate weekend itinerary. From can’t-miss parties to exclusive VIP access, consider this your insider guide to navigating EDC Week like a pro.
Kickstarter Events
For those with the stamina, the budget, and a generous PTO policy, EDC Week kicks off well before the weekend hits. The pre-parties begin as early as Tuesday, building momentum day by day until the grand opening ceremony under the Electric Sky. In classic Insomniac fashion, the official EDC Week lineup pulls no punches, delivering a stacked roster of top-tier DJs to light up Sin City. The first major spark? A high-octane set from ARMNHMR at Omnia Nightclub on Tuesday night.
By Wednesday, the momentum hits full stride with a genre-spanning slate of pre-parties featuring heavy-hitters like Chris Lorenzo, Alison Wonderland, Beltran, and Mau P—each bringing their own signature energy to the midweek madness.
Thursday turns up the heat with a stacked daytime lineup that spans the spectrum of electronic sound. Bass lovers can dive into the chaos at the Bassrush pool party, featuring heavy-hitters like Basstripper, Jessica Audiffred, Riot Ten, Samplifire, and more.
For those craving a smoother groove under the sun, Day Trip offers a more laid-back vibe with sets from Adam Ten, Azzecca, Gorgon City, Jackie Hollander, and Riordan. And that’s just the start—Chris Lake, Deorro, Porter Robinson, MEDUZA, James Hype, Dabin, and Said The Sky are also set to take over venues across the city, delivering a Thursday that feels more like a full-blown festival day.
As the sun sets on Thursday, the energy only intensifies. Bassrush takes over the night with a thunderous lineup featuring AHEE, INFEKT B2B LEVEL UP, Kompany, Ray Volpe, Sol, SVDDEN DEATH, and YDG—guaranteeing a seismic start to the weekend. Over at the Downtown Las Vegas Events Center, techno heads will find their sanctuary with a relentless back-to-back from Sara Landry and Nico Moreno. And, of course, no EDC kickoff would be complete without dance music’s favorite duo: John Summit and Dom Dolla, who bring their signature swagger to the iconic LIV Nightclub for a night of pure mainstage magic.
EDC Week takes over Las Vegas with a citywide celebration hosted at the Strip’s most iconic venues. From legendary nightclubs like XS, Omnia, Hakkasan, Zouk, and LIV, to sun-soaked destinations including Marquee Dayclub, Encore Beach Club, Daylight Beach Club, and Tao Beach, the party spans every corner of the city.
Meanwhile, Camp EDC will be kicking the weekend off with a Camp EDC homecoming party hosted by Mochakk B2B DJ Gigola, MCR-T, and Alex Chapman & Zoe Gitter.
The full list of official EDC Week pre-parties can be found here with links for tickets.
For those seeking a more intimate, community-driven experience, iHeartRaves is bringing its signature flair to the Luxor Hotel & Casino with “Lux Rave”—a vibrant celebration of rave fashion, creativity, and connection. Expect exclusive meet-and-greet moments, curated style showcases, and a deeper dive into the culture that fuels festival life beyond the stages.
Pool Parties
You can’t party all day unless you start in the morning, right? Las Vegas wouldn’t be complete without daytime pool parties, and EDC Headliners love to be their host. Each day of EDC weekend, Virgin Hotels—home to the official Hotel EDC experience—transforms its pool deck into a day-to-night party paradise, soundtracked by a carefully curated roster of fan-favorite DJs.
Friday kicks off with high-energy sets from Audien, Danny Avila, Deerock, Yellow Claw‘s €URO TRA$H, MORTEN, Nostalgix, and TELYKAST. On Saturday, the vibes shift with a house-heavy lineup featuring Biscits, Carrie Keller, Malaa, Tchami, and Walker & Royce. The weekend closes in style on Sunday with performances from Adventure Club, Baby Savage, CHYL, Elephante, Luci, and MitiS—ensuring the poolside energy stays just as electric as the Speedway.
Beyond the Hotel EDC experience, Las Vegas’s top venues and resorts are diving headfirst into the action with their own high-octane pool parties all weekend long. On Friday, catch FISHER turning up the heat at Marquee Dayclub while Subtronics delivers bass-heavy mayhem at Encore Beach Club. Saturday keeps the momentum going with Eric Prydz commanding the decks at Marquee and The Chainsmokers bringing chart-topping energy to Encore. To close out the weekend, John Summit takes over LIV Beach on Sunday for a sun-drenched finale. And with world-class talent popping up across the Strip, expect standout sets to be sprinkled throughout every sun-soaked day.
For those opting to stay at Camp EDC, the festival experience extends beyond the main stages with exclusive pool parties right in the heart of the action. On Friday, the poolside vibe heats up with performances by Biscits, LF SYSTEM, and Noizu. Saturday brings an underground twist with sets from Andromedik, Drinkurwater, LAYZ, and SOTA. And to close out the weekend, Sunday’s pool party delivers a high-energy finale with performances from SIDEPIECE, Torren Foot, and Walker & Royce, keeping the tempo just as intense as the festival itself.
Meanwhile, for those looking to venture off the beaten path, Liquid Nightclub offers a refreshing alternative to the Insomniac-sponsored circuit. Running Thursday through Sunday, the venue will host a lineup of underground favorites including Cheyenne Giles, DJ Buza, Scooter & Lavelle, and DJ Shr3d—perfect for fans craving something a little less mainstream, but just as high-energy.
The Afters
In Las Vegas, the party never stops—and during EDC weekend, that energy hits another level, extending to the clubs until about 5AM. On Friday night, Brazilian sensation Alok takes over the decks at Hakkasan, while Saturday night sees Crankdat bringing the heat to Zouk Nightclub. To cap off the weekend, Afrojack will close out the festivities at XS on Sunday, delivering a high-energy finale. With DJs turning up the intensity all weekend long, expect legendary performances to keep the party going until the early morning hours at the city’s most iconic venues.
At Camp EDC, the party doesn’t wind down—it continues through the early morning hours, with top-tier artists setting the tone from 5-10AM each day. Saturday’s sunrise session features the smooth grooves of Funk Tribu, ØTTA, and Omiki, while Sunday morning kicks off with a powerhouse lineup of Baggi, Dennis Cruz, and Vintage Culture. As the weekend draws to a close, EDC bids farewell with an unforgettable send-off, as Ben Sterling B2B Beltran B2B ChaseWest and Slugg bring the beats one last time before the festival fades into memory.
For those looking to stretch the magic of EDC weekend into the week, the party continues on Monday night with two powerhouse sets. Kaskade takes over Zouk Nightclub, delivering his signature sound to keep the energy alive, while John Summit brings his electrifying beats to LIV Nightclub, ensuring the EDC vibes linger just a little longer.
The post Party All Week Long At EDC Las Vegas 2025 appeared first on EDM Maniac.
View the full article
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Party All Week Long At EDC Las Vegas 2025

Every seasoned raver knows: EDC Las Vegas isn’t just a festival—it’s a pilgrimage, a “final boss” of the electronic music world. While the official festivities run from May 16-18, the real magic begins long before the gates of the Las Vegas Motor Speedway swing open.
In true Vegas fashion, the city turns up the volume early, with pre-parties, legendary poolside ragers, and exclusive club events kicking off as early as Tuesday, May 14. From iconic residencies to after-hours sessions, EDC Week is more than a weekend—it’s a full-blown electronic odyssey.
Between the sheer scale of EDC and the nonstop chaos of Las Vegas, planning your weekend can feel overwhelming for veterans and newbies alike. That’s where EDM Maniac comes in.
We’ve done the digging, sorting through the sprawling lineup of events before, during, and after the festival to curate the ultimate weekend itinerary. From can’t-miss parties to exclusive VIP access, consider this your insider guide to navigating EDC Week like a pro.
Kickstarter Events
For those with the stamina, the budget, and a generous PTO policy, EDC Week kicks off well before the weekend hits. The pre-parties begin as early as Tuesday, building momentum day by day until the grand opening ceremony under the Electric Sky. In classic Insomniac fashion, the official EDC Week lineup pulls no punches, delivering a stacked roster of top-tier DJs to light up Sin City. The first major spark? A high-octane set from ARMNHMR at Omnia Nightclub on Tuesday night.
By Wednesday, the momentum hits full stride with a genre-spanning slate of pre-parties featuring heavy-hitters like Chris Lorenzo, Alison Wonderland, Beltran, and Mau P—each bringing their own signature energy to the midweek madness.
Thursday turns up the heat with a stacked daytime lineup that spans the spectrum of electronic sound. Bass lovers can dive into the chaos at the Bassrush pool party, featuring heavy-hitters like Basstripper, Jessica Audiffred, Riot Ten, Samplifire, and more.
For those craving a smoother groove under the sun, Day Trip offers a more laid-back vibe with sets from Adam Ten, Azzecca, Gorgon City, Jackie Hollander, and Riordan. And that’s just the start—Chris Lake, Deorro, Porter Robinson, MEDUZA, James Hype, Dabin, and Said The Sky are also set to take over venues across the city, delivering a Thursday that feels more like a full-blown festival day.
As the sun sets on Thursday, the energy only intensifies. Bassrush takes over the night with a thunderous lineup featuring AHEE, INFEKT B2B LEVEL UP, Kompany, Ray Volpe, Sol, SVDDEN DEATH, and YDG—guaranteeing a seismic start to the weekend. Over at the Downtown Las Vegas Events Center, techno heads will find their sanctuary with a relentless back-to-back from Sara Landry and Nico Moreno. And, of course, no EDC kickoff would be complete without dance music’s favorite duo: John Summit and Dom Dolla, who bring their signature swagger to the iconic LIV Nightclub for a night of pure mainstage magic.
EDC Week takes over Las Vegas with a citywide celebration hosted at the Strip’s most iconic venues. From legendary nightclubs like XS, Omnia, Hakkasan, Zouk, and LIV, to sun-soaked destinations including Marquee Dayclub, Encore Beach Club, Daylight Beach Club, and Tao Beach, the party spans every corner of the city.
Meanwhile, Camp EDC will be kicking the weekend off with a Camp EDC homecoming party hosted by Mochakk B2B DJ Gigola, MCR-T, and Alex Chapman & Zoe Gitter.
The full list of official EDC Week pre-parties can be found here with links for tickets.
For those seeking a more intimate, community-driven experience, iHeartRaves is bringing its signature flair to the Luxor Hotel & Casino with “Lux Rave”—a vibrant celebration of rave fashion, creativity, and connection. Expect exclusive meet-and-greet moments, curated style showcases, and a deeper dive into the culture that fuels festival life beyond the stages.
Pool Parties
You can’t party all day unless you start in the morning, right? Las Vegas wouldn’t be complete without daytime pool parties, and EDC Headliners love to be their host. Each day of EDC weekend, Virgin Hotels—home to the official Hotel EDC experience—transforms its pool deck into a day-to-night party paradise, soundtracked by a carefully curated roster of fan-favorite DJs.
Friday kicks off with high-energy sets from Audien, Danny Avila, Deerock, Yellow Claw‘s €URO TRA$H, MORTEN, Nostalgix, and TELYKAST. On Saturday, the vibes shift with a house-heavy lineup featuring Biscits, Carrie Keller, Malaa, Tchami, and Walker & Royce. The weekend closes in style on Sunday with performances from Adventure Club, Baby Savage, CHYL, Elephante, Luci, and MitiS—ensuring the poolside energy stays just as electric as the Speedway.
Beyond the Hotel EDC experience, Las Vegas’s top venues and resorts are diving headfirst into the action with their own high-octane pool parties all weekend long. On Friday, catch FISHER turning up the heat at Marquee Dayclub while Subtronics delivers bass-heavy mayhem at Encore Beach Club. Saturday keeps the momentum going with Eric Prydz commanding the decks at Marquee and The Chainsmokers bringing chart-topping energy to Encore. To close out the weekend, John Summit takes over LIV Beach on Sunday for a sun-drenched finale. And with world-class talent popping up across the Strip, expect standout sets to be sprinkled throughout every sun-soaked day.
For those opting to stay at Camp EDC, the festival experience extends beyond the main stages with exclusive pool parties right in the heart of the action. On Friday, the poolside vibe heats up with performances by Biscits, LF SYSTEM, and Noizu. Saturday brings an underground twist with sets from Andromedik, Drinkurwater, LAYZ, and SOTA. And to close out the weekend, Sunday’s pool party delivers a high-energy finale with performances from SIDEPIECE, Torren Foot, and Walker & Royce, keeping the tempo just as intense as the festival itself.
Meanwhile, for those looking to venture off the beaten path, Liquid Nightclub offers a refreshing alternative to the Insomniac-sponsored circuit. Running Thursday through Sunday, the venue will host a lineup of underground favorites including Cheyenne Giles, DJ Buza, Scooter & Lavelle, and DJ Shr3d—perfect for fans craving something a little less mainstream, but just as high-energy.
The Afters
In Las Vegas, the party never stops—and during EDC weekend, that energy hits another level, extending to the clubs until about 5AM. On Friday night, Brazilian sensation Alok takes over the decks at Hakkasan, while Saturday night sees Crankdat bringing the heat to Zouk Nightclub. To cap off the weekend, Afrojack will close out the festivities at XS on Sunday, delivering a high-energy finale. With DJs turning up the intensity all weekend long, expect legendary performances to keep the party going until the early morning hours at the city’s most iconic venues.
At Camp EDC, the party doesn’t wind down—it continues through the early morning hours, with top-tier artists setting the tone from 5-10AM each day. Saturday’s sunrise session features the smooth grooves of Funk Tribu, ØTTA, and Omiki, while Sunday morning kicks off with a powerhouse lineup of Baggi, Dennis Cruz, and Vintage Culture. As the weekend draws to a close, EDC bids farewell with an unforgettable send-off, as Ben Sterling B2B Beltran B2B ChaseWest and Slugg bring the beats one last time before the festival fades into memory.
For those looking to stretch the magic of EDC weekend into the week, the party continues on Monday night with two powerhouse sets. Kaskade takes over Zouk Nightclub, delivering his signature sound to keep the energy alive, while John Summit brings his electrifying beats to LIV Nightclub, ensuring the EDC vibes linger just a little longer.
The post Party All Week Long At EDC Las Vegas 2025 appeared first on EDM Maniac.
View the full article
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Live Nation Killed Lawnie Pass In Favor of $30 Summer Tickets

Photo Credit: Live Nation
Live Nation is rolling out its new ‘$30 Ticket to Summer’ promotion for 2025, offering fans access to over 1,000 concerts across the United States and Canada. The $30 flat-rate per ticket includes all fees except local taxes—and is a price hike compared to previous $10 and Lawnie Pass promotions.
The deal is available for a limited time starting May 21 and offers tickets to a range of major acts including Avril Lavinge, Halsey, The Offspring, Luke Bryan, Weird Al, The Black Keys, Billy Idol, Kesha, Pantera, and many more. The lower price point for these tickets offers a pressure valve for fans seeking to attend concerts at a lower price than typical.
Early access to tickets is being offered to T-Mobile and Rakuten members, as well as previous Lawnie Pass holders as a gesture of appreciation for their loyalty. The promotion is designed to drive excitement and ticket sales for summer events as the live music industry continues to rebound.
The new offering this year comes with a few caveats that may leave some long-time live music fans underwhelmed. In previous years, the summer ticket promotion offered by Live Nation included tickets for a flat $10 fee, making this year’s $30 offering feel like a prike hike for budget-conscious music fans.
More notably, Live Nation has discontinued its popular Lawnie Pass program, which allowed fans to attend as many concerts on the lawn at participating amphitheaters as they want for a flat $239 fee. Live music fans loved the Lawnie Pass for its flexibility and value, especially for superfans who attend multiple shows each summer.
The $30 Ticket to Summer promotion offers great value compared to standard ticket prices, but it is not a direct replacement for Lawnie Pass. Instead of unlimited access, fans must purchase tickets for each individual show and the $30 rate is only available for select events while supplies last. This means superfans could quickly see their attendance costs add up—especially if they attend more than seven concerts this summer.
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Mystery Producer DASH Makes High-Velocity Debut with ‘Back 2 Life’

The most interesting new producers often materializing from some digital netherworld with a fully formed identity and sound. DASH fits squarely in this tradition, his debut single “Back 2 Life” featuring TITUS, suggests this is no ordinary launch – it’s the first chapter in what appears to be an expansive narrative spanning music, gaming, and digital culture.
The track itself doesn’t disappoint, showcasing a producer who clearly understands the nuances of drum & bass. “Back 2 Life” hits with that characteristic high-velocity energy, marrying futuristic textures with cinematic atmospherics that feel both nostalgic and forward-looking. TITUS proves the perfect collaborator, his vocal performance giving the track an anthemic quality for those peak-time moments when the lights hit just right.
The intrigue extends well beyond the music. DASH claims to produce from a “moon studio,” adding a cosmic dimension to his mythology. More substantially, he’s built an interactive experience at dashworld.gg where fans can engage directly with the DASH persona. It’s a clever play on the increasingly porous boundary between artist and audience in the digital age, inviting listeners to become active participants in unraveling his identity.
Game Over Records seems the perfect home for this project. The label has positioned itself at the intersection of narrative-driven sound and innovation, suggesting they’re interested in artists who view music as just one component of a larger creative universe. In an era where gaming culture continues to influence electronic music aesthetics, DASH appears strategically positioned at the crossroads.
Is DASH an established producer launching a new alias? A collaborative project? Or a new talent with exceptional marketing savvy? The mystery is clearly by design.
“The more you ask, the more you uncover.”
The post Mystery Producer DASH Makes High-Velocity Debut with ‘Back 2 Life’ appeared first on Dancing Astronaut.
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It's Britney, Twitch: DJs Hosting Marathon Stream for 25th Anniversary of "Oops!... I Did It Again"

Twitch is throwing it back to the turn of the century to celebrate the 25th anniversary of Britney Spears' generational album Oops!...I Did It Again with an all-day DJ tribute, a representative of the streaming platform tells EDM.com.
A group of DJs will be Slaving 4 U with 12 hours of the pop icon's biggest hits as well as brand-new remixes and interactive moments via the Twitch chat. Whether you prefer the bubblegum brilliance of her ...Baby One More Time era or the robotic glam rebellion of her Femme Fatale chapter, there’s sure to be something for every kind of Britney fan.
The DJs will keep the nostalgia flowing and the energy going, perfect for anyone looking to relive their Y2K days and saunter around their living rooms like Spears in her iconic "Toxic" video. They'll also be sharing clips and funny moments from the stream for those who are unable to attend live.
Scheduled for Friday, May 16th from 12pm to 12am, the event will broadcast live on participating DJs' Twitch accounts: PYKA, NyyBeats, NyNy_x, emelea, djkharisma, vlouue and eliciamartin, among others.
Follow Britney Spears:
X: x.com/britneyspears
Instagram: instagram.com/britneyspears
TikTok: tiktok.com/@britneyspears
Facebook: facebook.com/britneyspears
Spotify: tinyurl.com/3vcs2y9y
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The Music Industry Lives Here: Riot Games Bringing The ‘Most Dynamic Community-Building Music Experiences’ Into Gaming

Riot Games’ recent Linkin Park Anthem release broke streaming records in the first five hours. In an interview with Downtown Music, Maria Egan, the Global Head of Music at Riot Games, reframes the idea of how music impacts audiences: “Music primarily serves as a community-building tool. It’s a memory machine. Where there’s music, there’s memories.”
The following recaps an interview with Maria Egan as part of Downtown Music’s series, The Music Industry Lives Here. Downtown Music is a company DMN is proud to be partnering with.
“Nothing can galvanize a community like music,” says the Global Head of Music at Riot Games, Maria Egan.
Despite the company’s creative spin on music management and remarkable ability to drive streams, Egan insists Riot Games’ core mission remains gaming. “We’re not trying to compete with music companies — not trying to be a music company,” says Egan, adding, “We end up being a music company because Riot is very unique with music.”
Egan explains exactly how Riot’s strategic goals keep gaming at the center. “We don’t put music out just to put music out. We’re not signing artists to a label. Everything we release amplifies something that’s happening in the games — and [is meant] to draw players back to the game.”
“League of Legends has been around for 15 years. Maybe people played it ten years ago and haven’t played in a while. [Now] they see Linkin Park, they’re like, oh yeah, I’m going to reinstall the game and get playing again.”
Egan talks about joining ‘this incredibly unique creative studio,’ Riot Games, and catering to a ‘captive audience that’s highly passionate’ about music. “No one builds community in the way Riot does,” she states.
“There’s an incredible mission and focus on Riot’s community and games. [When I joined in 2022] Arcane [Riot Games’ Netflix show] had just come out. I was obsessed with the TV show and the music.”
Now working in what she calls a ‘really interesting role’ with a supervision team and composer team, Egan is ‘making music and helping the team make music.’
“Gaming is a sophisticated form of entertainment and community building — especially now that we have social and multiplayer games. There’s a profound overlap between gaming fandom and music fandom.”
Egan talks about ‘the biggest music fans in the world’ — Valorant players — who ‘stream more music than almost anybody else.’
“We’re introducing hundreds of millions of players to some of the best new music in the world. And it’s my team’s job to curate those experiences and connect our products to music artists.”
Under the broad gaming umbrella, Egan lists many ways to engage gamers with music. “The soundtrack for our TV show Arcade, the thematics for alt universes that we create — the right player with experience plays most of their music around the game.”
For an audio-based game like Valorant, where listening to footsteps and sounds is a big part of gaining a competitive edge, Egan reveals gamers still consume music while playing.
“[Players are] turning off the in-game sound and listening to Spotify. We see dynamic and novel music consumption behaviors among serious gamers. Music is being used in interactive ways that are really different.”
Speaking about launching Linkin Park’s ‘Heavy is the Crown’ as the official anthem for the 2024 League of Legends World Championship, which broke all streaming records in the first five hours — for Riot Games and Linkin Park — Egan says, “Music primarily serves as a community building tool. It’s a memory machine. Where there’s music, there’s memories. [This is] going to be a peak memory.”
“We’ve been really fortunate to partner with artists at this kind of epic scale. From Imagine Dragons to Lil NAS X, New Jeans, now Linkin Park — they’re genuinely beloved artists for our players.”
“People look at Lil NAS X or Imagine Dragons or Linkin Park, and they might think we’re just chasing superstars. But Dan Reynolds plays League of Legends and is a hardcore gamer. Lil NAS X is invested in esports and very connected to gaming. Before he worked with us, he’d worked with Roblox. ”
Egan emphasizes that all these collaborations are highly strategic for Riot Games. “We’ve had the privilege of working with Linkin Park because Mike Shinoda was working on [Riot’s Netflix show] Arcane. Mike is a massive Valorant player, loves the League of Legends IP — and has been friends with Riot Games’ founders for a long time. All of the worlds meet at this moment — with this one artist that’s very authentically connected to our culture.”
“These aren’t random choices,” says Egan.
But Egan clarifies that Riot Games can work with any artist of any size, of any label, of any background. “We look for an artist that gets it. The process is all about looking for engagement and finding out where the fans are.”
“[An artist] manager will call and ask, how do I get my songs in your game? How do I get my artist working with League? [We say], maybe League is not the right game for your artists!”
“We find out what games [the artist’s audience] plays. We find out what games their fans play. If they don’t play games, canvas your fans. Figure out what communities your fans are a part of. Then go there and try to make that overlap.”
This wide array of working parts — data, insights, music, etc. — come together to form Riot Games. “And this is why Riot works with FUGA,” Egan says, adding, “FUGA has proved to be a label-in-a-box solution for us. They allow us to outperform.”
“We rely on partners like FUGA and the suite of services they build for companies like ours. They have a really great understanding of our complexity.”
“Resourcing, headcount, and strategy are always really leaning toward how the games get resourced and how the games get what they need to thrive and survive and grow.”
“So, what it would take for us to staff a label — that’s probably not the right way for Riot to build a music business.”
“Where we have a music catalog, we have music IP — we have pretty significant engagement with that music. It’s not small amounts of money — it’s millions of dollars a year. And we need trusted partners [to bring] that infrastructure that we won’t build for ourselves.”
“This partnership we have a FUGA is the best way to do a release because they know us, and just snap to our process.”
Egan explains that the wider Downtown ecosystem has ‘services and a great team that we can plug into as we need them.’
She adds, “We’ve had some big records come through the system. It’s exciting to see how the Downtown ecosystem is growing, and its global reach is important to us.”
About The Music Industry Lives Here: Downtown Music’s interview series allows powerful conversations with the voices shaping the music industry. To gain weekly access to exclusive interviews with music executives, artists, record label owners, and influential figures who drive the rhythm of the industry, join here.
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Tomorrowland's New Ibiza Retail Store Has a Tattoo Shop and Terrace for DJ Sets: Look Inside

Iconic EDM festival brand Tomorrowland is expanding its reach beyond the dancefloor after announcing its first-ever retail store in Ibiza, set to open this summer in the heart of the legendary party island.
Located in the new Ibiza Gallery retail and lifestyle complex near the famous Ushuaïa and Hï Ibiza clubs, the 478-square-meter shop is an ambitious fusion of retail, hospitality and entertainment that mirrors the immersive experience of the festival itself.
Designed by Tomorrowland's in-house architecture firm, Great Library Design Studio, the expansive property incorporates the festival's signature aesthetic elements, including its iconic butterflies.
Tomorrowland's new retail shop in Ibiza.Tomorrowland
The store will sell a slew of branded accessories, including t-shirts, tops, hoodies, caps, sweatshirts, shorts, swimwear, bucket hats, sunglasses, bags, towels, bathrobes, books, vinyl and jewelry. It's all been designed "with premium materials and signature festival motifs," according to a press release.
Shoppers will also find curated collections of premium homeware (Serax), candles (Baobab Collection), headphones and speakers (JBL) and even lingerie (Sarda).
Tomorrowland
Tomorrowland
Tomorrowland
Perhaps most striking is the 269.5-square-meter outdoor terrace, which is furnished with exclusive pieces from Tomorrowland's furniture brand, MORPHO, and transforms at night for "Sunset Sessions" featuring live DJ performances. This space will also offer curated selections of wine, liqueur and coffee, including Tomorrowland's own Solo Vida sparkling wine.
Open daily from 11am to 11pm, the shop also features a Tomorrowland tattoo studio. Visitors here can ink "exclusive, officially designed tattoos, inspired by the magical of the festival, in a safe, high-quality environment."
Tomorrowland
For a brand that has built its reputation on ephemeral moments of festival magic, establishing a permanent physical space in the world's preeminent nightlife destination marks another significant shift in its strategy to develop memorable experiences outside its Belgian grounds.
The organization recently joined forces with Insomniac Events, North America's leading electronic music event production company, to develop an ambitious series of co-branded events at the Vegas Sphere. Back in 2022, its proprietors opened a palatial desert resort, Terra Solis, which is billed as "a unique glamping experience" in Dubai.
Coinciding with Ibiza's peak summer season, Tomorrowland's new store is scheduled to launch on June 6th, 2025.
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Tomorrowland Unveils Its First Official Store in Ibiza

Tomorrowland will open the doors to its very first official store in the heart of Ibiza, offering fans and visitors a curated journey that blends music, fashion, gastronomy, and community. Located in the new Ibiza Gallery retail and lifestyle complex in Playa d’en Bossa – near world-famous nightlife destinations like Ushuaïa Ibiza and Hï Ibiza – this store promises to be more than just a retail space. It’s an immersive world where the spirit of Tomorrowland lives year-round.
A Visual and Sensory Wonderland
Spanning 478 m², the Tomorrowland Store has been designed by Tomorrowland’s Great Library Design Studio, capturing the festival’s enchanting spirit in every detail. As you step inside, you’ll be greeted by iconic elements like Tomorrowland’s signature butterflies, intricate natural textures, and stunning concrete stairs. The design reflects the world-class aesthetic of Tomorrowland’s WEAREONE.world headquarters in Antwerp, creating an atmosphere that transports visitors straight into the heart of the festival experience.
The store is a visual masterpiece with immersive displays that showcase the magic of Tomorrowland. Guests will have the opportunity to explore an expansive range of exclusive products, including official Tomorrowland apparel (t-shirts, hoodies, caps, and more), accessories, vinyls, books, and even home décor from brands like Serax, MORPHO, and Baobab Collection. With items designed in-house using premium materials, this is your chance to take home a piece of Tomorrowland’s unique world.
A Green Oasis in the White Isle
But the Tomorrowland Store is not just a place to shop—it’s also a destination to unwind and connect. The store’s lush 269.5 m² terrace is the perfect place to escape the Ibiza heat, elegantly furnished with exclusive MORPHO pieces. Guests can relax with a glass of Tomorrowland’s sparkling wine, Solo Vida, or indulge in a tasting of Acta Non Verba wines, sip signature Hierbas, or enjoy expertly brewed coffee.
As day turns to night, the terrace transforms into a dynamic venue for Sunset Sessions. Expect live DJ sets, artist meet-and-greets, and exclusive tastings that bring people together for magical moments. It’s a place where the community of Tomorrowland can unite, share experiences, and celebrate the festival’s core values of friendship and freedom.
Celebrating Tomorrowland’s Legendary Journey
The Ibiza store also houses the Tomorrowland Expo, a stunning interactive installation that takes visitors through two decades of the festival’s history. From its humble beginnings to becoming a global phenomenon, the exhibition showcases Tomorrowland’s evolution, unforgettable moments, and the innovations that have shaped its legacy. Fans will be able to relive some of the most iconic highlights in the festival’s history.
A Forever Mark of Tomorrowland
For those looking to carry the spirit of Tomorrowland with them forever, the store also includes a unique tattoo studio. In a safe and high-quality environment, visitors can choose from exclusive, officially designed tattoos inspired by the magical world of Tomorrowland. It’s the ultimate way to commemorate the festival’s unforgettable energy.
An Unforgettable Experience
With its grand opening on June 6, the Tomorrowland Store in Ibiza promises to be a must-visit destination for fans, travelers, and music lovers alike. This immersive space brings together the best of Tomorrowland’s music, fashion, and culture into one unforgettable experience. So whether you’re shopping for exclusive merch, enjoying a relaxing drink on the terrace, or diving into Tomorrowland’s rich history, this store is sure to become a landmark of the White Isle.
Don’t miss out on the magic – the Tomorrowland Store is where the festival never ends.
The post Tomorrowland Unveils Its First Official Store in Ibiza appeared first on EDMTunes.
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SoundCloud CEO writes open letter following AI Terms of Use panic and promises more transparency in the future

SoundCloud’s CEO Eliah Seton has penned an open letter to its users following suspicion that it was using artists’ content to train AI.
Earlier this May, SoundCloud users raised concerns about the platform’s Terms of Use, which seemingly suggested that their content “may be used to inform, train, develop or serve as input to artificial intelligence”. However, there was a misunderstanding about what this actually meant.
The term had been in place since February 2024, but had garnered new attention online. Following the panic, SoundCloud affirmed that it has never used any artist content to train generative AI, and that the term actually referred to its internal use of AI, including personalised recommendations, content organisation, fraud detection, and improvements to content identification.
READ MORE: Spotify’s AI DJ now takes requests Now, Seton has set out to further reassure its user base, and most importantly, has also promised better clarity on AI from now and into the future. The brand has also scrapped the original term from its ToU article which caused the alarm, and replaced it with a much clearer statement.
Seton’s letter reads, “SoundCloud has never used artist content to train AI models. Not for music creation. Not for large language models. Not for anything that tries to mimic or replace your work. Period. We don’t build generative AI tools, and we don’t allow third parties to scrape or use artist content from SoundCloud to train them either.
“In fact, we’ve already put protections in place like a ‘no AI’ tag that explicitly signals content on SoundCloud can’t be used for AI training. At SoundCloud, protecting artist rights isn’t new for us and being artist-first isn’t a slogan. It’s core to who we are and always will be. It’s in our DNA.”
The statement later explains, “Our use of AI is focused on discovery – helping fans find new music and helping artists grow, starting with their first fans. That’s core to our mission. Three years ago we expanded our AI and machine learning capabilities through the acquisition of Musiio which significantly improved how we connect creators with listeners, fuel music discovery and help rights holders identify what’s next.”
Further to this, Seton has taken responsibility for the language in SoundCloud’s ToU document for being “too broad”, and has said it “wasn’t clear enough”: “It created confusion, and that’s on us. That’s why we’re fixing it,” he says.
As a result, SoundCloud’s ToU now reads, “We will not use your content to train generative AI models that aim to replicate or synthesise your voice, music, or likeness without your explicit consent, which must be affirmatively provided through an opt-in mechanism.”

Seton emphasises that SoundCloud believes AI should support and not replace artists, and that you’ll see further changes reflected online within its Terms of Use in the coming weeks.
“Our approach will always be guided by a single principle: artist-first. We’re going to keep showing up with transparency. We’re going to keep listening. And we’re going to make sure you’re informed and involved every step of the way,” he concludes.
For more information, you can read the full letter from Eliah Seton via the SoundCloud website. 
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Marshmello to Voice Character in Upcoming "Smurfs" Film

Marshmello has signed on to voice a character in Paramount’s forthcoming Smurfs movie, Variety reports.
The film, a hybrid of live-action and CGI, was written by Pam Brady (South Park, Team America) and directed by Chris Miller (Puss in Boots, Shrek the Third). The story follows Smurfette as she leads the beloved blue characters on a mission into the real world to save Papa Smurf after being mysteriously taken by a pair of evil wizards, Razamel and Gargamel.
Smurfs already boasts an impressive cast with Rihanna slated to voice Smurfette, joined by John Goodman as Papa Smurf. Other cast members include Daniel Levy, Hannah Waddingham, Nick Kroll, Natasha Lyonne, Octavia Spencer, James Corden, Nick Offerman and Billie Lourd, among others.
Mello's role remains under wraps at the time of this writing. Meanwhile, the masked hitmaker has stayed busy in the studio, releasing his blistering The Roots album in late-2024 before teaming up with Jonas Brothers ("Slow Motion" and Trueno ("Fale Então) for new collaborations in 2025.
Smurfs is currently in production and a release date has not yet been announced. You can watch the official trailer below.
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Hardwell Blasts Off with New Big Room Techno Anthem ‘Lift Off’

Dutch EDM icon Hardwell has unveiled his latest single, ‘Lift Off’, released on May 9 via Revealed Recordings. The track made its debut during his headlining set at Ultra Music Festival Miami 2025, where it captivated audiences with its fusion of big room energy and techno influences .
Building upon the sonic themes of his 2022 album Rebels Never Die, ‘Lift Off’ showcases Hardwell’s continued evolution, blending powerful basslines with atmospheric synths to create a sound that’s both nostalgic and forward-thinking .
The track’s structure features a cinematic build-up leading into a high-octane drop, embodying the essence of big room techno—a genre characterized by its driving beats and minimalistic melodies. This approach reflects Hardwell’s commitment to pushing the boundaries of electronic music while honoring the foundations that established his career.
Listen to ‘Lift Off’ on all streaming platforms.
The post Hardwell Blasts Off with New Big Room Techno Anthem ‘Lift Off’ appeared first on EDMTunes.
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Pershing Square’s Bill Ackman Steps Down from Universal Music Board, Citing ‘Increasing Demands on His Time’

Pershing Square’s Bill Ackman, who’s exited the Universal Music board, testifying before Congress.
Bill Ackman has officially stepped down from the Universal Music Group (UMG) board, citing “increasing demands on his time.”
The Pershing Square Capital Management head confirmed that departure in a brief release, with UMG having put out a concise disclosure of its own.
Per the former announcement, the aforementioned demands pertain to Ackman’s “other Pershing Square commitments,” among them his recent appointment as executive chairman of Howard Hughes Holdings’ own board.
(Said appointment coincided with a $900 million Pershing Square investment in Howard Hughes Holdings. Apparently, the latter intends to branch out beyond real estate and begin operating as a “diversified holding company.”)
At the time of this writing, Ackman didn’t appear to have addressed his UMG board exit (which is effective following the business’s annual investor meeting today) on X. However, the 59-year-old in a statement touted the “superb leadership” of Universal Music CEO Lucian Grainge.
“Over the last three years,” Ackman communicated, “I have greatly enjoyed being a director of UMG as it has transitioned from a private company into a flourishing public enterprise.
“The company is extremely well positioned for future growth and profitability under the superb leadership of Sir Lucian Grainge and the entire UMG team. I am grateful to my fellow directors for their continued commitment to driving long-term value for all shareholders,” he concluded.
Beyond these enthusiastic parting remarks, it’s worth reiterating that Pershing in March sold some of its Universal Music stake – with existing UMG investor Tencent having upped its interest in the major that same month.
And besides the much-discussed streaming plateau (at least in terms of core financials, UMG’s faring relatively well here), Ackman’s board exit follows Pershing Square’s public push to shift Universal Music’s main stock listing from Amsterdam to the States.
UMG brass bristled at the not-so-subtle suggestion, and as things stand, it doesn’t appear that the major plans to make the jump. Nevertheless, Pershing still has the right – one it will seemingly exercise – to spearhead a separate Universal Music listing in the U.S.
That sub-listing is presumably moving forward and, according to reports, is expected to commence sometime before mid-September 2025.
More immediately, Universal Music (now preparing to add Verizon vet Matt Ellis as CFO on June 9th) saw its stock price slip during today’s trading. Once again at the time of writing, shares were down about 2.4% at $29.52/€26.35 apiece.
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Waz-u: “If you want to do something unexpected, be controlled and intentional about it”

Electronic producer Isaac Baden-Powell, AKA Waz-u, has become acutely attuned to spinning many plates. As well as the release of his latest album, Preludes: Duck Psalms, Baden-Powell also runs a studio alongside his brother and fellow producer, Mali Baden-Powell, and is the drummer for alternative soul project Monzanto Sound and experimental punk project Nexus_0.
READ MORE: Myd locked himself in the studio for 168 hours and livestreamed every minute — but did it really help him finish an album? The artist has a distinct knack for intertwining funk-fuelled beats with his love of classical composition techniques. He has described his work as a fusion of religion and dance music, making audiences equally pensive, emotive, and excited on the dance floor.
Waz-u sits down with MusicTech to unpack his workflows as a producer without using a computer, and his love of analogue synths and instruments that inspire his work.
Preludes: Dusk Psalms by Waz-u
Your second album, Preludes: Dusk Psalms, is out this month — what lessons did you learn from your debut that carried into this record?
I learnt a lot from my last record. Artistically, I felt a lack of focus and have tried to create a cohesive world with Preludes: Dusk Psalms. It’s easy to try to show the listener your taste and influences in a record, but all the albums that stand the test of time do so because that record has a consistent stylistic aesthetic.
I also learnt that relying too heavily on record labels is not a good thing for the artistic process. [My debut album], Prayer for Dawn was originally going to be released by another label but was dropped last minute for undisclosed reasons; as a result, I have tried to take a more active role in releases to make sure things are done professionally. It was a lot of work, but I’m happy with how my first record’s campaign went, and it’s given me more confidence to release music that I believe in.
You have lots of different creative projects on the go, such as Monzanto Sound and Nexus-0. How do your creative approaches differ in your solo work?
With those two projects, I work primarily as a drummer and secondarily as a producer. The music is heavily focused on live instrumentation, and what I can add to them is more about songwriting and feel. Production-wise, I oversee mixes and tweak musical ideas to get the most out of them, but I mainly try to take more of a backseat role.
In my Waz-u project, the sonic palette is electronic, and the drum parts (if there are any) are all programmed. It’s a way for me to explore composition differently and think more about atmosphere than in my other projects.
Your musical identity is very varied, with classical, reggae and funk roots. How do you work to combine all of this into your releases? Is it easier said than done?
I treat influences like flavours for a chef: you need to use the right ones at the right times, and if you want to do something unexpected, be controlled and intentional about it. This record has no drums on it, as it has an ambient aesthetic, so the reggae and funk influences are sparse if at all; but the process and workflow of using an analogue desk for mixing and ‘dubbing out’ tracks live with send effects is something that the greats such as King Tubby and Lee Scratch Perry pioneered.
The classical influence is much more present throughout, and I actually had to turn down the intensity of that influence: a lot of the initial demo versions of the tracks were unnecessarily harmonically complex and, as a result, felt twee and excessive. I’ve tried to retain the taste but still keep the music palatable. You can clearly hear The Word is influenced by the baroque progressions of J.S. Bach. and G9 LUVs bowed textures mimic classical string parts and harmonies throughout the record.
Tell us a bit about your studio.
My studio, Biodiversity Studio, is based in Greenwich in South-East London. My brother Mali and I run the space, and he designed it in a way to optimise workflow and sound quality. We also have an in-house mastering engineer, Alex Batchelor, who worked on this album: he has a private studio now with different acoustics but formerly worked in this space and has strong ties to the Biodiversity studio as the Soundcraft console was originally his.
The concept is to have a space capable of creating diverse genres of music. Having a drum kit and a piano as well as a large selection of outboard and synthesizers allows this space to be a source of limitless creativity. Collaborating with other artists is part of our bread and butter, and this studio has been used to record anything from neo-soul to dub techno. On Fridays, we invite artists or producers to come in and collaborate on a tune as a fun way to connect and make something different and exciting.
What’s your latest gear purchase?
My latest purchase was a Boss BX-80 mixer, which has been modded to have direct outputs. It has some of the best natural drive and distortion of any gear that I have encountered and is perfect for summing drums to get beautiful saturation that simply can’t be achieved in the box. I had to pay a little bit of money to get the direct outs as a mod but it allows a degree of flexibility which is necessary in what is quite a complex routing set up.
What’s the best free plugin you own?
UAD LA-2A compressor. This is on the bass on almost every single track, as well as being a key part of my vocal mixing chain.
What’s been the biggest investment in your career/studio?
The biggest investment in my studio was on monitoring. Our main monitors are a pair of Gethain RL906 with an Eve audio subwoofer. The transient detail and upper midrange ‘air’ is unparalleled for monitoring of that price bracket. We also put a lot of funds into proper acoustic treatment; Mali made a bunch of custom baffles and as a result producers always compliment the ‘sound’ of the studio. My advice to younger producers is to invest in good monitors and acoustic treatment. This is because you can’t make music sound good until you can really hear what is going on! In a better sounding room you can find your sound without guesswork and make informed mixing decisions.
Your music is very synth-heavy — do you prefer the versatility of digital synths or are you more of an analogue synth purist?
I don’t use plugin synthesizers at all because I find the immediacy and tactility an essential part of the creative process when composing electronic music. In terms of synths, I’m a sucker for the sonic imprecision and ‘vibe’ of analogue synths. I also find the workflow of being forced to commit to audio from the get-go very refreshing, and it helps me to focus more on the composition and overall mix and less worried about endlessly tweaking something in the box.
You’ve said previously that your music is written and mixed with little to no use of computers. How does that impact your work?
I make electronic music, but my background is playing instruments. I find that the piano allows me to tap into the emotive quality instantly — almost all of the tracks were initially written on a piano before being transcribed onto synthesizers. I feel like if something melodic doesn’t work on the piano, then it probably won’t work on a synthesizer. As a result of this, I like the feeling of performing an instrument, albeit a synthesizer, and ‘playing in’ the sound of something.
When it comes to mixes, I enjoy having the same approach: using an analogue desk. I use a Soundcraft Delta 32, and I enjoy being able to tweak everything instantly in real time. I generally record stems onto the computer and then run everything out through the desk via our Motu 828Es. In this way, I’m treating the computer like a tape machine was used back in the day.
What’s a music production myth you think needs debunking?
The idea that spending more time on a track makes it better is a complete myth and something that I believe to be categorically false. If you never finish tracks, you never learn how to finish something and often, your initial idea was the best.
I think the only way to get better at making tracks is by finishing lots of them, and the easiest way to do this is to work quickly. Generall,y working slowly shows a lack of confidence in the idea and an excessive attachment to that particular track. My philosophy is: it’s not that deep, it’s just track. If it’s bad, make a new one tomorrow. Then, when you have lots of tracks, go back and dig through them, and there will definitely be some good ones in there.
Who gave you the biggest lesson in your career?
The biggest lesson is to just turn up. I remember someone telling me this years ago when I lived in Glasgow and it has always stuck with me. As an artist, it can be hard to keep doing the thing that you believe in, as no one else but you can make you do it. Just being present can allow you to achieve the things that you need to.
Read more Studio Files interviews on MusicTech. 
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“Yes, it’s scary. Your job might get taken away, but work with it”: Charlie Deakin Davies explains why artists need to adapt to AI technology

Like it or not, AI is here in music, and it’s changing things fast. And while many musicians and industry figures are strongly opposed to the greater presence of artificial intelligence in all stages of music creation and distribution, others are more accepting, and say artists should simply adapt to the changing times.
In a new conversation on MusicTech’s My Forever Studio podcast – which sees producers and musicians choose items to go in their fantasy forever studio – production prodigy Charlie Deakin Davies says the music industry is ever-changing, so artists should expect it to continue doing so.
READ MORE: My Forever Studio: Charlie Deakin Davies’ perfect vocal chain is attainable “This is one of my special interests,” they say. “Even just the music industry as a whole, like even one of the biggest changes that happened with Universal and the massive mergers last year, the knock on effect has been absolutely massive, actually in the production and the artist world. [And] because I’m a signed artist to Sony, I am seeing it from that side.”
They go on: “But I’m also an active producer [and] writer as well, and an MD. So I feel like I’ve got a bird’s eye view on what’s happening in the major label industry at the moment. I don’t think it’s scary. I think some people are scared. But because I like music industry history, I’m like, don’t worry!
“This is just, just the analog to digital transition. This is just the record to tape transition. Like, don’t worry. Like, we’re just having one of those.”
Davies says, however, that it’s “scary for some people, because they don’t know whether they’re going to be on the chopping block of these changes”.
Specifically with respect to whether producers and artists should see AI as a threat, Davies goes on: “I’m not saying it’s an unfounded fear. Change is about to happen and change is happening. Change always happens.
“And when you choose to work in an industry that is on the front line of innovation, of technology and media consumption and social culture… I think it’s the highest changing technology and cultural thing that there is. So I think people need to go in eyes wide open if they’ve chosen that career.
“Yeah, it’s scary. Your job might get taken away, but like, work with it. Like, can you use AI? Can you do this stuff? I don’t know. You’ll have me on the podcast in like 10 years and I’ll be like, ‘I’m homeless!’”
Watch the full episode below:

The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio. However, hosts Chris Barker and Will Betts impose some strict rules. 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!
You can subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech.
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Event Review: Maccabi House at Pacha Ibiza – A Night of Sonic Alchemy

On May 3, 2025, Pacha Ibiza played host to a standout event that will linger in the minds of electronic music lovers for a long time. Maccabi House, the boundary-pushing imprint led by Adam Ten and Mita Gami, made its debut on the island.
From the moment the first beat dropped, it was clear this wasn’t just another night at Pacha. The duo delivered a masterclass in genre-bending house music, seamlessly blending sonic textures, hypnotic grooves, and deep, pulsing rhythms. The set evolved with intention, moving from melodic introspection to raw dancefloor energy, keeping the crowd fully immersed from start to finish.

The sound system at Pacha carried every detail of their intricately woven set, swelling basslines, glitchy synths, and epic moments in equal measure, driving interaction and cheers from the dancefloor. The energy was palpable throughout, with a crowd that felt fully tuned into the sonic journey unfolding before them.
Visually, the night complemented the music perfectly. Pacha’s iconic production paired with Maccabi House’s underground aesthetic created an environment that was both elevated and intimate, a rare balance that enhanced the connection between the artists and the audience.
This wasn’t just a label showcase; it was a statement. Adam Ten and Mita Gami didn’t just bring Maccabi House to Ibiza, they left an impressive mark on the island. For anyone lucky enough to be there, it was a reminder of what dance music can be when artists truly take risks and fully engage the audience. For us, this was a hypnotic, high-energy journey that challenged expectations and delivered something truly unique. One of the season’s early highlights at Pacha.
The post Event Review: Maccabi House at Pacha Ibiza – A Night of Sonic Alchemy appeared first on Electric Mode.
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Understanding Copyright in Music (Part II): Types of Music Licensing

In Part I of our Understanding Copyright in Music series, we explored the different types of works and copyright rights in music. In Part II we’ll discuss different types of music licenses.
There are many kinds of music licenses. What and how you license will depend on the type of work you are licensing—whether it is a musical work or sound recording (or both)—and what kinds of uses you are allowing the licensee to do with your work. Below is a list of several types of music licenses and how they are used:
Public Performance License
A public performance license grants someone permission to play a song in public, whether to a live or online audience. Recall that a performance is considered “public” when the work is performed in a public place, at a place where a substantial number of persons outside a normal circle of friends and family are gathered, or is transmitted to the public. If someone wants to publicly perform a musical composition, they must obtain a public performance license to do so. 
The owners of the public performance right in the underlying musical work typically authorize a Performance Rights Organization (or PRO), such as ASCAP, BMI, SESAC, and GMR, to license these rights. As discussed in Part I, owners of sound recordings only have a public performance right when the performance occurs by means of a digital audio transmission. That right is administered by Sound Exchange. But no license would be required when the transmission of the sound recording is by a terrestrial or other non-digital transmission, for example over broadcast radio. 
Mechanical License 
A mechanical license grants someone permission to reproduce and distribute a copy of a musical work and is required when someone wants to create and distribute copies of a song—whether in physical or digital form or whether it’s a recording of an original song or a cover version. This is because in all these examples, the musical work is being copied or a copy of it is being distributed. For example, if someone wants to use the musical work in a CD, a vinyl record, or a digital download of a song, they’ll need a mechanical license.
The Mechanical Licensing Collection (MLC) administers blanket mechanical licenses for musical compositions to eligible digital streaming and download services. A “blanket license” is a single license that allows the licensee to use any musical work in a catalogue. In the case of The MLC, the blanket license covers all musical works in the United States. The alternative to a blanket license is song-by-song licensing, which requires a licensee to obtain a license for every song they want to use on an individual basis. The blanket license covers interactive streams, limited downloads, and permanent downloads. The MLC does not administer public performance licenses for musical compositions (including for digital radio, or “non-interactive” streaming), and does not administer any rights for sound recordings.
Other organizations also administer mechanical licenses for other uses. For example, the Harry Fox Agency issues licenses for creating and distributing cover songs. Mechanical licenses can also often be obtained directly from the music publisher.
Print License
A print license is a license that allows someone to rearrange, print, or display the music notes or lyrics of a musical work in print. This type of license is required to reproduce or display sheet music or lyrics of a song in printed form. The difference between a mechanical license and a print license is that a mechanical license covers audio reproductions, while a print license covers printed reproductions.
Synchronization (“Sync”) License
A synchronization license (“sync” license) is a license that allows someone to use a musical composition along with a video in an audio-visual work. For example, a songwriter or music publisher would grant a sync license to someone who wants to use a song in a video format, such as a movie, TV show, advertisement, or video game. It would not give them the right to use a sound recording of that musical composition. In order to use the sound recording in the audiovisual, the licensee would also need to obtain a master use license from the owner of the sound recording rights. 
Master Use License
A master use license is a license that allows someone to use a particular sound recording in, for example, a movie, television show, or advertisement. Master use licenses are usually available from the record label. Many of the licenses listed above are particular to and only apply to the musical work. The master license is different in that it a license that someone gets from the owner of the master recording of the sound recording. 
Understanding Licenses is Important to Getting Compensated and to Protect Your Music
Understanding your rights and the various types of music licenses is important since the terms of those licenses will specify what rights you are licensing and how someone is allowed to use your musical work or sound recording. These licenses will also specify how much and when you will be paid for allowing such use (i.e., your royalties) and for how long these payments will continue, as well as many other aspects that govern the relationship between you, the music licensor, and the person or entity who is using your music, the licensee.
Don’t stop your copyright education here! Be on the lookout for Part III of our Understanding Copyright in Music series, and also be sure to check out Copyright Alliance’s FREE Creator Membership for additional educational resources.
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These new plugins from MQA Labs give you in-depth control over “critical details” in your recordings

MQA Labs has launched two new plugins to give producers “unprecedented control” over the “critical details” in their recordings.
The new plugins – named Inspira and Endura – both offer a different set of tools which each address different challenges in digital audio. They were previously teased during NAMM back in January under different names (simply called Input and Output plugins).
READ MORE: The Magnolia might be the most alluring synth launched at this year’s Superbooth Inpsira is designed for mixing and recording, while Endura is built for mastering. According to MQA Labs, Inspira and Endura both employ “previously unavailable methods” not used in other plugins, and tackle a sense of “flatness” that can come across in digital recordings.
By using Inspira, you can mitigate unwanted time-domain distortions that often occur during analogue-to-digital conversion. It offers two core functions: a clarity control and a section for noise shaping and dithering.
For noise shaping, the UI shows a real-time rendering of the noise floor of the recording. You can then select from several predetermined shapes, while the Depth knob will shift the shaped noise up and down to achieve the maximum resolution.
As for Endura, this plugin is intended for use on the Output Bus to enhance an entire mix. It gives engineers full control over temporal smearing, and hosts “advanced analysis capabilities” to generate unique noise shapers suited to each track.
It offers Align and Depth functions that work together, and a ‘Learn’ mode where the noise floor is analysed to create a noise shaper customised to the recording. Following the analysis, it will return with its optimised suggestions for both Align and Depth, and will allow users to compare its custom suggestions to the standard shapers.
Endura also exports in WAV and FLAC formats, ensuring that “the best-sounding masters reach any streaming service with absolute fidelity”.
Spencer Chrislu, Director of Content Services at MQA Labs, states: “These tools offer engineers a new level of creative freedom, enabling them to dial into the detail of their sound. Whether they want to refine subtle nuances or make significant enhancements, creators can now deliver their music exactly as they envisioned, unlocking possibilities previously out of reach.”
Inspira ($249) and Endura ($349) are available now. You can head over to MQA Labs to find out more. 
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Here’s All You Need to Know About that deadmau5 x James Hype Beef

Things are spicing up this summer! One of EDM’s biggest trolls, and Canadian producer deadmau5 has picked his next foe. Although Joel Zimmerman has trolled artists and audiences throughout the years, his opponent, British DJ and House star James Hype, has retaliated. In what appears to be the most current beef between artists in the electronic dance scene, deadmau5 and James Hype are now directly addressing each other on social media.
Timeline
The beef and steak started back at Ultra Miami 2025, where deadmau5 closed out the Worldwide stage playing a set full of his classics. The artist then closed out the set while picking up the microphone to make fun of the fireworks and whoever bought the $500,000 bottle service. Then, he got tired of his outro song ‘Faxing Berlin’ and started scratching the cdjs. The sentence that started the beef was: “How do I James Hype my way out of this one?”. Finally, he followed with: ” It’s real djing, I’m just saying”.
Hype didn’t stay quiet long, following the “shade” posting the clip on his socials, mixing in his newest release at the moment, ‘Don’t Wake Me Up’. Hype kept going more recently, promoting his newest live show, “Sync”. The artist used deadmau5’s logo projections to prove that you can play live and sync the visuals alongside. This is in reference to Zimmerman’s past claims that one can only sync visuals to a pre-recorded set and that it is not possible playing live. Hype ended his video with a picture of deadmau5 during one of his studio sessions while he’s eating.
deadmau5 refused to let Hype have the last laugh, as he threw a barrage of comments, making fun of Hype and joked about Hype’s effort to try to undermine him. Sometime later, Zimmerman went the extra mile and responded with a flurry of posts on Instagram where he shows how he synced the cdjs to his monitor in 5 minutes. To make matters more intense, the videos show Joel playing Elden Ring, a massive successful platform game, using the decks as controllers.
Nonetheless, deadmau5 loves to joke around and one of his posts states it’s “not that serious”, but is he being real, or trolling us yet again.
The post Here’s All You Need to Know About that deadmau5 x James Hype Beef appeared first on EDMTunes.
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Sam Silver x Groovy x Cade Clair – Heart Attack

‘Heart Attack’ is the latest single from breakout DJ/producer Sam Silver, featuring dynamic vocal performances from GROOVY and Cade Clair. The track is a unique melding of UK garage rhythms, emotional dance, and R&B-infused vocals, capturing raw angst and driving it forward with club energy.
Right from the opening beat, ‘Heart Attack’ immerses you in the action. The pulsating bass quickly establishes the mood, followed by GROOVY’s silky smooth vocals, which effectively captivate the audience. As his verse unfolds, an anxious, urgent low-end builds beneath, creating tension until the song transitions into a stuttering sample fueled by a UK garage breakbeat. Cade Clair and Groovy both showcase unique vocal styles that harmoniously complement each other, providing a smooth, melodic contrast to the UK garage-infused track. 
“Heart Attack started as a late-night idea in LA and turned into a year-long obsession,” says Sam Silver. “Groovy brought the Jersey bounce, I ripped the synths, and Cade sealed the deal. The first version was cool—but we knew it could hit harder. When I sent the new drop, Groovy lost it: ‘Bro—we have to get Cade on this.’ And he crushed it. Easily one of my favorite records I’ve touched.”
The lyrics narrate a story enlivened by the accompanying music video. It begins with a woman using an old school iPod, and transitions to a fantastical world populated by unusual characters in a vivid club scene. Amidst strobe lights and a sweaty, dark atmosphere, the footage alternates between Sam Silver at the DJ booth, Groovy and Cade Clair among a lively crowd, girls dancing in the crowded club, and surreal snapshots reflecting the track’s emotional turmoil. The video showcases various chaotic elements; from a man performing shirtless curls on the dancefloor to a snorkeler in flippers, a horse-headed raver, and a mime-like dancer. It culminates dramatically with a girl collapsing in the crowd, as chaos ensues and the music fades, symbolizing the physical and emotional “heart attack” the song conveys.

Speaking on the meaning behind the single, Groovy explains: “Heart Attack captures its name in every way. The feeling of panic and chaos when let down emotionally triggers physical symptoms. Impending doom, a pit in your stomach, a situation that just doesn’t get better no matter how positive you remain. That’s a heart attack, that’s the song.”
Heart Attack is out now on Boom Records


The post Sam Silver x Groovy x Cade Clair – Heart Attack appeared first on EDMTunes.
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Vicetone unveils new single “Over Too Soon” after making history with PROJECT V launch

Global dance music powerhouse Vicetone is excited to release their poignant new single, “Over Too Soon”, via Monstercat. Known for their infectious melodies and emotive production, the Dutch duo, comprised of childhood friends Ruben den Boer and Victor Pool, once again tap into deep emotion with this heartfelt track.
With a career spanning over a decade, Vicetone has solidified their place as leaders in the electronic music world, boasting over a billion streams, multiple platinum and gold certifications, and a fiercely loyal global fan base. Beyond their studio success, Ruben and Victor continue to push creative boundaries, building their own custom Nashville recording space as a true reflection of their passion for sound design and craftsmanship.
Recently, Vicetone brought their artistry to a new level with the live debut of their groundbreaking PROJECT V concept in China. This unique show, which took place on April 18 in Chengdu and April 19 and 20 in Guangzhou, featured a collaboration with traditional Chinese musicians accompanying Vicetone on stage while performing their biggest hits. The performances blended Eastern and Western sounds in a breathtaking display that thrilled audiences and marked an exciting new chapter in Vicetone’s live experience. Watch a clip from their unforgettable PROJECT V shows on Instagram and download the track here.
As they continue to push boundaries, “Over Too Soon” promises to be another standout moment in Vicetone’s dynamic career – a track that captures the fleeting beauty of connection with their signature emotional depth and dancefloor-ready energy.
“Over Too Soon” is available now on all streaming platforms.
The post Vicetone unveils new single “Over Too Soon” after making history with PROJECT V launch appeared first on EDMTunes.
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Ableton Live 12 is now 25% off — but not for long

For a limited time, you can save up to 25 per cent off Ableton Live 12 Standard and Suite purchases, including upgrades, at Sweetwater and Thomann. That equals a saving of up to $225, so now is probably the best time to download the DAW if you’ve been holding out.
Deals on Ableton Live don’t come around often, with the last one happening over Black Friday and Cyber Monday 2024. This flash deal isn’t hanging about long, either — you’ve only got until 19 May 2025 to get your hands on it.
In cash terms, the deal means that new users to Live 12 can pick up Live 12 Suite for $525 (saving you $225) and Live 12 Standard for $373 (saving you $66). Meanwhile, owners of Ableton Live Lite, Intro, Standard and Suite versions 7 through to 11 can make some killer savings on upgrade prices, too.
[deals ids=”tYq1v1oPx2sDx1GQTk9DK”]
Ableton Live 12 is currently one of the most popular DAWs on the planet, used by myriad producers in electronic, hip-hop, pop and alternative music.
We scored Ableton Live 12 a 9/10 in our review in 2024, praising its new MIDI editing and MIDI generation tools, powerful browsing features and calling it “the best clip-based DAW around.”
But which version should you get?
Well, Ableton Live 12 Standard edition has 13 instruments, 16 sound packs and 42 effects, and the full-fat Suite version provides 20 instruments, 33 sound packs and 58 audio effects. If you’re looking for a vast sound palette, Suite will be tremendous value for you; if you’ve already got a ton of third-party plugins and a big sound library, you can probably save a few bucks and go for Standard.
In our review, we added: “Ableton has pulled off the trick of keeping Live fun and accessible on the surface while providing a great depth of tweakability (much more so now than in the earlier years) and including heavyweight extras like the Max For Live design environment with the Suite edition,” we said in the review.
“Many users will find that the Standard edition suits their needs perfectly well, since the main thing you gain with the pricier Suite is more instruments and effects – otherwise the functionality is essentially the same.”
Check out the deal at Thomann and Sweetwater.
 
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