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[EDM House Network] Veena Unleashes Big Room Techno Single ‘LIGHT ON/OFF’

Rising DJ, Veena has just released her brand new energetic track called ‘LIGHT ON/OFF’ on all streaming platforms. Featuring hard hitting beats and catchy leads, the single is truly a mainstage anthem ready to drive crowds into a state of madness.
With an intense build-up before the drop, ‘LIGHT ON/OFF’ contains Veena’s signature sound, offering listeners a musical, dopamine feeling. The track’s hypnotic lyrics, ‘dance, life, control, dreams’ add magic to the audio experience and enhance Veena’s fresh production.
On her Instagram account, the DJ opened about the story of this release saying: “Life is a dance of light and shadow. Sometimes we embrace our shining moments (Light On), enjoying glory and success; at other times, we find ourselves in valleys (Light Off), experiencing darkness and confusion. Yet it is this coexistence of light and shadow that makes us cherish the beautiful moments even more, and learn and grow during the lows.”
Already having captivated dancefloors all over the world, on stages at festivals such as Ultra Taiwan and S2O Taiwan, Veena plans on taking her new song to new heights at her upcoming events. Considering ‘LIGHT ON/OFF’ is only her third release ever, the Taiwan DJ had a stellar rise in the past months and is eager to bring fans as much new music as possible.
Ranking fourth in the Asia DJANE Top 100 competition in 2024, Veena’s music reached the hearts of many listeners who voted for her in the poll.
Now, it is time for a new chapter in her career, with ‘LIGHT ON/OFF’ being the first release of 2025. Listen to Veena’s newest track here.
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[Decoded] 10 Mixes that defined a generation of Electronic Music in the 90s and 2000s

There’s a magic in remembering the moment the bassline hit, the lights flared, and for the first time, you truly understood electronic music. For many of us, that moment happened somewhere between the fall of the Berlin Wall and the first few years of the new millennium. The ’90s and early 2000s weren’t just a time of musical evolution—they were an eruption, a cultural phenomenon that reshaped the underground and built the very foundations that today’s scene still stands on.
In an era untouched by algorithms and TikTok virality, discovering music has been a physical journey. You might have found it on the dancefloor at Fire London at 4am. In the back of Central Station Records or Blackmarket record store. Through a cassette passed under a bathroom stall at a warehouse rave. And it was in these moments that a generation of tastemakers and trailblazers emerged—Sasha & Digweed taking us on an ethereal journey with Northern Exposure, Anthony Pappa carving out his global reputation through relentless touring and technical precision, Dave Angel pushing the frontiers of techno with soulful intelligence, and Mark Farina defining a West Coast house sound that still makes any dancefloor heave today.
What set this era apart wasn’t just the talent—it was the timing. Technology had reached a point where home studios were becoming viable but not so advanced that they eliminated craft. DJs still had to beatmatch by ear, dig for records every weekend at one of the many record stores still around, from 3 Beat in Liverpool with Steve Parry your go-to go, earning your stripes playing warm-up sets to empty rooms. There was a discipline to the art and a purity to the culture. Clubs were temples. Mixtapes were gospel. And lineups weren’t about who had the most followers—they were about who could smash a room.
This was the time of legendary mix series—Global Underground, Journeys by DJ, Back to Mine, Essential Mix. These weren’t just playlists; they were curated emotional arcs, pressed onto CDs that soundtracked everything from comedowns to cross-country road trips. They were experience capsules—Dave Clarke’s razor-sharp X-Mix with a somewhat almosted finessed form of techno, Groove Armada’s Back to Mine wrapping us in post-club warmth, and Adam Freeland’s FabricLive ripping a hole in what is possible in mashing electro, rock, techno, house, vocals with breaks that still sound futuristic today.
The community that grew around electronic music in this era was fiercely loyal (It still is). It wasn’t about trends, it was a lifestyle. Flyers were hand-drawn. Clubs had no VIP section. And whether you were in a Detroit basement or a Sydney beach party ( A big nod to Paul Strange – RIP), you were (and always have been) part of something bigger.
And here’s the kicker: the echoes of that era still pulse through today’s dancefloors. Sasha and Digweed are still pushing boundaries. Anthony Pappa remains one of the most technically gifted DJs to ever grace a booth. Dave Angel’s name is whispered with reverence by techno purists. And Mark Farina? Still dropping sets that make you want to hug strangers and dance until sunrise.
So yes, electronic music has evolved. But if you were there—if you felt that electricity, that sense of discovery and rebellion—you’ll know: the ’90s and early 2000s weren’t just a golden age. They were the age. The blueprint. The moment the underground went global, dance music truly took over the world.
Put on headphones, or in our case, put it through the sound system. these are our first round of top 10 mixes you need to hear!
1. X-Mix – Dave Clarke (1994)
Dave Clarke, the self-styled “Baron of Techno,” is still a pivotal figure in techno, bringing brutalist sound design and get fucked attitude (read his social media posts) In 1994, Clarke’s entry into the X-Mix series combined fast, unforgiving techno with razor-sharp electro, giving fans a glimpse into the harder, rawer edge of the genre during a time when it was exploding across Europe.
This mix stood out for its cinematic use of visuals of the time (in the video version) and the sheer velocity of its track selections. Clarke’s mixing was clinical yet emotive, a masterclass in high-octane precision that offered a sharp contrast to the more blissed-out sounds of the era. It became an entry point for many techno heads of the time and remains a reference point for what peak-time techno energy looks like.
Dave Clarke DJ Sets · Essential Mix 11-06-1994 2. Northern Exposure 1 – Sasha & John Digweed (1996)
Sasha & Digweed were already UK clubland royalty when they released Northern Exposure, but this mix cemented their global legacy. 1996 marked the height of progressive house and trance’s rise to prominence, and the duo curated a cinematic journey that blurred the lines between genres, moods, and even hemispheres.
What made this mix so iconic was its structure—two discs, each representing a “journey” (north and south), with seamless transitions and a lush, emotive soundscape. It was less a club mix and more a story told in BPMs, inspiring countless bedroom DJs and elevating the artform beyond dancefloors. This mix is still held s the utmost standard of what a progressive house mix should attain as a bare minimum.
The Classic Mix CD Series · 175 – Northern Exposure by Sasha & John Digweed – Disc 1 (1996) 3. The K&D Sessions – Kruder & Dorfmeister (1998)
Viennese duo Kruder & Dorfmeister were the kings of downtempo cool in the late ‘90s. Their K&D Sessions mix, released in 1998, brought a laid-back, dubby aesthetic to the forefront at a time when electronic music was diversifying and chillout culture was thriving in cafes, bars, and after-parties around the world (think Cafe del Mar, fuck, anything Ibiza at the time)
With dirty, lo-fi beats, dubwise basslines, and impeccable groove, The K&D Sessions wasn’t just background music—it was (still is) headphone heaven. The pair’s flawless production and reimagining of classics made this double CD essential for anyone looking to explore the more introspective side of electronica. It still sets the standard of a chill out mix today
farnesbarnes · Kruder & Dorfmeister – The K&D Sessions (Vinyl) (320 Kbps) 4. Anthony Pappa – Nubreed (Global Underground, 2000)
Anthony Pappa’s Nubreed release in 2000 was a landmark moment for the Global Underground brand, which was expanding its vision with a focus on rising talents. An Australian DJ with an international profile, Pappa delivered a progressive house mix that was as technically immaculate as it was emotionally charged. (Did we just write that? he’s a legend to our team)
His Nubreed volume captured a moment when trance and house were blending into a lush, melodic hybrid (No, not melodic techno you might call it now). The mix highlighted his trademark surgical transitions and deep crate knowledge, elevating him from a respected DJ to a cult hero to this day within the prog scene.
The Global Underground Archive · Global Underground – Nubreed – Anthony Pappa 5. Mark Farina – United DJs of America Vol. 9 (1996)
One part cool as fuck, one part just being Mark Farina, he brought the deep, jazzy house of San Francisco into living rooms and dancefloors worldwide with this 1996 mix. Already known for his legendary Mushroom Jazz series, Farina used this release to showcase his more dancefloor-oriented side, full of organic grooves and funky rhythms.
At a time when the U.S. was still defining (finding?) its electronic sound, Farina represented a uniquely American take on house music—soulful, warm, and unpretentious. This mix helped pave the way for the West Coast house movement and remains a timeless example of groove-led DJing. We’d be happy to sit back in LA with Mark anytime and watch the waves roll in, cocktail in hand with tidy tunes.
The Classic Mix CD Series · 024 – Mark Farina – United DJs Of America, Vol. 9 San Francisco (1998) 6. Back To Mine – Groove Armada (2000)
Groove Armada were riding high off the success of “At the River” and Vertigo when they compiled this Back to Mine installment. Unlike club-focused mixes, this series was designed for the afterparty, and Groove Armada’s edition dripped with Balearic, soul, funk, and downtempo perfection.
The duo’s eclectic taste and cross-genre fluency made this mix essential for fans of chilled yet emotionally rich soundscapes (we all love it). It was less about DJ tricks and more about storytelling through curation, and it perfectly captured the spirit of late-night living rooms better than almost anything else at the time.
The Classic Mix CD Series · 005 – Back To Mine – Groove Armada (2000) 7. Adam Freeland – FabricLive 16 (2004)
Breakbeat’s poster boy, Adam Freeland, was at the height of his powers when he dropped FabricLive 16. In the early 2000s, breaks were big business, and Freeland’s take on the genre was edgy, punk-infused, and deeply kinetic.
This mix was a futuristic fusion of rock, electro, and rave energy, reflecting the cross-pollination happening in clubs like Fabric at the time. It captured a sound that was raw yet tidy as hell, and it single-handedly introduced the breaks movement to a broader, more global audience. This fabric album is as clean as the day it was mixed!
AdamFreeland · Adam Freeland- Fabric Live 16-(2004) 8. Terry Farley & Pete Heller – Journeys By DJ: Musicmorphosis (1995)
Icons, legends and all-around masters of the UK house scene, Farley & Heller delivered a transcendent and spiritual trip with Musicmorphosis, an underappreciated gem from the Journeys By DJ series. In 1995, as rave matured into something deeper and more refined, this mix offered a spiritual, uplifting house soundtrack that pushed back, summed up Ibiza, and gave a voice to clubland.
With tribal rhythms, gospel samples, and pure 4/4 magic, the duo connected dancefloor ritualism with personal introspection. Their chemistry and shared reverence for the roots of house music made this a standout mix that still resonates with deep house purists today.
The Classic Mix CD Series · 057 – Terry Farley & Pete Heller ‎– Journeys By DJ Presents Musicmorphosis (1996) 9. Phil K – Sound Not Scene (2002)
A sorely close and missed friend, Phil K, one of Australia’s most revered underground figures, delivered a glitchy, breakbeat-infused stormer with Sound Not Scene. Known for pushing technical boundaries, Phil K embodied the darker, more cerebral edges of progressive breaks, and this mix is a showcase of his fearless approach.
In an era obsessed with seamless transitions, Phil K brought a live, controller-driven aesthetic that felt dangerous and alive. This was not just a mix—it was an experience and for many, a gateway into the next level of DJing and sonic experimentation.
The Classic Mix CD Series · 810 – Phil K – Sound Not Scene (2000) 10. Deep Dish – Yoshiesque (1999)
Deep Dish were unstoppable at the turn of the millennium, and Yoshiesque was the calling card that blended deep house with progressive muscle. Dubfire and Sharam created a world of layered grooves, lush synths, and hypnotic transitions that felt as cinematic as they were club-ready.
This mix became a defining artifact of the global progressive house movement, bridging European, Middle Eastern, and American sounds. It was a benchmark for long-form storytelling through music and catapulted Deep Dish into the superstar DJ bracket.
The Classic Mix CD Series · 010 – Deep Dish – Yoshiesque – Disc 1 (1999) The post 10 Mixes that defined a generation of Electronic Music in the 90s and 2000s appeared first on Decoded Magazine.
Ravebot
Ravebot

[Decoded] 10 Mixes that defined a generation of Electronic Music in the 90s and 2000s

There’s a magic in remembering the moment the bassline hit, the lights flared, and for the first time, you truly understood electronic music. For many of us, that moment happened somewhere between the fall of the Berlin Wall and the first few years of the new millennium. The ’90s and early 2000s weren’t just a time of musical evolution—they were an eruption, a cultural phenomenon that reshaped the underground and built the very foundations that today’s scene still stands on.
In an era untouched by algorithms and TikTok virality, discovering music has been a physical journey. You might have found it on the dancefloor at Fire London at 4am. In the back of Central Station Records or Blackmarket record store. Through a cassette passed under a bathroom stall at a warehouse rave. And it was in these moments that a generation of tastemakers and trailblazers emerged—Sasha & Digweed taking us on an ethereal journey with Northern Exposure, Anthony Pappa carving out his global reputation through relentless touring and technical precision, Dave Angel pushing the frontiers of techno with soulful intelligence, and Mark Farina defining a West Coast house sound that still makes any dancefloor heave today.
What set this era apart wasn’t just the talent—it was the timing. Technology had reached a point where home studios were becoming viable but not so advanced that they eliminated craft. DJs still had to beatmatch by ear, dig for records every weekend at one of the many record stores still around, from 3 Beat in Liverpool with Steve Parry your go-to go, earning your stripes playing warm-up sets to empty rooms. There was a discipline to the art and a purity to the culture. Clubs were temples. Mixtapes were gospel. And lineups weren’t about who had the most followers—they were about who could smash a room.
This was the time of legendary mix series—Global Underground, Journeys by DJ, Back to Mine, Essential Mix. These weren’t just playlists; they were curated emotional arcs, pressed onto CDs that soundtracked everything from comedowns to cross-country road trips. They were experience capsules—Dave Clarke’s razor-sharp X-Mix with a somewhat almosted finessed form of techno, Groove Armada’s Back to Mine wrapping us in post-club warmth, and Adam Freeland’s FabricLive ripping a hole in what is possible in mashing electro, rock, techno, house, vocals with breaks that still sound futuristic today.
The community that grew around electronic music in this era was fiercely loyal (It still is). It wasn’t about trends, it was a lifestyle. Flyers were hand-drawn. Clubs had no VIP section. And whether you were in a Detroit basement or a Sydney beach party ( A big nod to Paul Strange – RIP), you were (and always have been) part of something bigger.
And here’s the kicker: the echoes of that era still pulse through today’s dancefloors. Sasha and Digweed are still pushing boundaries. Anthony Pappa remains one of the most technically gifted DJs to ever grace a booth. Dave Angel’s name is whispered with reverence by techno purists. And Mark Farina? Still dropping sets that make you want to hug strangers and dance until sunrise.
So yes, electronic music has evolved. But if you were there—if you felt that electricity, that sense of discovery and rebellion—you’ll know: the ’90s and early 2000s weren’t just a golden age. They were the age. The blueprint. The moment the underground went global, dance music truly took over the world.
Put on headphones, or in our case, put it through the sound system. these are our first round of top 10 mixes you need to hear!
1. X-Mix – Dave Clarke (1994)
Dave Clarke, the self-styled “Baron of Techno,” is still a pivotal figure in techno, bringing brutalist sound design and get fucked attitude (read his social media posts) In 1994, Clarke’s entry into the X-Mix series combined fast, unforgiving techno with razor-sharp electro, giving fans a glimpse into the harder, rawer edge of the genre during a time when it was exploding across Europe.
This mix stood out for its cinematic use of visuals of the time (in the video version) and the sheer velocity of its track selections. Clarke’s mixing was clinical yet emotive, a masterclass in high-octane precision that offered a sharp contrast to the more blissed-out sounds of the era. It became an entry point for many techno heads of the time and remains a reference point for what peak-time techno energy looks like.
Dave Clarke DJ Sets · Essential Mix 11-06-1994 2. Northern Exposure 1 – Sasha & John Digweed (1996)
Sasha & Digweed were already UK clubland royalty when they released Northern Exposure, but this mix cemented their global legacy. 1996 marked the height of progressive house and trance’s rise to prominence, and the duo curated a cinematic journey that blurred the lines between genres, moods, and even hemispheres.
What made this mix so iconic was its structure—two discs, each representing a “journey” (north and south), with seamless transitions and a lush, emotive soundscape. It was less a club mix and more a story told in BPMs, inspiring countless bedroom DJs and elevating the artform beyond dancefloors. This mix is still held s the utmost standard of what a progressive house mix should attain as a bare minimum.
The Classic Mix CD Series · 175 – Northern Exposure by Sasha & John Digweed – Disc 1 (1996) 3. The K&D Sessions – Kruder & Dorfmeister (1998)
Viennese duo Kruder & Dorfmeister were the kings of downtempo cool in the late ‘90s. Their K&D Sessions mix, released in 1998, brought a laid-back, dubby aesthetic to the forefront at a time when electronic music was diversifying and chillout culture was thriving in cafes, bars, and after-parties around the world (think Cafe del Mar, fuck, anything Ibiza at the time)
With dirty, lo-fi beats, dubwise basslines, and impeccable groove, The K&D Sessions wasn’t just background music—it was (still is) headphone heaven. The pair’s flawless production and reimagining of classics made this double CD essential for anyone looking to explore the more introspective side of electronica. It still sets the standard of a chill out mix today
farnesbarnes · Kruder & Dorfmeister – The K&D Sessions (Vinyl) (320 Kbps) 4. Anthony Pappa – Nubreed (Global Underground, 2000)
Anthony Pappa’s Nubreed release in 2000 was a landmark moment for the Global Underground brand, which was expanding its vision with a focus on rising talents. An Australian DJ with an international profile, Pappa delivered a progressive house mix that was as technically immaculate as it was emotionally charged. (Did we just write that? he’s a legend to our team)
His Nubreed volume captured a moment when trance and house were blending into a lush, melodic hybrid (No, not melodic techno you might call it now). The mix highlighted his trademark surgical transitions and deep crate knowledge, elevating him from a respected DJ to a cult hero to this day within the prog scene.
The Global Underground Archive · Global Underground – Nubreed – Anthony Pappa 5. Mark Farina – United DJs of America Vol. 9 (1996)
One part cool as fuck, one part just being Mark Farina, he brought the deep, jazzy house of San Francisco into living rooms and dancefloors worldwide with this 1996 mix. Already known for his legendary Mushroom Jazz series, Farina used this release to showcase his more dancefloor-oriented side, full of organic grooves and funky rhythms.
At a time when the U.S. was still defining (finding?) its electronic sound, Farina represented a uniquely American take on house music—soulful, warm, and unpretentious. This mix helped pave the way for the West Coast house movement and remains a timeless example of groove-led DJing. We’d be happy to sit back in LA with Mark anytime and watch the waves roll in, cocktail in hand with tidy tunes.
The Classic Mix CD Series · 024 – Mark Farina – United DJs Of America, Vol. 9 San Francisco (1998) 6. Back To Mine – Groove Armada (2000)
Groove Armada were riding high off the success of “At the River” and Vertigo when they compiled this Back to Mine installment. Unlike club-focused mixes, this series was designed for the afterparty, and Groove Armada’s edition dripped with Balearic, soul, funk, and downtempo perfection.
The duo’s eclectic taste and cross-genre fluency made this mix essential for fans of chilled yet emotionally rich soundscapes (we all love it). It was less about DJ tricks and more about storytelling through curation, and it perfectly captured the spirit of late-night living rooms better than almost anything else at the time.
The Classic Mix CD Series · 005 – Back To Mine – Groove Armada (2000) 7. Adam Freeland – FabricLive 16 (2004)
Breakbeat’s poster boy, Adam Freeland, was at the height of his powers when he dropped FabricLive 16. In the early 2000s, breaks were big business, and Freeland’s take on the genre was edgy, punk-infused, and deeply kinetic.
This mix was a futuristic fusion of rock, electro, and rave energy, reflecting the cross-pollination happening in clubs like Fabric at the time. It captured a sound that was raw yet tidy as hell, and it single-handedly introduced the breaks movement to a broader, more global audience. This fabric album is as clean as the day it was mixed!
AdamFreeland · Adam Freeland- Fabric Live 16-(2004) 8. Terry Farley & Pete Heller – Journeys By DJ: Musicmorphosis (1995)
Icons, legends and all-around masters of the UK house scene, Farley & Heller delivered a transcendent and spiritual trip with Musicmorphosis, an underappreciated gem from the Journeys By DJ series. In 1995, as rave matured into something deeper and more refined, this mix offered a spiritual, uplifting house soundtrack that pushed back, summed up Ibiza, and gave a voice to clubland.
With tribal rhythms, gospel samples, and pure 4/4 magic, the duo connected dancefloor ritualism with personal introspection. Their chemistry and shared reverence for the roots of house music made this a standout mix that still resonates with deep house purists today.
The Classic Mix CD Series · 057 – Terry Farley & Pete Heller ‎– Journeys By DJ Presents Musicmorphosis (1996) 9. Phil K – Sound Not Scene (2002)
A sorely close and missed friend, Phil K, one of Australia’s most revered underground figures, delivered a glitchy, breakbeat-infused stormer with Sound Not Scene. Known for pushing technical boundaries, Phil K embodied the darker, more cerebral edges of progressive breaks, and this mix is a showcase of his fearless approach.
In an era obsessed with seamless transitions, Phil K brought a live, controller-driven aesthetic that felt dangerous and alive. This was not just a mix—it was an experience and for many, a gateway into the next level of DJing and sonic experimentation.
The Classic Mix CD Series · 810 – Phil K – Sound Not Scene (2000) 10. Deep Dish – Yoshiesque (1999)
Deep Dish were unstoppable at the turn of the millennium, and Yoshiesque was the calling card that blended deep house with progressive muscle. Dubfire and Sharam created a world of layered grooves, lush synths, and hypnotic transitions that felt as cinematic as they were club-ready.
This mix became a defining artifact of the global progressive house movement, bridging European, Middle Eastern, and American sounds. It was a benchmark for long-form storytelling through music and catapulted Deep Dish into the superstar DJ bracket.
The Classic Mix CD Series · 010 – Deep Dish – Yoshiesque – Disc 1 (1999) The post 10 Mixes that defined a generation of Electronic Music in the 90s and 2000s appeared first on Decoded Magazine.
Ravebot
Ravebot

[DJ Mag] 20 plug-ins under £200* that have become an industry standard

While an 'industry standard' is hard to define when it comes to music-making tools, some — whether through time or trend — have become staples in the plug-in folders of producers and engineers for their timeless sound, ingenious simplicity, creative originality or time-saving problem solving. Here, we've rounded up 20 go-to plug-ins under £200* — some more famous than others. All of them, though, are worth serious consideration for your next plug purchase
Ravebot
Ravebot

[GrooveCartel] Tomorrowland Unveils The Great Library Design Studio and MORPHO

Tomorrowland is known for making immersive and spectacular experiences at music events.
With the launch of MORPHO, the company has expanded its creative horizons into the world of high-end lifestyle. Tomorrowland has changed a lot with this new brand. It’s no longer just about the magic of its events but also about leaving a lasting architectural and design heritage.
The MORPHO collection made its official debut at the important Salone del Mobile in Milan, which is a major event in the design calendar around the world. This was a serious and ambitious move into the competitive world of high-end home and outdoor design.
Design fans and professionals are now eagerly anticipating MORPHO’s showing at ICFF in New York, which is North America’s premier design fair. This further demonstrates the brand’s global goals and its desire to captivate a discerning international audience. This planned start on two continents shows that MORPHO wants to become a major player in the high-end lifestyle market.

The Design Studio behind MORPHO
The Great Library Design Studio is the creative power behind MORPHO. It combines the imaginative storytelling of Tomorrowland with Dieter Vander Velpen’s deep understanding of architecture in a way that works perfectly. The design studio’s name, “Great Library,” makes you think of magic and complex stories, which is very similar to Tomorrowland’s long history of creating engaging experiences with fantastical themes and complex plots. This makes us think that the studio’s goal is to bring the same magic and storytelling to real-world architecture and design, making the Tomorrowland universe bigger than just the festival sites.
Dieter Vander Velpen is in charge of this creative project. He is a respected architect from Antwerp who is known for his “couture architecture” style and has a lot of experience designing high-end homes and hotels. MORPHO is likely to appeal to sophisticated and wealthy clients who value high quality and sophisticated design, given that he has experience creating high-end and custom places.
This partnership between Tomorrowland and Vander Velpen is not a new one; it builds on a history of great projects, such as the Tomorrowland headquarters in Antwerp, the cutting-edge Lab of Tomorrow in Boom, and the classy Mesa restaurant. The previous projects show that both parties have the same stylistic goals and know how to bring Tomorrowland’s magical atmosphere into real-world settings, which builds trust and excitement for the MORPHO brand.

The design of the new MORPHO collection
At the heart of MORPHO’s design theory is a deep respect for nature’s artistry, which includes both its perfect beauty and its flaws. The way the brand designs is based on a modern take on Art Nouveau, and the many complex patterns, bright colors, and different types of materials found in nature are big sources of inspiration.
The choice of Art Nouveau as the main design influence fits with a desire to capture natural beauty and classic craftsmanship. This is because Art Nouveau has always put a lot of stress on natural shapes, flowing lines, and fine details. With this rich visual language, MORPHO can turn the fleeting magic of Tomorrowland into real things that feel like they were made by hand and have a deep link to nature.
The iridescent patterns on dragonfly wings are a main theme in the MORPHO collection. These patterns are subtly and elegantly mirrored in different design elements. As a core source of inspiration, the dragonfly represents change, lightness, and the delicate beauty of nature. These are all ideas that are very much in line with the MORPHO brand’s overall philosophy. This natural feature shows how carefully the brand pays attention to detail and how symbolic its design choices are, connecting MORPHO even more to the magical world of Tomorrowland.
Art Nouveau
The collection expertly combines modern Art Nouveau styles with a range of natural textures, such as the deep grains of solid teak wood and the shiny finish of metal accents that were made by hand with great care. The Art Nouveau style is known for its sophisticated balance between organic shapes and fine details, which can be seen in this beautiful mix of natural materials and carefully made elements. Because MORPHO picked materials that are both high-quality and long-lasting, it shows that the brand is serious about creating a “lasting architectural legacy” through pieces that are both beautiful and long-lasting.
What does MORPHO sell?
MORPHO currently sells a carefully chosen range of furniture, planters, and tools for both inside and outside of homes. There are a few standout pieces in the furniture collection. They all reflect the brand’s Art Nouveau style and link to nature. The Cena dining table, whose name means “dinner” in Italian, is a beautiful example of this theory. Its base is shaped like the curvy shapes of roots, and the tabletop has a pattern that looks like Voronoi cubes. This design combines naturally moving lines with a geometric pattern that looks like it came from nature. This is a typical Art Nouveau style. The name itself makes you think of shared meals and events with other people.
With a name that means “flight” and “desire,” the Volita dining chair gives off a sense of movement and lightness through its delicate metal features that are based on dragonfly wings. The chair’s name adds to the dragonfly theme and the idea of ethereal beauty. The light and airy design contrasts with the hardness of the teak, making for a pleasing visual balance.
MORPHO Collection Highlights
Product Name Description Inspiration Source Primary Materials Intended Use Cena Dining Table Base evokes sinuous roots; Voronoi-inspired tabletop Nature, Art Nouveau Solid Teak Indoor Dining Volita Dining Chair Delicate metal details inspired by dragonfly wings Dragonfly, Art Nouveau Metal, Teak Indoor Dining Aleta Bar Stool Refined silhouette and subtle curves recalling dragonfly wings Dragonfly, Art Nouveau Metal, Teak Indoor Bar Seating Vime Lounge Chair Organic fluidity with comfort; sculptural structure with large cushions Nature, Art Nouveau Teak, Fabric Indoor/Outdoor Lounge Zen Adjustable Lounger Frame evoking intertwined roots and branches; subtle metal backrest Nature, Art Nouveau Teak, Metal, Fabric Outdoor Lounging Solis Round Daybed Circular form with soft cushions Sun, Nature, Art Nouveau Teak, Fabric Outdoor Lounging In the same way, the Aleta bar stool, whose name in Spanish means “fin,” has a shape and curves that remind me of the delicate lightness of dragonfly wings. Keeping with the dragonfly theme, the Aleta stool shows how the pattern can be used on different types of furniture. Its sleek design fits with the brand’s high-end image.
The Vime lounge chair is great for relaxing inside or outside because it combines natural flow with excellent comfort. It has a sculptural structure that is softened by large cushions. This item shows that MORPHO is dedicated to making designs that can be easily moved from indoor to outdoor settings, fitting the needs of today’s open way of life.
With a frame that looks like the intertwined shapes of roots and branches and a simple metal backrest, the Zen adjustable lounger reflects the brand’s goal to bring the peace of nature into everyday life. The word “Zen” itself makes you think of peace and rest, which is exactly what you want from outdoor lounge areas. Lastly, the Solis round daybed, which gets its name from the sun, is made to be a luxurious place to relax outside. Its round shape and soft, plush pillows make it a perfect place to unwind. T
MORPHO’s collection focuses on using materials that were gathered in a responsible way, especially solid wood and old-fashioned woodworking methods. This shows the brand’s dedication to quality and sustainability. This focus on natural materials and skilled workmanship fits with the Art Nouveau style that values quality and craftsmanship.
The debut at Salone del Mobile, Milan
MORPHO made its debut at Salone del Mobile in Milan. Salone del Mobile is the world’s largest furniture show, and designers, manufacturers, retailers, and the media come from all over the world to attend. The collection was shown in Hall 14, Stand C33, which was a great place for the world design community to learn about it.
MORPHO is going to New York for ICFF, North America’s biggest design show, after a great debut in Milan. This is part of its plan to keep showing its work around the world. From May 18th to 20th, 2025, ICFF will be held at the Javits Center in New York City. This will be MORPHO’s long-awaited launch in North America. “Designing in Harmony” is the theme of ICFF 2025, which will focus on human-centered, multisensory, and international design. This theme fits perfectly with MORPHO’s focus on natural materials, organic shapes, and artisanal craftsmanship, which suggests that it will really hit home with the ICFF crowd. Tomorrowland, Ethnicraft, and Dieter Vander Velpen will all be showing MORPHO at ICFF together, which shows that the brand is all about working together.
A conversation about the launch of MORPHO is set to take place at ICFF on Monday, May 19th, and will be led by Stacy Shoemaker, Editor-in-Chief of Hospitality Design. This session is a response to the strong interest and media coverage that MORPHO is already getting, and it gives us a chance to get to know design professionals better.
Belgian Partner Contributions
Partner Name Area of Expertise Specific Contributions to MORPHO Significance of Involvement Ethnicraft Solid Wood Furniture Manufacturing the MORPHO furniture collection Ensures high-quality craftsmanship and expertise in working with solid wood. Atelier Vierkant Handcrafted Clay Objects Likely providing planters for the collection Adds unique organic and textural elements to complement the furniture. RVB [Details not fully available] Completes the collaborative effort, potentially contributing in another area of expertise. About Tomorrowland
Finally, MORPHO is an exciting new beginning for Tomorrowland. It brings the company’s history of making magical experiences into the world of high-end house and garden design. The brand is a big new player in the high-end living market thanks to its Art Nouveau-inspired designs, strong partnerships with well-known Belgian companies like Ethnicraft and Atelier Vierkant, and dedication to using only the best materials and skilled workers.
After a successful debut at Salone del Mobile, MORPHO’s showing at ICFF in New York is a sign of its global goals and its ability to captivate a sophisticated audience around the world. With Dieter Vander Velpen and The Great Library Design Studio in charge, MORPHO is ready to make the design world better by combining artistic inspiration with high quality and the timeless magic that has become associated with the Tomorrowland name.
The post Tomorrowland Unveils The Great Library Design Studio and MORPHO appeared first on The Groove Cartel.
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Gryffin clears the air about Ultra Miami livestream audio mishap

Gryffin has responded to confusion surrounding the audio from his set at the Ultra Music Festival in Miami, held in March 2025. In a recent post on Instagram, the producer and DJ explained why the livestream sounded different from what the audience at the festival actually heard. According to Gryffin, the broadcast accidentally picked up … Continued
Gryffin clears the air about Ultra Miami livestream audio mishap
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[NOMAD]Andrew Dum Creates a new Musical Journey with his Remix of the Iconic ‘Les Djinns’

Melodic and Afro House rising star Andrew Dum unveils a brand-new musical journey with his remix of the iconic track “Les Djinns.” His reimagined version brings a wave of nostalgia while creating fresh, emotional energy—perfect for the summer season.
Andrew Dum’s edit blends the mystical and timeless essence of the original with the deep, rhythmic soul of Afro House. The result is a magical fusion of past and present.
“‘Les Djinns’ is a track that has always inspired me deeply. I felt now was the right time to bring it back—this time with my own rhythm and vision. I hope everyone feels the same energy and depth I did when I first discovered it,” says Andrew Dum.
With rolling percussion, deep basslines, and atmospheric layers, his remix transforms “Les Djinns” into an entirely new experience—one that balances emotional depth with dancefloor-ready grooves.
“Les Djinns” by Andrew Dum is out now on all streaming platforms. Dive into the deep and refreshing new take on this legendary track.
Hailing from Romania, Andrew Dum is a talented DJ and producer set to play major festivals this summer, including the world-renowned UNTOLD Festival. His worldwide tour dates will be announced soon.
With viral tracks like “Cruel Summer,” “Paradise,” and “Valle de L’Armes” (with Chocolate Puma), and over 60 million streams, Andrew is quickly becoming a global force in electronic music. His first major release of 2025, “Glamorous”—a reimagined version of Fergie’s hit in collaboration with Eran Hersh under Armada Music—further showcases his unique blend of nostalgic melodies and Afro-inspired rhythms.
Supported by heavyweights like Rüfüs Du Sol, Armin Van Buuren, Martin Garrix, Pete Tong, Chocolate Puma, Blasterjaxx, and many more, Andrew Dum continues to climb the international charts with his distinctive and innovative sound.
Follow Andrew Dum on Socials: https://andrewdum.komi.io

The post Andrew Dum Creates a new Musical Journey with his Remix of the Iconic ‘Les Djinns’ appeared first on EDMNOMAD.
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Is This the Year Bad Music Deals Die? BeatBread’s ‘Deal Comparison Tool’ Aims to Help Artists and Indie Labels Vet Competing Offers 

Mock deal terms in beatBread’s Deal Comparison Tool, with an ‘Expected Case’ for content performance during the deal term (photo: beatBread)
For those artists and indie labels lucky enough to have multiple funding offers, beatBread now offers a potentially game-changing tool for weighing competing options. Surprisingly, beatBread’s initial results show that most artists and indie labels (60%) would likely sign a sub-optimal deal before thoroughly vetting their options.
Once upon a time, music financing was a dark art driven by elusive A&R instinct. These days, thankfully, there’s a lot more data behind funding decisions, and labels (and their distributors) aren’t the only game in town. And while indie labels and artists now have more choices, sorting through what is a good and bad deal is difficult, as terms are complex, hard to understand, and fraught with traps and pitfalls. But 2025 might be the year that artists and indie labels gain a serious upper hand.
Last month, we profiled beatBread’s recently released Deal Comparison Tool, a handy platform for weighing a stack of competing music financing offers. In a nutshell, the Tool allows an artist or indie label to view a number of offers side-by-side and weigh those offers according to a variety of parameters. Just recently, DMN partnered with beatBread to further amplify this newly released platform.
Artists and labels can simultaneously compare up to five offers, analyzing upfront cash, fees, recoupment time, and long-term costs. Even better, it allows artists, indie labels, and IP owners to ‘normalize’ offer metrics, which comes in handy if deals are being extended from labels, distributors, publishers, or investors.
Of course, any artist or label can manually compare offers before deciding. The problem is that there are so many variables to weigh, and headline terms don’t tell you how costs and recoupment will likely play out over time.
‘Headline’ deal terms can mask a deal’s actual costs. And understanding outcomes based on catalog and new release performance is extremely difficult.
“Even the most sophisticated executives are sometimes deceived by ‘headline terms’ in a deal,” beatBread CEO Peter Sinclair relayed. “The Deal Comparison Tool gives artists and labels the chance to cut through the fog and get a true understanding of a deal because it links the key terms of a contract to a real range of probable outcomes as music is released and continues to perform.”
Sinclair is hugely confident about the comparison platform’s power. To put it bluntly, he’s not sure there’s a better tool out there for weighing different offers—online or off—which is exactly the confidence you need to release something of this magnitude. Just a few weeks after its launch, the Tool is being used by a significant number of artists and labels to weigh their funding options.
The strange part is that a majority of those using the Tool have chosen not to work with beatBread.
“If beatBread is only funding four, three, or even two out of ten deals we’re helping to vet, then we’re winning,” Sinclair explained. “Artists or indie labels might choose a beatBread partner or select a deal on a party entirely unaffiliated with beatBread.”
But, according to Sinclair, they know they’re signing the best offer.
“I’d rather beatBread develop a reputation as a straight shooter than try and convince an extra three or four people out of ten to take our deal when it’s not the best deal,” he continued.
Sinclair clarified, however, that this isn’t a self-service tool.
Instead, beatBread has experts to help artists and indie labels visualize the trade-offs between deal structures, including revenue splits, term lengths, and long-run costs. Once everything is laid out, determining the “best deal” depends on various factors and preferences, including the artist or indie labels’ expectation of catalog performance, risk appetite, and need for upfront cash vs. long-term cash flow.
Among the early adopters is Dan Englander, founder of indie label KingUnderground.
“When I came to beatBread, I had what I thought were two quite attractive distribution offers,” Englander said. “After seeing the output of beatBread’s Deal Comparison Tool, I realized there were several scenarios where I could have ended up strapped for cash.”
Englander didn’t end up selecting beatBread’s deal, though he did sign with a beatBread partner, which means beatBread co-invested in the deal alongside its partner.
Sinclair noted that Englander’s situation is not unique. The landscape for music financing presents a number of choices to artists and indie labels, but those choices often have many pitfalls and traps.
“It has become standard industry practice to offer headline terms (nominal term length, total deal value) that simply do not reflect how a deal is likely to play out in the real world,” Sinclair added.
“In the worst cases, beatBread’s beta test showed that some independent labels would most likely end up forced into a distress sale after a few years had they taken the seemingly best distribution or label JV offer in front of them.”
“It’s no secret that indie artists and labels have more options than ever,” Sinclair said. “BeatBread’s mission is to help them make the right decision, even if they choose a funding partner other than beatBread.”
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And After All That, TikTok Could Still Go ‘Poof’

TikTok USA, circa 2025 (Photo: TCY)
Months after ‘the ban,’ there’s no telling what happens to TikTok next in the US.
After inching oh-so-close to a deal to secure TikTok in the US, China apparently pressed hard pause on the arrangement following Trump’s tariff slap. So what does that mean for the music industry?
If you love uncertainty, this one’s for you. Trump is now extending the ban by another 75 days, though a hard clock is now ticking on a deal that was apparently 99% done. Congressional pushback on the ‘phase 2 extension’ is already happening, and Apple is seeking White House assurance that the app can remain on its App Store.
This slow-motion cookie crumble could go in any direction. Among the possibilities within the next 30 days: TikTok shutting down for good or continuing business-as-usual — or, potentially, some insane variation in the middle.
Last we checked, TikTok is available on both the iOS App Store and Google Play Store, though this situation is volatile. And certainly not a recipe for crafting stellar, long-term artist marketing campaigns — or advertising campaigns, for that matter.
Most music folks are smartly spreading their marketing efforts across the gamut of social media giants, with IG Reels and Shorts getting a nice stability bump. That said, as long as TikTok is ticking, it has the power to blow stuff up — including entire artist careers and dusty catalog tracks.
While the over-under on TikTok’s survival has gone haywire, some executive ship-jumping is worth noting — particularly TikTok Music ex-honcho Ole Obermann, who recently packed his bags for Apple Music. And he’s not the only one potentially pondering the writing on the wall.
Meanwhile, other platforms continue to seize the moment. On that note: what major social media platform just inked a broad-reaching deal with major music publishers? (Hint: the first letter isn’t ‘X’…)
On a broader note, few in the music business seem to be rooting for TikTok’s survival.
It’s not that TikTok isn’t making some effort to play nice with the music business. Just last week, for example, TikTok was among the supporting sponsors at the National Music Publishers’ Association (NMPA) golf classic and fire relief efforts in Los Angeles. But for the most part, the vibe within the music industry isn’t warmly supportive, to say the least.
TikTok famously refused to reasonably compensate rights owners until absolutely forced, with the aforementioned Obermann battling it out with Universal Music Group for weeks before a deal was hammered out. Indies are also understandably cool on this low-paying platform, though TikTok’s marketing muscle is certainly potent — especially if the viral fairy gods tap your shoulder.
Then again, that’s the aspiration for rivals like Reels and Shorts, among others. And we get the sense that witnessing a heavy door slamming on TikTok’s derriere would be oh-so-satisfying for many industry folks.
Guess everyone’s replaceable — and let’s face it, life will go on in the music industry, with or without TikTok USA playing a role in it.
More as this develops.
Got a juicy tip? Hit me up at [email protected] or Signal (@digitalmusicnews.07).
 
 
 
 
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Amazon Music Secures Exclusive Stagecoach Livestream Once Again — With Twitch, Prime Video Also Part of the Fun

Photo Credit: Goldenvoice
Amazon Music is once again the exclusive livestream partner for Goldenvoice’s Stagecoach festival. This year’s sold-out festival is taking place April 25-27 in Indio, California.
Fans from around the world will be able to enjoy sets from country music’s biggest artists from the comfort of their own homes, including riveting sets from artists like Zach Bryan, Jelly Roll, Luke Combs, Lana Del Rey, Carly Pearce, Brothers Osborne, Nelly, Creed, Dasha, Sturgill Simpson, Backstreet Boys, Midland, T-Pain, Tigirlily Gold, Scotty McCreery, and many more.
The livestream will be available on Twitch, Prime Video, and the Amazon Music app slated for a 4 pm PT start each day. Fans will be able to stream two separate channels, each featuring different artists, allowing viewers to curate their own Stagecoach viewing experience.
The Stagecoach livestream will be hosted by Kelly Sutton and Amber Anderson of the Country Heat Weekly podcast. The hosts will chat with some of the iconic festival’s hottest artists from the exclusive Amazon Music backstage set to preview the exciting performances fans can expect to see throughout the weekend.
For the first time, Amazon Music will be immediately rebroadcasting the festival each day for fans of country music outside of the US. Starting at 7 am GMT April 26-28, country music fans will be able to watch a full rebroadcast of the livestream from the previous day.
Customers will also be able to brouse the ‘Festival Shop’—a one-stop destination showcasing an unrivaled selection of music festival essentials on Amazon. Customers can browse thousands of items—from exclusive Amazon Music artist merch collections to trending festival fashion, essentials, beauty products and more.
Fans can also purchase exclusive merchandise from Stagecoach headliners Zach Bryan, Jelly Roll, and Luke Combs. Select artist merch items will also be available through the Amazon Music app. This move is very similar to YouTube’s deal with Coachella, offering artist merch for sale alongside the livestreams as fans enjoy them.
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All Things Considered Acquires Majority Stake in Jamie Osman’s Easy Life Entertainment: ‘Solidifying Our Position As a Fully Integrated Music Company’

A live performance from Fatherson, one of the acts signed to Easy Life Records. Along with several other Easy Life entities, the label has been majority-acquired by All Things Considered. Photo Credit: Paul Hudson
All Things Considered (ATC) has acquired a majority interest in Jamie Osman’s Easy Life Entertainment management company and label.
London-headquartered All Things Considered revealed the purchase in a brief release this morning. Per the buyer, which has closed a number of acquisitions during the past year and change, today’s play extends to 11-year-old Easy Life’s management unit (Real Life), namesake label (formerly a Sony Music JV), and PR agency (Turn the Page) alike.
(The formal announcement doesn’t mention Bear Creative or Kingswood Studios, which are said to have operated under the Easy Life Entertainment banner as well.)
On the management side, Real Life’s roster features Mouth Culture, Kids in Glass Houses, and Bears in Trees, according to the appropriate website. Said website displays 13 total clients; only 11 acts are said to be coming aboard All Things Considered, however.
Meanwhile, Easy Life Records’ signed talent includes but isn’t limited to Fatherson, Softcult, and Normandie. The transaction encompasses the label’s north of 300-master catalog, the involved parties noted, identifying as well about £510,000 (currently $650,000) in annual revenue for the overarching Easy Life.
Regarding valuation, ATC pointed to a cash “Net Acquisition consideration” of $956,598/£750,000, calculated “after netting off a post-completion dividend” of $357,124/£280,000 payable to the purchaser.
In a statement, All Things Considered head Adam Driscoll touted the buyout as another step towards solidifying his business’s “position as a fully integrated music company.”
“Jamie is well respected in the industry and brings considerable experience and an extensive network of client and industry relationships,” Driscoll said in part. “The Acquisition adds a meaningful revenue stream to the business through predictable, recurring music royalty income.
“In addition, by expanding our service offering, we have strengthened our ability to support artists at every stage of their careers, further solidifying our position as a fully integrated music company,” concluded the Fuel Music owner.
As mentioned, the play is the latest in a line of deals for the Driift stakeholder All Things Considered, which, via its Sandbag interest, says it handles “all merchandise sales” for ABBA Voyage.
In February 2024, the Familiar Music owner ATC took a 50% stake in concert and festival organizer Mckeown Events, to name one example. May 2024 then saw ATC buy 55% of Raw Power Management, which reps Bullet for My Valentine, The Damned, and The Mars Volta, among others.
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[EDM.com] Breakaway Festival Delivers Big Drops and Bigger Energy in Dallas Debut

In Dallas, a place where live music often plays second fiddle to sports and barbecue, Breakaway Festival made a compelling case for change.
In a city known for its big hair and bigger personalities, the nation's fastest-growing traveling music festival managed to successfully plant its boots in a market long overlooked by the EDM circuit. Breakaway's Dallas debut this past weekend was a big moment for the barnstorming brand, which in late-2024 announced its expansion to six new locations before being named by EDM.com as the year's top event organizer. 
Dallas was the first of those new cities. Over 12,000 daily attendees arrived at Fair Park April 5-6, hungry for the experience upon which Breakaway has built its rapidly expanding empire—and free toasted subs from Jimmy John's. They took in performances by headliners Gryffin, SLANDER, Louis The Child, Afrojack and Zedd, the lattermost of whom stole the show with his encyclopedic arsenal of dance anthems.
Zedd closed out the festival's first day with a euphoric spin of "Clarity," a track that refuses to age, continuing to swell hearts and spark singalongs over 12 years after its release.
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His rapturous encore was a microcosm of Breakaway's growing influence. In a landscape where mega-festivals have become synonymous with coastal cities and cultural capitals, the organization has carved out a different path, one rooted in accessibility and regional identity.
What distinguishes Breakaway isn't innovation so much as execution, delivering established festival tropes with remarkable consistency and polish across its dozen markets. Its success lies in that duality, identifying and satisfying historically fringe electronic dance music markets like Atlanta and Grand Rapids, where hip-hop and indie-rock respectively dominate.
The raving community in the Dallas-Fort Worth area had been starving for a large-scale spring EDM festival. Lights All Night doesn't come until the annual ball-drop over New Year's Weekend, and Disco Donnie's Ubbi Dubbi event in April caters to the dubstep and bass music niche, as does Shaquille O'Neal's "Bass All-Stars Festival."
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To that end, the debut of Breakaway Dallas leaned into a communal energy that felt like a reunion of strangers. In fact, the crowd itself told the most compelling story.
"Finally" was the weekend's unofficial mantra. We overheard conversations between sets that revealed genuine gratitude among attendees who had previously traveled to Houston, Austin or even across state lines into Oklahoma for a tried-and-true EDM experience. SILO, which opened in Dallas' Design District in late-2024, has admirably filled the void, but nightclubs can only offer so much.
If this Dallas debut serves as an indicator, Breakaway's festival expansion strategy is just heating up. The brand has identified a genuine need in the market and meets it with competence and flash, proving that you don't need to reinvent the wheel—just make sure its spokes are strong enough to reach the people who need it most.
Follow Breakaway Music Festival:
X: x.com/breakawayfest
Instagram: instagram.com/breakaway
TikTok: tiktok.com/@breakawayfest
Facebook: facebook.com/breakawayfestival
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Longtime Danny Wimmer Presents CEO Danny Hayes Confirms Departure — ‘Wimmer Has Bought Out My Shares’

Breaking Benjamin performing during Danny Wimmer Presents’ Louder Than Life. Photo Credit: MitchDoner
After close to 11 years at the helm of Danny Wimmer Presents, CEO Danny Hayes has “made the difficult decision to part ways” with the Louder Than Life organizer.
Hayes confirmed his exit in a message posted to LinkedIn as well as Instagram. Despite spanning north of 200 words, the announcement doesn’t shed light on the precise circumstances surrounding his departure from Danny Wimmer Presents, which set sail in 2011.
But as mentioned, the text does describe the decision as “difficult” – indicating as well that Hayes had discussed and finalized the move with the festival promoter’s namesake founder.
“After 10 incredible years,” Hayes wrote, “Wimmer and I have made the difficult decision to part ways. This wasn’t easy, but we both knew the time was right. Wimmer has bought out my shares and will continue leading DWP into the future. I have nothing but love, respect, and appreciation for him, and I know he will continue to do great things.”
In a statement provided to Pollstar, Wimmer was similarly light on details and heavy on praise, noting in part that “[b]reakups are never easy, especially when there’s history and heart involved.” Wimmer also wished Hayes “nothing but success in whatever comes next.”
On this front, Hayes stopped short of confirming the next steps in his career.
“I’ll always be a fan as I prepare for my next adventure,” Hayes proceeded. “I don’t know what that is yet, but I do know that DWP, the fans, the bands, the vendors, the partners, and every single person who has been part of this journey—past and present—has made this an experience I will cherish forever.”
However, the attorney did disclose that his executive assistant, Ashley Shuman, “has already signed on for the next adventure with me.” And in a separate LinkedIn post, Shuman reiterated that this adventure’s particulars aren’t set in stone.
“Moving forward- Hayes and I are no longer with DWP,” Shuman added in part. “DWP will always hold a special place in my heart and I can’t wait to see what the team does next. Hayes and I have worked side by side for the past three years, and while we don’t know exactly what’s next, we’ll figure it out and continue working together.”
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Mexico City’s AXE Ceremonia Festival Canceled After Crane Collapse Leaves Two Dead

Photo Credit: AXE Ceremonia
Mexico City’s AXE Ceremonia two-day music festival canceled its second day after a crane collapsed, leaving two people dead.
The canceled Sunday lineup included scheduled performances from Tyler, the Creator, the Marias, and Massive Attack. Festival organizers posted a statement for attendees letting them know of the cancelation. “With deep sadness, we confirm the passing of the two people who were injured during today’s incident,” the statement begins.
“We are deeply heartbroken by this loss. We are reaching out to their families to support them during this incredibly difficult time and to provide them with all our care and solidarity. The safety of our community has always been our priority, and we continue, as from the very beginning, to maintain close collaboration and complete transparency with the authorities.”
Authorities who responded to the incident say a crane that was holding a decorative metallic object was blown over by a heavy wind gust. The crane fell on two people “who received pre-hospital care at the scene, and were later urgently transported to the hospital.” Those two people were later identified as photographers Miguel Angel Rojas and Berenice Giles for Spanish-language media outlet Mr. Indie.
AXE Ceremonia continued its first day festivities after the accident, with performances by Charli XCX and Tomorrow X Together. The closure order appears to come from the Mexico City Mayor’s office.
“The teams from the Miguel Hidalgo Government and Legal Affairs, along with the borough’s Civil Protection Department and the Administrative Verification Institute of Mexico City completed the inspection and placed suspension seals at the entrances to AXE Ceremonia in Bicentennial Park,” the mayor’s office said in a statement. “Therefore, this event on April 6 is suspended.”
Festival organizers confirmed authorities suspended the second day of the festival in their statement. Refunds for the second day will automatically be issued to those in attendance. “We inform you that the activities scheduled for today have been suspended, following the guidelines of the relevant authorities. Our sympathy and support go out to their families and loved ones during this difficult time.”
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[EDM House Network] Alex Kislov Releases Remix Album Of ‘Dream Sequence’

Following the release of his ‘Dream Sequence’ album late last year, Alex Kislov returns with fresh sounds for his listeners, giving new life to his originals, he presents a hard-hitting remix album, ‘Dream Sequence: The Remixes’ via his own label, AK & Friends. As he invites a diverse lineup of Producers and DJs to rework the tracks, he curates a collection that reimagines his music through unique perspectives and distinct creative touches, revealing new dimensions of sound whilst retaining the immersive quality and engaging energy that defined the original album. 
With a journey driven by a pure passion for Electronic Music, enthusiastic about its forward progression and his role in its evolution, Alex Kislov continually steps out as a motivated member of the genre’s creative community. This time, he emerges not only to expand his discography with new music but also to highlight his own tastes, shining a spotlight on talented artists that inspire his own creativity and celebrating those making waves within the genre. 
When speaking on this new body of work, Alex Kislov mentions: 
“‘Dream Sequence: The Remixes is a beautiful re-interpretation of the album by some of my favorite producers and artists. It was a way to reignite a sequence of dreams, but this time from a different angle.”
Delivering a total of ten reworks, ‘Dream Sequence: The Remixes’ unfolds into a compelling journey for any fan of Electronic Music to enjoy. Bringing in substyles from across the genre, including Afro House, Progressive House, Tech House, Future Bass, and Melodic Techno, the album explores the breadth of the Electronic Music landscape, giving way to diverse sounds as each remixer brings their own distinct identity to the project. 
Regarding the inspiration behind this body of work, Alex Kislov explains: 
“This project came to be when I finished my album and received feedback from some of my Producer friends. One of them actually asked to do a remix, and that stemmed the entire idea of launching a full album of remixes of the project.”
With talents like Terry Golden, RJ Pickens, Arvi Mala, COFRESI, Mattheo, Side Project, Ivano Lima, Xeibo, and John Lyn included in the lineup, the album crafts tracks that will surely resonate on the dancefloor and beyond, weaving through soundscapes detailed with hard-hitting beats, uplifting melodic lines, driving basslines and atmospheric textures. From the punchy sound of Terry Golden’s rework of ‘Nocturne,’ integrating elevating risers, hypnotic leads, and interwoven synth work, to the dark energy of Arvi Mala’s take on ‘Tales,’ with its sharp rhythms, moody bassline, and futuristic-sounding synth hits, listeners can experience a fusion of styles in ‘Dream Sequence: The Remixes,’ where each production adds depth and a refreshing dynamic to the Alex Kislov original. 
For Alex Kislov, this release holds special significance:
“I am so excited for this album / EP to come right in time for Miami Music Week! It has so much soul and vibe to it, each artist really captured the essence of the theme of the album and took one track from the album and made it their own.”
Filled with energy, forward-thinking sounds, and diverse approaches, dive into Alex Kislov’s ‘Dream Sequence: The Remixes’ to explore a reimagined sonic journey that highlights both the evolution of the album and the artistry of its collaborators. 
With his journey continuing to bring exciting moments, make sure to keep up with Alex Kislov via social media as this no doubt marks just another step in his evolution, sure to see him exploring new creative pursuits next and deliver more innovative music to his fans.
‘Dream Sequence: The Remixes’ is out now via AK & Friends and is available to stream and download across platforms. 
Listen and Buy ‘Dream Sequence: The Remixes’ Now:   
Alex Kislov Online   
Spotify | Instagram | Beatport     
Terry Golden Online   
Beatport | Instagram | Spotify   
RJ Pickens Online   
Instagram | Soundcloud   
Arvi Mala Online
Instagram | Spotify   
COFRESI Online
Instagram | Spotify   
Mattheo Online
Instagram | Soundcloud   
Side Project Online
Instagram |Spotify   
Ivano Lima Online
Instagram | Soundcloud   
Xeibo Online
Instagram | Soundcloud   
John Lyn Online
Instagram | Spotify  
Orville Kline Online 
Instagram | Spotify

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[EDM House Network] Terry Golden Blends Progressive & Melodic House In New Single ‘Walk Like An Egyptian’

Terry Golden continues his forward momentum with the release of his latest single, ‘Walk Like An Egyptian’, a euphoric and melody-driven production that showcases his signature blend of Progressive and Melodic House, out now via Exx Underground. Known for his ability to craft immersive soundscapes packed with energy and emotion, Terry Golden once again delivers a track primed for peak-time dancefloors worldwide.
Following a string of powerful releases that have earned him support from industry heavyweights such as Camelphat, Benny Benassi, and David Guetta, Terry Golden remains a driving force in the Electronic music scene. His dedication to pushing boundaries is evident in ‘Walk Like An Egyptian,’ as he weaves together intricate layers of sound, uplifting harmonies, and pulsating rhythms to create an electrifying listening experience.

From the first beat, ‘Walk Like An Egyptian’ sets the stage with a signature Terry Golden lead synth, cutting through the mix with a unique intensity; the track builds with an energetic bassline and rhythmic drive, leading to a drop that unleashes its full power, a moment designed for the height of a DJ set.
Layered with wobbling and stuttering synth lines, dynamic risers, and textural elements, the track evolves through an intricate interplay of melody and energy, and the fusion of uplifting yet powerful sonic elements ensures that ‘Walk Like An Egyptian’ is as captivating on a festival mainstage as it is in a club setting.
With releases on respected labels such as Iconyc, Sirup Music, and Black Hole Recordings, Terry Golden has continuously proven his ability to craft music that resonates with both fans and industry tastemakers. His distinct style, marked by its progressive energy, melodic depth, and forward-thinking production techniques, solidifies his place among the most exciting rising Producers in Electronic music scene.
‘Walk Like An Egyptian’ showcases Terry Golden’s dedication to crafting powerful, high-energy music, reinforcing his reputation as a producer with a distinct and evolving sound. With each release, he continues to push his creative boundaries, further shaping his identity and artistic evolution.
Be sure to listen to ‘Walk Like An Egyptian’ and stay connected with Terry Golden as he continues to unveil new music and exciting projects.
‘Walk Like An Egyptian’ is out now via Exx Underground and it’s available on all major streaming platforms.
Listen and Buy ‘Walk Like An Egyptian’ Now: 
Terry Golden Online
Website | Instagram | Spotify
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[EDM House Network] TATE SEDAR Talks About His New EP, Staying Inspired, Storytelling In Music & More

TATE SEDAR is no stranger to reinvention, but with his debut EP ‘THIS IS POST-EDM’, the San Francisco native brings it all full circle. A year after announcing his rebrand into the genre he coined “post-EDM,” TATE SEDAR delivers a body of work that not only traces his artistic evolution, but also pushes the boundaries of what electronic music can sound and feel like. With over half a million streams, a string of high-profile shows—including direct support for R3HAB at Avalon Hollywood—and a reawakened connection to his hometown through a headlining return at DNA Lounge, 2024 marked a pivotal chapter. Now, as the EP closes with the long-awaited release of ‘Dream’ featuring Otto Palmborg, TATE SEDAR sits down with EDMHouseNetwork to reflect on the tracks that tested him, the genres that still call to him, and what it really means to make music in a post-EDM world.
If you had to pick one track from the EP that stretched you the most as an artist, which one would it be and why?
Hey, EDM House Network. Great to be back after a couple of years! I was originally going to say “Our Goodbye,” because it went through two versions and it is one of the oldest tracks BUT I’d probably have to go with “Coming Home (I.M.U).” It stretched me because I had to incorporate my post-EDM sound in a way that the track didn’t just play as a typical progressive house track. It also took a year to find the right vocal, cost a good amount of time in the studio managing the low end, and was a learning experience in collaborating with people.
You’ve drawn from everything, Motown, rock, progressive house. Is there a sound or genre you haven’t tapped into yet but really want to experiment with?
I’ve sort of dug into bass house already with my remix of “Acrobatic” by SIDEPIECE on SoundCloud, but would like to do that more. I want to combine more harmonic and melodic elements into it, especially from the “color” genres of color bass or color house. I also am always intrigued by hyperpop and trying to invest that into productions as well.
“Coming Home (I.M.U)” was born in a hectic period of shows and touring. Do you find that live performances fuel your creativity, or do you need quiet studio time to really lock in?
I’d say, for me now, shows 7 times out of 10 show the results of your productions and how people respond to them – rather than bringing about any production-based inspiration. It’s rare shows ever inspire production. However, I think playing OTHER people’s music and seeing how people respond to it is, on a side note, one of the unique values in the craft of DJing – but also a way to see what makes people move and feel in the market as it comes time to return to the studio for the ideation process.
I think the traditional album cycle of record companies exists for a reason, not just for there to be time to create – but to also tour, promote music and let that music marinade with audiences. A show every once and a while does get my spirits up, motivates me and most importantly – allows me to connect with people and fans. However, I do think some organized and isolated studio time is key…at least for me.
You put out 13 releases in a single year. How do you stay inspired and avoid creative burnout?
I avoid writer’s block in a way that some people would consider to be both advantageous and crippling, and that is: if I’m not inspired, I go back to something unfinished or old. Iit is both a realistic and still productive approach on how to maximize creativity without losing an artistic spark. We’re not going to magically be inspired every second of the day – we need life to kick in and let it (inspiration) happen. But I think when things aren’t flowing, go back to something old. Now, there is going way too deep and working on so many aged projects that sound nostalgic, may not resonate with audiences, etc. That is counterproductive both to time management and creativity – the act of always making something fresh or new. When I’m not inspired, I just work on a couple of contemporary projects or older ones that are strong ideas. This allows me to maintain productivity AND can also help source new inspiration, as working on dated projects can bring up new ideas. 
Your remix of “Hero” had a clear social message. Do you think electronic music has enough space for storytelling with real meaning?
The answer is yes. I think that there is a huge gap or void of storytelling in the larger genres of electronic and dance music. And when you think of the histories & origins of the two forms of music and how they can resonate with the world we currently live in – culturally, socially and politically – there is so much that can be done.
You’ve been featured on some of the biggest dance music platforms. Was there a moment that made you step back and realize, “Okay, this is real now”?
I think the moment things started to kick in was when I got my first track “Heaven” on radio on My95.9 in Hawaii. It really felt, like, an organic audition moment for the world to hear me; it was always a personal dream for me to be on there and I thought it was gonna happen even later. So to have that was a groundbreaking moment. And what made it special was a friend from elementary school living in Oahu got to video-record and share that moment with me. An honorable mention also is getting broadcasted globally on the Discovery Project channel of the EDC Virtual Rave-a-thon in 2020.
A year from now, what’s the dream? Whether it’s a new sound, a festival stage, or something completely unexpected. What’s next?
A dream of mine – and I know this sounds a little more practical – is to cultivate an audience that would allow me to connect with fans outside of California. I have played outside of the state and internationally, but I want to learn how to better navigate the industry and forge my career in a way that I can connect more with people outside of social media into the real world and create moments & experiences for them – which would then allow me to take everything else to the next level.
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Blondie Drummer Clem Burke Dies Aged 70 After Battling Cancer

Photo Credit: Clem Burke by Blondie
Clem Burke, the drummer for Blondie, has died after privately battling cancer. He was 70 years old.
Blondie, the iconic New York City rock band founded by singer Debbie Harry and guitarist Chris Stein in 1974, announced Burke’s passing on social media.
“It is with profound sadness that we relay news of the passing of our beloved friend and bandmate Clem Burke following a private battle with cancer,” wrote the band. “Clem was not just a drummer. He was the heartbeat of Blondie. His talent, energy, and passion for music were unmatched, and his contributions to our sound and success are immeasurable.”
“Beyond his musicianship, Clem was a source of inspiration both on and off the stage. His vibrant spirit, infectious enthusiasm, and rock solid work ethic touched everyone who had the privilege of knowing him,” Blondie’s statement continues.
Clem Burke played and collaborated with numerous iconic artists, including Eurythmics, the Ramones, Bob Dylan, David Bowie, Iggy Pop, Joan Jett, Bob Geldof, Chequered Past, The Fleshtones, The Romantics, Dramarama, The Adult Net, The Split Squad, The International Swingers, LAMF, Empty Hearts, Slinky Vagabond, and the Go-Go’s.
“His influence and contributions have spanned decades and genres, leaving an indelible mark on every project he was a part of,” said the band. “We extend our deepest condolences to Clem’s family, friends, and fans around the world. His legacy will live on through the tremendous amount of music he created and the countless lives he touched.”
Blondie, best known for hits like “Call Me,” “Heart of Glass,” “Rapture,” and “One Way Or Another,” initially existed from 1974 to 1982. The band reunited in 1997, and their most recent album was 2017’s Pollinator. Naturally, Clem Burke played the drums on the record.
The band’s statement didn’t specify what type of cancer Burke was fighting, or how long it had been since he was diagnosed. “As we navigate this profound loss, we ask for privacy during this difficult time,” they conclude. “Godspeed, Dr. Burke.”
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