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[EDM House Network] Weekend Festival Add More Names To Stacked Lineup

The Weekend Festival’s lineup is being expanded with new superstars, as world-renowned DJ/producers Hardwell and Robin Schulz join the event’s artist roster. Other top producers are now also being announced for Weekend, including Finnish power duo Super8 & Tab, who are celebrating their 20th anniversary, and Vini Vici, a regular at dance music’s biggest festivals. Weekend will be held at Vermo Event Park in Espoo, Finland on August 1–2.
Dutchman Hardwell has had a career spanning over ten years, and has been twice named the world’s best DJ. With 1.3 billion YouTube views and over six million monthly Spotify listeners, he is one of the most influential and widely recognized artists in electronic dance music. Hardwell is a regular at the world’s biggest festivals, and his Revealed label has brought numerous new artists to prominence.
Robin Schulz is Germany’s most successful international solo artist of all time. He has risen to global stardom and become known for his unique blend of house, electronic and pop in his music. Schulz is one of the most streamed DJs of all time with over 26 million Spotify listeners.
Super8 & Tab, formed by Miika Eloranta and Janne Mansnerus, is the highest-ranked Finnish duo on the international DJ Mag top 100 list and has released five studio albums, four compilations and over a hundred singles during their long career. Vini Vici, a line-up of Israelis Aviram Saharai and Matan Kadosh, has become one of the top names in the genre worldwide with their psychedelic trance.
The real surprise of the festival will be the b2b show by Dutch artists Atmozfears and Frontliner, which will not leave anyone indifferent. Other artists now announced for the Weekend include British DJ/producer Aaron Hibell, Dutch hardstyle artist Bass Modulators, one of Belgium’s most popular producers Coone, Norwegian electro house master K-391, French artist Malaa, who hides behind a balaclava, Slovak artist Nifra, who was twice chosen as the best female trance artist, French producers Space 92 and POPOF‘s new joint project Space 92 x POPOF Present: Turbulences, and Swedish melodic techno artist Valdés.
In addition, Finnish acts Heavyweight and TMPR will perform on the Future Stage, as well as Agnia, Atro and Heikki L b2b Markson on the already legendary CNNTC stage.
Dutch DJ superstar Armin van Buuren and Australian top producer Fisher have already been announced as headliners for the event.
Weekend offers a unique lineup of top electronic dance music performers from a wide range of genres this year. Two-day ticket sales have started strongly, and now we have also put one-day tickets on sale. This year’s Purple Dimension theme takes Weekend‘s overall look to a whole new level. In addition to music, the main focus is on lights, lasers and pyrotechnics, which will awaken every sense of the audience, says Weekend Festival‘s Marketing Director Atro Anttila.
Weekend‘s daily lineup of performers has now been published, and at the same time all ticket types, including one-day tickets, have been opened for sale.
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[NOMAD]Heat Ledger Ignites the Dance Floor with Latin-Infused House Banger “El Calor”

Vancouver-born producer Heat Ledger is turning up the heat with his electrifying new single, “El Calor” — a Latin-infused house track that brings the rhythm, energy, and undeniable club vibes.
Inspired by the sultry Miami nightlife and the timeless grooves of ‘90s house music, “El Calor” is a hypnotic blend of crisp percussion, deep pulsing basslines, and a sultry vocal hook that demands movement. The track’s standout lyric — “El calor va subiendo, los cuerpos van bajando” (As the heat rises, bodies hit the floor) — perfectly captures the track’s intoxicating effect.
Driven by a seductive Latin acoustic guitar riff and a groove that blends classic house with a modern global twist, “El Calor” showcases Heat Ledger’s signature production style: tight, energetic, and immersive. It’s a high-octane ride from start to finish — the kind of song that transforms any space into a sweaty, late-night dance floor.
“This track was born out of a deep love for the energy of Miami clubs and the classic house records I grew up on,” says Heat Ledger. “I wanted to create something that brings that same fire — something that makes people feel alive.”
“El Calor” marks a bold new chapter for Heat Ledger as he explores Latin influences for the first time, expanding his sonic palette while staying true to the house foundations that define his sound.
Follow Heat Ledger on Socials:
https://www.instagram.com/heatledgerofficial/
https://www.tiktok.com/@_heatonthebeat
https://www.facebook.com/HeatLedgerMusic

Follow Ingate Records:
https://www.instagram.com/ingaterecords/
The post Heat Ledger Ignites the Dance Floor with Latin-Infused House Banger “El Calor” appeared first on EDMNOMAD.
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[GrooveCartel] Adriatique drops remix for RÜFÜS DU SOL ‘In The Moment’

Grammy-winning live electronic group RÜFÜS DU SOL announced that their highly praised album Inhale / Exhale will have an official remix package coming out on May 1. 2. Adriatique‘s remix of “In the Moment” is out now on Rose Avenue/Reprise Record. It gives you a sneak peek at the future 15-track remix collection. 1.
Inhale / Exhale Remixed is a celebration of the band’s deep ties to club music and undeniable impact in the electronic space. It adds to their legacy as both creators and tastemakers. As well as Adriatique’s “In The Moment” remix, Inhale / Exhale Remixed will have music by the Turkish-Italian underground star Carlita, the Haitian house producer Francis Mercier, the Peruvian DJ Sofia Kourtesis, the Swiss heavyweight Andrea Oliva, the German deep house artist Emanuel Satie, the melodic innovator Enamour, the Afro-tech powerhouse Nitefreak, and many more.
Leading Inhale / Exhale Remixed, Adriatique reimagination of “In the Moment” in their signature sound, adding airy synthwork and driving basslines to RÜFÜS’s soft original to make the dancefloor jump. RÜFÜS and Adriatique have worked together before, with RÜFÜS’s version of “On My Knees” being the first track on the band’s Surrender (Remixes) album in 2002. On February 22, the next year, RÜFÜS covered Adriatique and WhoMadeWho’s Rose Avenue song “Miracle“. The “In The Moment” remix brings the pair back together with a new version that captures the late-night energy of Inhale / Exhale Re. mixed.
You can now stream Adriatique’s remix of “In The Moment” on all devices and pre-order Inhale / Exhale Remixed.

The post Adriatique drops remix for RÜFÜS DU SOL ‘In The Moment’ appeared first on The Groove Cartel.
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[EDMTunes] Tinlicker & Hero Baldwin Collaborate on Heartfelt Single -‘I Started a Fire’

Dutch electronic giants and live artists Tinlicker release their new single ‘I Started A Fire’ featuring London-based producer Hero Baldwin, out now on Remember The Future/[PIAS]. The duo’s ability to connect emotionally with their collaborators as well as their audiences, beautifully showcased on their acclaimed last album ‘Cold Enough For Snow’, has made them a creative force.
Their signature sound weaves melodic elements with soulful vocals, evocative lyrics, heart-felt indie guitar and orchestral strands into danceable as well as listenable music. As well as their peerless catalogue of releases, Tinlicker have produced successful remixes for alt-J, deadmau5, Kosheen. With support from the likes of Billboard, DJ Mag, BBC Radio 1, SiriusXM they continue to re-define electronic music.
The yearning, sweet vocal begins its clear and heart-stirring singing of the emotional lyrics supported by evocative piano chord pairs, before the beat and lively percussion provide a contrast and danceability and sustained, horn-like chords supply background melody to the song. Grab your copy here.
The new single heralds Tinlicker’s April Coachella shows, marking the start of their prestigious European & North American festival run which also includes Paaspop NL, Lightning in a Bottle US, Brooklyn Mirage NYC, and London’s Live In The Park. If you can’t get to see them, rumour has it they are working on a new album, something for us all to look forward to.

The post Tinlicker & Hero Baldwin Collaborate on Heartfelt Single -‘I Started a Fire’ appeared first on EDMTunes.
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[EDMTunes] EVAN GIIA Drops Emotional New Single ‘HARD FEELINGS’

EVAN GIIA kicks off a new chapter with ‘HARD FEELINGS’, the first of three upcoming singles from the Breakaway Projects signee. Known for her powerful vocals and emotionally charged lyrics, the Brooklyn-based artist doesn’t hold back on this raw and relatable release.
‘HARD FEELINGS’ dives into the ache of losing a close friend, echoing sentiments of betrayal and disappointment with lines like “I thought this shit was real, but I guess you got enough.” The track balances vulnerability with defiance, wrapped in punchy production that amplifies GIIA’s vocal intensity.
The release also marks a milestone as her first on Breakaway Projects, the label arm of the nation’s leading independent music festival brand. Backed by industry heavyweights like The Orchard, Breakaway Projects aims to support the next generation of artists with full-service development and distribution.
With career highlights that include over 75 million streams on her breakout hit ‘WESTWORLD’, a #1 U.S. Dance Radio single ‘Don’t Let Me Let Go’ with Dillon Francis and Illenium, and charting at #7 on Billboard Dance with ‘Burning’ alongside Gorgon City, EVAN GIIA has firmly established herself in the scene. She’s also lit up stages at Coachella, EDC, Lollapalooza, Bonnaroo, and of course, Breakaway.
Fans can catch her performing ‘HARD FEELINGS’ live at Breakaway Dallas on April 6th and Breakaway Tampa on April 26th. Expect an emotional singalong moment during her set.
Listen below via Spotify:
The post EVAN GIIA Drops Emotional New Single ‘HARD FEELINGS’ appeared first on EDMTunes.
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[EDMTunes] Complete 2025 North Coast Music Festival Lineup

North Coast Music Festival finishes off its 15th-anniversary artist lineup with a phase 2 announcement for the 2025 event. This top-tier lineup will take the stage at SeatGeek Stadium in Bridgeview, IL from August 29-31, 2025. NCM is already generating significant buzz with its massive headliners. Previously, in phase one, they announced headliners like Chris Lake, Excision, Galantis, Zedd, and more. Now, they have added psychedelic dubstep legend Liquid Stranger, bass duo ATLiens, electro-soul artist Daily Bread, and more to the already stacked lineup. Fans are in for a truly special experience as the event celebrates over a decade of exceptional music and innovation.
New Phase 2 Artists
Joining the already impressive roster, the newly announced artists include some of the biggest names in bass music, electronic, and more. Liquid Stranger, ATLiens, and Daily Bread bring their distinct sounds to the stage, adding to the festival’s bass-heavy vibe. Other new names include LYNY, Zingara, INFEKT, Oppidan, CELO, and Tazu, who promise to keep the energy high with their boundary-pushing discographies. This phase of announcements complements the previously revealed talent such as RL Grime, REZZ, Seven Lions, Kaskade, and Timmy Trumpet.
North Coast Music Festival 2025 Full Lineup
ATLiens Chris Lake deadmau5 (Drum N Bass Set) Excision Galantis Kaskade Liquid Stranger Louis The Child Of The Trees Rezz RL Grime Seven Lions Sofi Tukker Timmy Trumpet VOYD by SVDDEN DEATH ZEDD Zeds Dead Apashe Benny Benassi Daily Bread Detox Unit Kai Wachi KREAM LP Giobbi NGHTMRE b2b Dimension Peekaboo b2b Caspa Ray Volpe Tinlicker (DJ) Wax Motif Zingara Bonnie x Clyde Distinct Motive Heyz Ian Asher INFEKT Jon Casey Joshwa Juelz Kaleena Zanders Lil Texas LYNY MC4D Oppidan Skepsis Taiki Nulight Westend Yookie Audio-Freq Caster Celo Control Freak Darksiderz Dennett Dogma Kreation MUZZ Prosecute Pyke Rohaan Sherm Stooges: Hamro – Blvnkspvce – Sqishi Tazu VKTM Waterspirit Tickets and the Ultimate North Coast Festival Experience
North Coast 2025 isn’t just about a stacked lineup—it’s about creating an unforgettable experience for all attendees. Alongside this powerhouse lineup, the festival continues to prioritize unique fan experiences, offering fan-favorite stages and art installations. Attendees can look forward to the return of The Chill Dome, Incendia’s Fire Pit Stage, and the beloved NCMF Yacht Club. Additionally, this year, there’s a new GA PLUS ticket offering, providing attendees with express entry, air-conditioned restrooms, and an exclusive 15-Year Anniversary pin. Platinum ticket holders can enjoy VIP amenities such as exclusive all-you-can-drink-and-eat bars and the luxurious Platinum Lounge. Don’t miss out—tickets are on sale now at North Coast Festival’s website.

The post Complete 2025 North Coast Music Festival Lineup appeared first on EDMTunes.
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[EDMTunes] Kaskade and Lipless Reunite For ‘State Of Mind’

World-renown, Chicago-Native Star Kaskade joins long-time collaborator and Australian producer Lipless. Out now on Colorize, the single ‘State of Mind’ brings these two masterminds together for a Progressive House feast.
Blending lush synth textures, euphoric basslines, and cinematic atmospheres, ‘State Of Mind’ arrives on the heels of Lipless’ single Incomplete and stands as a defining moment for Colorize in 2025. With early support from electronic heavyweights like Above & Beyond, Chicane, Cosmic Gate, Paul van Dyk, and Oliver Heldens, the single is poised to be a landmark release.
A first major collaboration came in 2016 with a remix of Ry X’s ‘Only,’ a track that would go on to earn a GRAMMY nomination. Since then, their synergy has been undeniable, with Lipless contributing to Kx5’s (Kaskade & Deadmau5) ‘Alive,’ ‘Take Me High,’ and ‘Avalanche‘ while also making waves as a solo artist. Now, nine years after their first hit together, they return with a track that not only celebrates their creative evolution but also highlights their continued trust and chemistry.
Kaskade and Lipless Storyline
Few partnerships can carry the depth and longevity like the one of Kaskade and Lipless. What began as a mentorship has evolved into a formidable creative alliance, now culminated in their latest release. Moreover, it features the ethereal vocals of British singer-songwriter Poppy Baskcomb.
State Of Mind arrives as a testament to years of collaboration, mutual respect, and the kind of musical connection that stands the test of time. Not just another entry in their discography, this is a track that celebrates the journey they’ve taken together, proving that the best partnerships only get stronger with time.
Their journey together traces back over a decade, to when a teenage Lipless – then an aspiring producer in Melbourne – was sending demos to Kaskade’s MySpace inbox. Rather than dismiss them, Kaskade listened, offered feedback, and gradually brought Lipless into his creative orbit. In 2014, Kaskade went a step further, helping Lipless move to Los Angeles & it was there that Lipless truly found his sound and his alias was born.
Don’t forget to breathe, and enjoy this new ‘State of Mind:
The post Kaskade and Lipless Reunite For ‘State Of Mind’ appeared first on EDMTunes.
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[NOMAD]Fresh Beats: Your Guide to April 2025’s New Music

April 2025 is already delivering a vibrant array of fresh sounds and new music tracks to liven up your playlists. This month’s selection, handpicked by EDMNOMAD, showcases a diverse palette of electronic music, from seamless melodic house fusions and forward-thinking progressive textures to captivating vocal anthems and innovative reimagining of beloved classics. 
The curated selection awaits you below:
Joris Voorn x YOTTO, x White Lies – Seventeen
Seventeen is a seamless fusion of melodic house and nostalgic indie influence, as Joris Voorn and YOTTO craft an uplifting yet deeply emotive production featuring the distinct vocals of White Lies’ Harry McVeigh. Built around soaring chord progressions and atmospheric textures, the track exudes a wistful energy, capturing the exhilaration and uncertainty of youth. McVeigh’s evocative lyrics channel the highs and lows of adolescence, intertwining seamlessly with the duo’s crisp percussion and progressive synth work. The result is a mesmerizing journey through melody and emotion, perfectly suited for euphoric festival moments or introspective late-night sets.
Stream here
Joachim Pastor – PHANTOMGRID
PHANTOMGRID is a forward-thinking production that bridges past and future, marking the first glimpse into Joachim Pastor’s upcoming album. Infused with progressive energy and electro-tinged textures, the track reimagines 8-bit nostalgia within a contemporary club framework. Crisp synth leads and dynamic basslines drive the composition, creating a hypnotic blend of retro gaming influences and cutting-edge electronic production. Both timeless and innovative, PHANTOMGRID is a new music track designed to captivate listeners on both the dancefloor this April 2025, setting the stage for what’s to come next from Joachim.
Stream here
Eelke Kleijn feat. Josha Daniel – Lost In The Deep
Eelke Kleijn unveils Lost In The Deep, the seventh single from his upcoming album Connected. This release is a part of Kleijn’s first vocal-led album, showcasing a refined blend of indie dance and melodic house. Josha Daniel’s vocals weave seamlessly into the track’s deep basslines, warm pads, and expressive melodies, crafting an atmospheric and emotive experience. With cinematic precision, “Lost In The Deep” captures raw emotion and atmospheric depth.
Stream here
Cat Dealers, Tineway feat. Dani Doucette – Cry For You
Cat Dealers and Tineway reimagine September’s iconic Cry For You with a fresh, club-focused twist. Dani Doucette’s vocals add new emotional depth. The track blends nostalgic melodies with driving basslines and late-night energy. Keeping the essence of the original, this version hits harder on the dancefloor. A modern take on a timeless classic.
Stream here
KIMMIC feat. MIMI – Broken Bones
KIMMIC and MIMI inject fresh energy into a cult classic with their rendition of Broken Bones, a vibrant take on Love Inc’s beloved house anthem. Far from fractured, this version sees MIMI’s soulful yet pop-tinged vocals glide effortlessly over shimmering melodies, transforming the fan-favorite into a powerful and contemporary dance floor weapon.
Stream here
HI-LO & Sarah de Warren – Born To Love
HI-LO and Sarah de Warren delivers Born To Love, a new music track this April 2025. This one is a dark, hypnotic club anthem built on pulsing basslines and sultry vocals. The track’s seductive energy intensifies with every beat, blending deep grooves and emotional intensity. A perfect fusion of HI-LO’s signature sound and Sarah’s evocative lyricism, this one lingers long after the music stops.
Stream here
Wakyin & Vibarco – Matador
Wakyin and Vibarco come together for Matador, a mesmerizing fusion of Latin rhythms, melodic house, and techno. Ethereal synths and pulsing basslines lay the foundation for Vibarco’s evocative vocals, which weave effortlessly through haunting harmonies and hypnotic beats. The track builds with dynamic percussion and cinematic tension, balancing light and dark elements to create an intoxicating journey. 
Stream here
This glimpse into the new electronic music for April 2025 highlights the ongoing creativity and innovation within the genre. Featuring a variety of styles and collaborations, these releases offer something for every electronic music enthusiast to discover and enjoy. Stay tuned for more exciting sounds as the year unfolds.
The post Fresh Beats: Your Guide to April 2025’s New Music appeared first on EDMNOMAD.
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[EDM.com] Neighbors Beware: The First-Ever Portable Speaker With a Built-In Subwoofer is Here

For decades, audio engineers have lived by Hofmann's Iron Law, the fun-killing principle that essentially says you can have deep bass or portability, but never both. It's like being told you can have either cheese or chocolate, when any reasonable person demands both.
Enter Brane Audio's mind-boggling Brane X, which solves that problem with a technological apparatus that essentially gaslights the laws of physics. Founded in 2015 in Austin, Texas—because of course a company breaking audio rules would set up shop in the live music capital—the organization has been quietly plotting this sonic coup since the pandemic while its competitors were busy adding another 15 minutes of battery life or an even more confusing voice assistant. 
EDM.com visited Brane Audio's storefront in Austin to demo the Brane X, which the company claims is the "first portable speaker with a true subwoofer built in." CEO Joe Pinkerton played music through speakers from a number of high-profile competitors, and it took no less than three seconds to hear the difference not only in bass, but in overall fidelity. It's one of those things you experience and instantaneously think, "I need this now."
Their subwoofer breakthrough represents one of the most significant commercial advancements in speaker technology in some time—no small claim in an industry that thrives on hyperbole. In fact, Pinkerton tells us, the Brane X delivers 10 times the bass of competing speakers that dwarf its size.
Brane Audio
In this eternally crowded landscape of portable speakers, where incremental improvements masquerade as innovation, the sleek and unassuming Brane X is a genuine paradigm shift. The secret lies in what Brane calls its Repel-Attract Driver (RAD), which elegantly circumvents Hofmann's Iron Law, the long-standing acoustic principle that has forced speaker designers to choose between size, efficiency and bass response.
By deploying a proprietary configuration of permanent magnets to neutralize internal air pressure forces, the Brane X can produce notes as low as 27Hz, territory previously accessible only to speakers approximately 35 times its size. For context, that's like having a concert subwoofer that fits in your tote bag—a solid value proposition at a $499 price point.
What's perhaps most impressive about the Brane X is how it achieves this sonic sorcery without demanding the typical sacrifices. Battery life isn't compromised. Size remains manageable. It's waterproof. And your grandmother could figure out is connectivity right out of the box, not to mention Alexa is built in.
Brane Audio
Brane Audio
Developed by a phalanx of renowned physicists and engineers, it's very much the real deal. Pinkerton studied applied physics at Columbia University before leaving to pursue entrepreneurship. In the early 1990s, he founded a tech company in Austin that developed a battery-free, energy-efficient backup power system, which he took public in 2000. After leading the company for six years, he briefly retired before launching Clean Energy Labs, which went on to incubate Brain Audio.
The company has now been issued seven patents, according to Pinkerton, who says the best is still yet to come. Brane is now developing a "substantially more powerful" speaker that delivers the same experience, but outside.
"This [Brane X] sounds great in a room, but we're working on something that—when you take it outside—sounds just like what you heard, but in the middle of a field. This thing scales to concert level speakers with the same advantages. Right now we've got about a tenfold advantage over everyone else, but our next product will be between 30 and 40x... And we've got a pretty good line to get to 100x."
In an era where genuine innovation often feels like a marketing mirage, the Brane X reminds us that sometimes, the most impressive technology isn't another screen to stare at or app to download, but one that fundamentally transforms how we experience the things we love—or at least how we irritate our neighbors from much greater distances than previously possible.
You can find out more about the Brane X here.
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[EDM.com] Restraint Battles Desire in Tchami and OOTORO's Seductive House Track, "Late Night Secrets"

Leave it to Tchami, the Parisian priest of house music, to give temptation its own sound.
Teaming up with OOTORO, their new single "Late Night Secrets" is a sultry yet pumping house track where every beat feels like it's biting its lip. The Indonesian upstart said it took a year for him and Tchami to finish the track, which released today via Confession.
"Late Night Secrets" is tailored for those who love their house music with a wink and a smudge of lipstick. While Tchami keeps the production polished and cinematic, OOTORO injects just enough heat to fog up the windows.
Silky yet urgent, the song's breathy vocal delivery perfectly suits its clandestine mood, a lovers' pact sealed between shadows and synths. Meanwhile, a slick groove from the producers unfurls like a bedsheet at 2am, setting the scene for lyrics that feel ripped from a locked Notes app: "I need you like I need water."
Listen to "Late Night Secrets" below and find the new single on streaming platforms here.
Follow Tchami:
X: x.com/iamtchami
Instagram: instagram.com/tchami
TikTok: tiktok.com/@tchami
Facebook: facebook.com/iamtchami
Spotify: spoti.fi/30ORbPE
Follow OOTORO:
X: x.com/ootorowho
Instagram: instagram.com/ootorowho
Spotify: tinyurl.com/5n6ftdn9
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[DA] Tate Sedar drops his ‘THIS IS POST-EDM’ EP

Tate Sedar learned about electronic music from his parents’ compilation CDs and Dance Dance Revolution. Now he’s making the kind of dance tracks that would absolutely wreck both those things, and I mean that as a compliment.
His debut EP “POST-EDM” arrives exactly one year after he first coined the term, and it’s a surprisingly personal collection from a genre not exactly known for vulnerability. From the funk-infused opener “San Francisco” (a nod to his hometown roots) to the radio-friendly “Our Goodbye” with Liv Kennedy (which cracked rotation on SiriusXM’s BPM), each track feels like Sedar opening another page in his musical diary.
The EP’s strength lies in knowing when to honor dance music traditions and when to ditch them entirely. “Emotions” featuring P$YCHEDELIC blends tech house with hip-hop in ways that feel seamless rather than gimmicky. By the time closer “Dream” hits with Otto Palmborg’s ethereal vocals, you realize you’ve been listening to a producer who actually cares about crafting a song as much as sound design.
The post Tate Sedar drops his ‘THIS IS POST-EDM’ EP appeared first on Dancing Astronaut.
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[DA] Two Friends reinvigorate Neil Diamond’s classic ‘Sweet Caroline’ with official remix

Signifying the immortal classic’s first-ever official makeover, “Sweet Caroline (Two Friends Remix)” is now streaming everywhere via Geffen Records in partnership with Universal Music Group. Famous for their “Big Bootie” mixes and pop-electronic original catalog, Two Friends’ Eli Sones and Matthew Halper, also known for synthetically reimagining nostalgic pop anthems, have freshly primed Neil Diamond’s multi-platinum record for modern dance floors. According to Diamond’s manager, “An official dance remix of ‘Sweet Caroline’ has been a long-standing idea. The new Two Friends’ version both honors the song’s legacy while infusing it with an electrifying new energy.”
Two Friends’ creative interpretation of “Sweet Caroline” marks the duo’s first original offering in 2025, having capped 2024 with independent release “All For Me (feat. HRVY)” that subsequently saw official remixes from YDG, Deerock & Vaance, and Spring Street. Looking ahead, Two Friends will be continuing their “Heatwave” North American tour run. Between small cities and major festivals, the DJ duo will be adding the finishing touches to “Big Bootie Mix, Volume 26,” due May 31st during Two Friends’ annual event, Big Bootie Land, held in Seattle, WA.
View Two Friends’ range of tour dates here, and be sure to stream “Sweet Caroline (Two Friends Remix)” below.
Featured image: Matt Winkelmeyer
The post Two Friends reinvigorate Neil Diamond’s classic ‘Sweet Caroline’ with official remix appeared first on Dancing Astronaut.
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[EDMTunes] Carl Cox’s Intec Return to The Underground With Chasing Ghosts EP From Carlo Lio & M.I.T.A.

Founded by Carl Cox in 1998, Intec quickly became a powerhouse in the techno world, responsible for seminal anthems like Sunshine, D-Clash, and Pontape. After closing in 2006 and relaunching in 2010, the label continued to push forward-thinking, groove-heavy techno before going on hiatus again in 2020, with Roel Salemink’s Eskes as its last release. Now, the time is right for Intec to return and do what it does best – delivering dancefloor-shaking records from both fresh talent and familiar names.
Few artists embody that ethos better than Carlo Lio and M.I.T.A., two producers whose sound is built on relentless energy and undeniable groove. Carlo Lio, hailing from Toronto, has long been a staple of the underground scene, known for his hypnotic, driving beats that captivate audiences worldwide. As a DJ, producer, and co-founder of Rawthentic Music alongside Nathan Barato, he has released music on influential labels such as Tronic, Suara, and KD Raw. His sound, championed by industry heavyweights like Dubfire, Marco Carola, Carl Cox, and Loco Dice, seamlessly translates raw emotion into deep, pulsing grooves that define dancefloors across the globe.
M.I.T.A., from the Italian island of Ischia, is equally committed to pushing the boundaries of techno. With releases on respected imprints like CROWD, Virgo, Suara, Uncage, and Tronic, his music has received strong support from leading figures such as Pan-Pot, Sam Paganini, Ilario Alicante, and Marco Faraone. His DJ career has taken him to renowned clubs like fabric, D-Edge, and Melkweg, as well as major festival stages including Awakenings, Time Warp, Tomorrowland, and Sonus, where his tracks have resonated with massive crowds.
With Chasing Ghosts, the duo makes a powerful statement, setting the tone for the next chapter of Intec. The title track is a relentless, peak-time techno weapon, while ‘AFREAKA’ and ‘The Artist’s Struggle’ explore deeper, funkier, hard-groove territory, embodying the signature energy that has defined the label since its inception. Intec has long championed high-energy, tribal, and groove-driven techno, alongside its more melodic aspects. Now, after nearly 25 years, the label returns with a renewed vision—unearthing standout releases from fresh talent while also bringing back familiar names from its rich history. Listen here.
The post Carl Cox’s Intec Return to The Underground With Chasing Ghosts EP From Carlo Lio & M.I.T.A. appeared first on EDMTunes.
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[EDMTunes] Alesso & Becky Hill Release Milestone Collab: ‘Surrender’

Global electronic music powerhouse Alesso unites with the UK’s reigning dance music sensation, Becky Hill, for their electrifying new single, ‘Surrender,’ out now via Capitol Records. This collaboration marks a milestone for the duo—while Becky previously penned the lyrics to Alesso’s smash hit ‘Words,’ ‘Surrender’ is the first time her powerhouse vocals take center stage alongside the industry titan.
A fusion of Alesso’s euphoric, high-energy production and Becky Hill’s hypnotic, soul-stirring vocals, ‘Surrender’ is a sonic journey that takes you through love’s most exhilarating highs as well as its most heart-wrenching lows. Alesso’s signature progressive-house mastery builds a thrilling pulse, transforming raw emotion into a dancefloor-driven anthem. Meanwhile, Becky’s rich, impassioned delivery infuses the track with depth and authenticity, making every note resonate with power and vulnerability. From its soaring melodies to its pulse-pounding drops, ‘Surrender’ captures the magic of two global forces at the peak of their artistry. Let yourself get lost in the moment — listen here.
The post Alesso & Becky Hill Release Milestone Collab: ‘Surrender’ appeared first on EDMTunes.
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[EDM House Network] BECH Drops Entrancing New Song ‘Love Drunk’

As we head into the summer everyone’s looking for new songs to set the tone for sunny days and define the upcoming season. Thankfully Italian DJ/Producer BECH is here with ‘Love Drunk’ to provide the chill vibes for a day under the sun.
Through beautiful atmospherics and a well-crafted beat ‘Love Drunk’ instantly transports you to a beach in the middle of summer. The production is excellent as has come to be expected from BECH following on from his other immaculate releases such as ‘Another Night’ and ‘With You.’ It’s yet another display of his diverse skills as he continues to explore different genres and energies. The inspiration behind the track came from BECH’s partner who this track is also dedicated to with the lyrics reflecting the love between them.
BECH’s work has earnt recognition from the likes of Dimitri Vegas & Like Mike, Sam Feldt, W&W, and Nicky Romero which is a testament to his talent. ‘Love Drunk’ is an excellent addition to BECH’s plethora of undeniably great music which will continue to grow his name within the dance music scene.
You can follow BECH on Instagram through the link below:
https://www.instagram.com/bechmusic/: BECH Drops Entrancing New Song ‘Love Drunk’
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[EDMTunes] [INTERVIEW] Khen Talks My Pure Soul EP, Early Influences, Mindset, And More

We recently sat down with one of the most successful Organic & Progressive House producers out there, for a friendly chat.
I’ve been quite the gifted kid while doing press. I’ve been lucky enough to speak to so many referents of mine, and so many people who have shaped the scene into what it is today. Best of all, I’ve been able to share those meaningful conversations with the world, so that we get to experience the point of view of the person behind many musical miracles.
Why do I say all of this before kicking this one off? Because this is yet another treat for me. I’ve been following Khen for many years, and things happened, and we ended up having a super wonderful chat. Read on for me to introduce you to the absolute genius that is this guy.
With releases on labels such as Anjunadeep, All Day I Dream, Lost & Found, the newly founded early morning, and even his own imprint closure, Khen is part of the Israeli gang of producers who are at the literal forefront of Progressive House and Organic House these days. We’re talking people like Guy J, Eli Nissan, Roy Rosenfeld, Guy Mantzur, Sahar Z, Shai T, Chicola, and many, many, many more.
And just off the heels of his debut EP on All Day I Dream, My Pure Soul, we sat down with him to have a chat regarding the EP itself, mindset when producing, early influences, burnout, and much more. So sit back and read on, as we have a very interesting interview with Khen.
The Interview
(Please note, the bolded text represents a question (or EDMTunes intervention), while the paragraph(s) following it represent Khen’s answers.)
Thank you for being here. It’s a pleasure to have you on EDMTunes. Also for me, because I’m a huge fan, so it’s double the prize.
Thank you for having me. I’ve been following and I was happy to make it happen. I appreciate it.
Well, first off, congratulations on your new EP coming out on All Day I Dream. Now, we would love to know, what does it feel like to put out a 3-tracker on Lee Burridge’s All Day I Dream label? How does it make you feel? Or does it sparkle something inside you?
So, first of all, 100% yes. I think it happened naturally. I always felt connected with the All Day I Dream sound and the All Day I Dream people and dreamers in general. So, I’m very happy that our paths finally crossed, especially with this special EP. I guess it was the right time and the right music to put out on the label. And I’m very happy with the results and the collaboration with Lee and the team. 
Amazing. Now, we are aware that the title track from the EP, ‘My Pure Soul’, has a very special meaning behind it. If you feel comfortable about it, could you walk us through it, please? 
Yes. So, the last two or three years, my father was in a bad situation, health-wise. And it was a very difficult time for me and my family in general, especially in the last year of his life. And I’d been spending a lot of time with him in the hospital, it wasn’t easy to see how he suffered. And one day I just started to make this track, that melody came to me during this time.
Last year, he passed away, and I finished the track just a few weeks after. But I felt okay with producing in that time, thinking “I’m escaping to the studio and this is for him”, you know? That’s how I put everything together in this track. It was a very emotional and difficult time, but I think for me, music is how I express myself. And eventually, I called it ‘My Pure Soul’ and I dedicated it to my father. And the track is, if I can speak about it a bit more, the melody is kind of sad and has something very emotional within it. But I’m always keeping some optimism in the music, so the contrast between both feels special.
So life keeps going, and I feel that he’s always with me. And every time I’m playing the track I feel that my father is with me, at the party. He always brought the party on, and now he’s part of it in all of my sets. That’s the closure.
That’s a beautiful take on it all, because having to endure something so rough, of course it’s not easy, but being able to try and transform it into something that’s even cheerful for other people, it’s quite a task. And we’ve seen videos of it being played by you and by your fellow artist mates from Lost and Found, all the way to Anjuna, and they enjoy it and people enjoy it, so I guess it’s a beautiful tribute.
Yes, I’m getting a lot of comments from people. I’m getting all comments from different kinds of people that experienced some kind of loss in their life and then they feel really connected to the song, and they really feel that vibe in the track. And on the other hand, it makes people happy, which is something I’m happy with, because there is a sad background behind it, but as I said, for me, the music is also optimistic and something to get over things and to process things, and I’m happy that it handled both.
Well, now that we know the story behind the title track, would you mind sharing with us a brief story on how the other two tracks came along? ‘Lyup’, and ‘Uchi Mata’? 
Yeah, the second I call it “Laeeyup”, but there is no wrong or right here, that doesn’t mean anything, I guess. Only to me. Only I know what’s the name behind it, but I’m not going to say. 
Keep your secrets. [laughter]
So this track, from time to time, I like to try to make something a little different, more dedicated to the groove. I think most of the music is dedicated to the groove, but some of the tracks are more melodic. Well, this one is less melodic. More like a dancefloor, underground, but sexy vibe, you know? So it just started with that groove, many small basslines and things that make it like a little bit mysterious, but very groovy.
That’s how I worked on it. And it’s something that I meant for the dancefloor, I made it with my focus on playing it out. And I was very, very surprised with the reactions because it became a very requested ID during the time me and my friends played it, Sébastien, Roy, Guy, Mantzur and the other guys. So every time, I’m getting comments and people are sending me reels from sets from somewhere, like, “What is this? What is that track in this set?”. Which was kind of weird to me because it’s not melodic and doesn’t have much. It’s not very catchy in that memorable melody sense, but it happened with this track.
And the third track, ‘Uchi Mata’, I’m really into that House-infused Prog. So I like those basslines, funky bass lines, stabby chords, things that remind me of old school House. And Uchi Mata is kind of a combination between that organic, almost aggressive Melodic and a more Housey proper tune. That’s what I feel the last few years musically. I like when I put out an EP with two, three tracks. Usually I like the tracks to be a bit different from one another. It’s still the same style though. You can play all three of them in one set, but still different tracks. It’s neither a second track that’s similar to the first one nor three completely different tracks, it’s a middle point. So that’s how we built the whole EP. 
Well, that’s interesting because, to me, you have a signature sound that is mostly groove, mostly percussion, mostly whatever little candy you add alongside the tracks. But yeah, the EP doesn’t have like a melodic thread or link to it all, but it does have something. It feels like it all belongs there in the package. 
Yeah, it’s not the same, but it works together. At the end of the day, music is music. We can talk about genres a lot, but if it works, it works.
Now that we’re talking about this, let me ask you this. Actually let me start with a bit of context prior. You’re an artist who has, in my opinion, really few elements, but they all work, they all have a role, and they fill out the space. I feel like your simplicity works wonders. How do you do that? How do you put yourself in the mindset?
I think, everyone who produces, most of the people I know at least, are not thinking about it too much. So it’s not something that I plan to put more channels or more layers or fewer. I’d say with years and years of making music, when it comes naturally to you, I feel like you know when and where less is more, do you know what I mean? I mute channels a lot, I’m making some ideas, and I can listen to it, and, “Okay, this one is adding something or maybe takes something away”. If we talk about production in general, technically, at the end of the work, you have one file, WAV, 16-bit or 24-bit, and there is a space to fill. And sometimes if you add something, it takes the space away from another thing. So you need to really listen, and just by listening, make decisions if this added channel is adding value to the track, or maybe that’s the opposite. Many times, it just takes away some space that you need, and then maybe the main lead or the main percussion doesn’t stand out because something else is taking over. 
So that’s technically production-wise how it works for me. But if I’m talking about ideas, if I make a melodic idea and I’m starting from the melody — for example, in ‘My Pure Soul’, I started from that chord progression, and then the piano, and then everything else is there to support, in the best way, support the main ingredients, let’s say. Not taking over, but yet being groovy and pushing forward. So that’s, for me, the balance I worked on this track specifically. But it also depends on the genre, right? Because there are some more classic, heavier Progressive tracks with a lot of elements, a lot of delays, which is good for that. So there’s no one formula.
Yeah, I get it. Well, let’s talk a bit about production then. I’m a fan, so you’ve got an impressive sound to me. To the guys that you sign to as well, Anjuna, Lee, etc. You’ve got amazing music and a steady amount of releases year after year, which is something that not everybody can say. Where do you find inspiration to produce? Is it Nature? Is it spontaneous? What gets you inspired to hit the studio?
Things that can get me inspired, first of all, I wish I could know. I know what inspired me in the past, but I can never know what will in the future. That’s a good question. But I can tell you that things that happen in life, Nature, movies, I don’t know, experiences in general. So that’s where I’m taking some inspiration, also from other kinds of music. Maybe I will listen to something and get inspired to do something. But it’s usually not music, inspiration comes more frequently from feelings.
I get you. And when you get to the studio to actually produce, do you often come with an empty mind or do you have a melody or something in mind? Does it all happen magically whenever you’re producing, when you open up your DAW, or do you come with something? 
Most of the time, nothing comes out if I push myself to make something. There are a few tracks that I remember that came with the idea, or when I started I already had a concrete idea. ‘My Pure Soul’ was like that. ‘Out Of A Dream’ was like that. ‘Carolina’, ‘Manginot’, all those tracks I started with the main melody, I played the riff, the synths, and “OK, that sounds interesting”. Then once that backbone is strong enough for me, or makes me excited, I already feel what kind of groove, what kind of bassline to add. So it comes to me fast in this case. But the other case, which is most of the time when I produce, starting something from nothing, from a blank page and playing with groove, playing with some elements. Most of the time, nothing really comes out of it. Sometimes I will make tracks that are more dancefloor-focused, a little more underground, which I really like to play. So that combination is something that I like.
So there are two different ways for me to make music. But if we talk about it technically, if I don’t have an idea, I can take some sequence or loop and try to make it very special with some effects. I’m running through it and making it something, “This loop is kind of talking or has something like sounds weird or sounds different”, and then, that will make me inspired to make a track out of it. The thing that is the least inspiring to me is when everything is kick and bass only. It’s too broad. Anything can be born from that.
Which is an interesting approach, because when changing from genre to genre, there’s people who say this is the foundation of the song. If you don’t get the kick-bass combo right and you don’t think of all your song in terms of the kick and bass, you’re done for. But then we’ve got people who say otherwise.
That’s correct. If the kick and bass don’t work, the track won’t work on the dancefloor for sure. But if you just have the kick and the bass and you don’t have music and ideas, you don’t have a track. And if you have music, you can always change the kick and the bass. So they are here to support and not to lead the music. 
I get your point. Now, you’ve been producing for a handful of years already. Do you remember the first time, or a very memorable time, that you recall working on a track and feeling like you had something interesting, like a really good product in your hands?
Obviously, with ‘My Pure Soul’, but also the remix for HANA [‘Hot Night’]. Because when I got the vocals, when I got the original, I said, “Wow, it’s a banging track, but I don’t know what I can do with that”. And then I put just the acapella on Cubase and started playing with it. I figured, the original is like 130 BPM, kind of banging Melodic Techno, almost Trance-y. And then I said, “OK, I will take it to the House-y vibe”. But banging House-y, not just…
No, I’ve heard it live, so I can testify! 
Yeah, so I played those chords, “pum pum, pum pum” with the vocal and that’s when I felt, “I got it”. I felt that it was going to be strong. 
You’re really good at that, because I remember two tracks that got me super hooked to you were ‘Closing Doors’, which I discovered thanks to Tony [McGuinness]. And then also thanks to Tony, I started hearing your ‘Every Little Beat’ remix when it was still in production. And it’s got the same groove. It’s something that makes you move your body unconsciously.
Yeah, it was a pleasure to work on the Above & Beyond remix. Again, it’s a challenge to take a Trance, melodic vocal track and turn it into more House-y styles, a more laid-back House-y vibe. And it was during COVID, so I said, “Alright, no rush for the dancefloor anytime soon. Let’s just make something nice to hear”. But it works. It also works on the dancefloor. So it’s an added bonus.
For sure. Now, why do you make the sound you make? Why Organic House and not other genres? What has you hooked to the style you produce?
First of all, I don’t make Organic House. [laughs] I’m joking. I think for me… I’m known as a Progressive House artist first, and then Organic. But the Organic title is something that’s new. It’s four, five years old, not more. I think it’s a way to describe Melodic House, progressive, but deeper music. It’s not really for me one specific genre I’m really doing.
And why I’m doing what I’m doing in general is because of influences from the past. So I started making music and playing music thanks to my older brother. My older brother, Vic, was a big DJ in Israel and a great producer. And we have 14 years of an age gap. So when I was a little baby, he was already playing music. That’s my biggest influence. So we’re talking about the 90s, House music, Trance music, Techno music. I was really into Trance when I was young. So I really like the melodic, epic Trance vibe, but also the Progressive Trance back then. Push, Bonsai Records, ‘Airwave’, that kind of sound. So this is a big influence for me. The years passed and I grew a bigger interest towards House, Tribal House, Progressive House.
And that’s my childhood background. But when I was growing up, Tech House was the leader. Like, 2007, 2008, 2009, Tech House was up there. And I discovered it, and really liked the grooves and the drums. But I was like, “Hey, where are the melodies?”. So I started to make Tech House with melodies. And I didn’t know that combination was considered Progressive for some people. So it’s not that I really choose a genre or follow one genre. I put what I like in music in general. And something new may come out.
So Hernan Cattaneo, Guy J, Guy Mantzur, John Digweed, they started playing my music, automatically putting me as a young newcomer under the topic of Progressive, which then I discovered more. And I loved it. I was surprised so many artists were doing what I was doing.
So that’s a combination that leads me into that sound at the beginning. But then, in doing this, I started to work on my album in 2016, my album for Lost and Found. I was given free hand to do whatever I wanted because, it’s an album. So I remember the first track I made was ‘One Day of Independence’. And then the second was ‘Authentica’. ‘Authentica’ was a different kind of Progressive, deeper, groovier, more breathing kind of vibe, not very banging. And then ‘Carolina’, which is, I don’t know what it is, Latin, Afro, Prog, whatever. But back then, even Afro was not a genre on Beatport. So I only knew I had put together elements that I liked, groovy, Latin kind of vibe with proggy elements.
What happened during the years is, that sound turned into Organic House. But these tracks I produced four or five years before Organic House was even a name. So I don’t really follow a genre. I’m just making whatever I like and whatever influenced me. Sometimes it becomes a genre afterwards. 
Thank you. Now another question, since we’ve discussed your debut album it only makes sense. What’s your opinion on albums, and how the current Dance scene is sort of stepping away from releasing them, making it all more focused on singles, EPs, radio edits, and so on? Do you think there’s a change for the worse, for the better? Do you think there’s a change at all?
I don’t know if there is a change. Personally, as a music consumer, I love albums. I appreciate albums, I’m still listening to albums. While scrolling Instagram, I’ve seen some producers, not only from House music, and some say albums are not a thing anymore, because people are listening to playlists, and they create their own playlists on Spotify. But me, personally, maybe I’m old school here, I love albums, I really appreciate a good artist album. It’s beyond one or two tracks. When you listen to a good album, you can find things on the first listen, on the hundredth listen, on the thousandth listen. You always get to hear new things, and you get something that is more than one song. For me, maybe one day I will make my second album.
Thank you. Now, next question, I guess the answer to this is yes, but I’ll let you give it a go. Do you ever go through burnout? And if so, how do you overcome it? Of course it happens with the standard 9-5 job, but I guess it’s an interesting thing to ask artists, because there’s often the belief that, “Oh, artists, they’re doing what they love all day, every day, so they just can’t really get tired of it”.
I think I learned the last few years, actually, that I cannot stress myself to make music, for example, or to work on music, and sometimes when you feel like it’s too much and you’re not in the mood, it’s OK. I’m releasing, because I used to have days in which I would say “Nothing comes out, I don’t like the studio anymore and don’t like the music anymore”, and then I would stress myself out for nothing. So, yeah, what I do is take some space, do something else. I like to play football when I’m home twice a week. I like to meet friends, drink good wine. It’s good to have other hobbies. And then you feel refreshed, and at the end of the day, I decide I actually like to make music, so I go back to the studio and I’m starting again.
Touching on the same topic again, do — or did — you ever feel guilty when stepping away from the studio and taking time off?
Yeah, I used to, but again, I worked on it a lot with myself to avoid those feelings, because it’s for nothing. Better for me, in my opinion, is that when I get into the studio, I enjoy it. When I enjoy it, I make better music. If I suffer or I don’t like it, I’m not in the mood, so what will come out of the studio? There are other people that say this is like a normal job, you have to get up every morning, every day, and get into the studio, and work hard, and something will happen. OK, maybe, but when you’re in that burnout situation that you really don’t like making music, you don’t precisely love what you’re putting out, so I don’t think that for me to stress out is the right choice.
Now, a bit of a hypothetical question. If you could travel to the past, say, 10, 15, 20 years, whatever amount of years you feel like interesting to bring up, and meet your past self, what would you tell him? Was there anything that young Khen was worrying about, far more than necessary?
Yes, of course. In the beginning, you’re always asking yourself, will it happen one day that I really become someone who plays, and gets invited? “I make nice music, some DJs play it, but there are so many steps on the way”, and sometimes I felt like, maybe it wouldn’t happen. If I could go back and talk to myself, I would say, “Relax, boy, keep doing what you’re doing, it will happen”.
Amazing. And this one is kind of the same question, but applied to someone else. So, suppose there’s someone in our audience, aspiring producer, who looks up to you, and really looks up to your work, what would be the one piece of advice that you’d give them, in order to find success through music?
Good advice? I have to say that, what was good 10 years ago, is not necessarily good now. Because things are changing all the time. So, I would say, genres and trends are always changing. If you start to make music, you have to enjoy what you’re doing, and commit with a lot of passion to it, and keep doing what you like. It’s good to absorb inspirations from outside, and from what is going on, but you have to make something that is yours. And if you got it, it will be unique, it will be yours. So, try to be unique in your own way. It doesn’t matter if it’s trendy now or not, but if you’re unique and you do that for a long time, it will happen.
Got it. Amazing, thank you. Well, I’ve got one more question. How do you see yourself in a few years’ time? Like, what do you wish will be your legacy as an artist in the future?
Two years ago, I founded my own label, closure. So, I want that to grow, and represent the sound I like, and my sound. And for me, something that really makes me happy, and I wish it will be the same in a few years, is that when I make something from my heart, and people listen to it, I see them feeling something out of my music for me. That makes me feel accomplished. I did it all, you know? Yeah, that’s my wish for five, ten years from now.
Final Words
Huge thanks to Khen and the whole team who made this happen. It’s turned into a beautiful product that, as I always try and excel at, gives an insight into the person behind the music, much more than the music itself. I believe artists are a very interesting, and often left behind aspect of music. Yet without them, there’s no music at all. Thank you Khen!
You can listen to his My Pure Soul EP below. And below that, you’ll find a remix he just released in Guy J’s early morning.
The post [INTERVIEW] Khen Talks My Pure Soul EP, Early Influences, Mindset, And More appeared first on EDMTunes.
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[EDM.com] Nicky Romero, DubVision and Oaks Resurrect Progressive House Glory in New Single, "Live My Life"

"In the end, Progressive House always wins."
Those are the words of Nicky Romero, whose new collaboration with DubVision whisks us back to the genre's golden era, when euphoric drops and unapologetic emotion washed over EDM festivals. Out now via Martin Garrix's STMPD RCRDS, "Live My Life" is a melancholic reflection on lost love, entwining shimmering synths though a pulsing bassline and aching vocals from Oaks.
The release arrives in the midst of an explosive revival of progressive house music. And while the Dutch compatriots don't reinvent the genre's wheel here, they spin it with such finesse that you'll swear it's flying.
Memory serves as both muse and tormentor in Oaks' vocals, which channel a bittersweet alchemy. Grand, doomed and drenched in longing, her anguished lyricism is Romeo and Juliet meets Ibiza sunrise. The chorus, a vow to "live my life for you," lands like an emotional gut-punch amid Romero and DubVision's crescendoing production.
Listen to "Live My Life" below and find the new single on streaming platforms here.
Follow DubVision:
X: x.com/dubvisionmusic
TikTok: tiktok.com/@dubvisionmusic
Instagram: instagram.com/dubvisionmusic
Facebook: facebook.com/dubvisionmusic
Spotify: spoti.fi/2Zv75N1
Follow Nicky Romero:
X: x.com/nickyromero
TikTok: tiktok.com/@nickyromero
Instagram: instagram.com/nickyromero
Facebook: facebook.com/djnickyromero
Spotify: sptfy.com/6IW1
Follow Oaks:
X: x.com/winonaoak
Instagram: instagram.com/winonaoak
TikTok: tiktok.com/@winonaoak
Facebook: facebook.com/winonaoak
Spotify: tinyurl.com/5acv9zrt
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[NOMAD]Keeping It ‘Classy’ In Bangkok — Inside One Of The Best New Social Clubs In Thonglor

In the heart of Thonglor, a fashionable district in Bangkok, sits Classy—a luxury social club redefining nightlife. Sleek, exclusive, and quietly decadent, the space blends intimate design with lively energy. VIP tables are spread across the venue, each one feeling like a world of its own. Gold and rose accents shine under perfect lighting, creating a refined but not overwhelming aesthetic. The club’s layout encourages connection as much as celebration. There’s a flow to how people move, mingle, and return to their tables with champagne in hand. Meanwhile, beautifully adorned outdoor seating makes for more intimate conversations.
It’s not just about luxury—it’s about taste. The attention to detail shows in everything from the polished bar to the reserved service. No corner is neglected, and every guest feels like they’re stepping into something intentionally exclusive. As Bangkok overflows with nightlife options, Classy holds its own with confident restraint.
The Scene: Sparklers, Sound, and the Right Kind of Energy
Thonglor has always been a magnet for those seeking high-end nights. But Classy pushes that expectation higher with a fresh kind of Bangkok energy. Since opening earlier this year, it’s become a go-to for in-the-know locals and visiting tastemakers. The crowd feels curated—stylish, connected, and effortlessly cool.
Bubbly flows steadily, with top-shelf bottles igniting sparklers almost every hour. Neon-lit signs flash across the room, matching the rhythm of curated beats. It’s the kind of place where every night could be your best one. But somehow, it doesn’t feel try-hard. The club breathes with authenticity, even when the energy spikes to full throttle.
During one visit, we caught James Jay on the decks—one of the headliners from EDC Thailand this January. His set moved seamlessly between club anthems and unreleased remixes. His ability to read the room was spot-on. He dropped the heat to keep things climbing without losing the room’s elevated tone.
The lighting and visuals were immersive, but never distracting. The sound system delivered every beat cleanly—enough to feel it in your chest. It’s that rare balance of sonic power and aesthetic control that makes you want to stay longer.
More Than a Club, It’s a Lifestyle Statement
Classy isn’t just about dancing or drinks—it’s a curated social experience in Bangkok. You come here to see, be seen, and connect. There’s an underlying sense of belonging, like everyone shares a silent nod of approval. From stylish couples to tight-knit friend groups, the club feels more like a private gathering than a public party.
The staff add to the experience with a level of professionalism that never slips into stiffness. Attentive, warm, and always a step ahead, they round out what makes Classy stand out. You’re not rushing to the bar here. You’re being guided through a night built just for you.
There’s a certain electricity in the air. It hums quietly beneath the volume, only noticeable if you stop and feel it. That’s when you realize—this place isn’t just a club. It’s a mood, a network, a statement.
Whether it’s your first visit in Bangkok or your fifth, Classy Thonglor leaves its mark. It elevates every evening into something more intentional. In a district known for style, this social club carves its own space—bold, refined, and unmistakably Classy.
The post Keeping It ‘Classy’ In Bangkok — Inside One Of The Best New Social Clubs In Thonglor appeared first on EDMNOMAD.
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[EDMTunes] DJ Sneak Brings The Heat With House Remix Of Mia Moretti’s ‘Best I Can’

Our weekend just became a ton Housier, wink wink.
Did we say this exact thing yesterday? Well, let me double down on it: House music is in great hands. I say this as more evidence has risen today: Veteran Chicago House music innovator DJ Sneak has become the newest collaborator to join Spaghetti Moretti Records. The artist lends his distinctive, energetic House style to a reimagining of label head Mia Moretti’s track, ‘Best I Can‘.
Originally released last year, Moretti’s ‘Best I Can’ showcases the voice of Baltimore native Vonita White. The song pairs her powerful vocal delivery and compelling instrumental arrangements, even including a sample from Jasper Street Co., newly recorded by White and Moretti thirty years after the original’s debut. The initial release swiftly gained traction with renowned DJs such as Felix Da Housecat, A-Trak, and Danny Tenaglia.
‘Best I Can (DJ Sneak 12″ Edit)’
The fresh rendition is available on a limited-edition 7-inch promotional vinyl. The A-side features the main track, while the B-side offers an exclusive vinyl treat: DJ Sneak’s own composition, ‘The Gas’, remixed by Mia Moretti. Eager enthusiasts had an early opportunity to acquire the record at Spaghetti Moretti’s showcase during Miami Music Week.
Sneak’s edits, available on both 7-inch and 12-inch formats, offer a more stripped-back and intensified feel, giving the original an even Housier, old-school feel. White’s vocals stay front and centre, shining on top of a powerful instrumental base which has enough power to kick you back to the nineties. A solid blast from the past in modern times, if you ask me.
Listen to DJ Sneak‘s vinyl-built rendition of Mia Moretti’s ‘Best I Can’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice, and follow this link to acquire a physical copy of the record. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
The post DJ Sneak Brings The Heat With House Remix Of Mia Moretti’s ‘Best I Can’ appeared first on EDMTunes.
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