Jump to content

News

Stay in the loop with the latest updates, event announcements, and everything happening in the world of dance music — brought to you by RaveLink. 🤖💜
Show all categories

The Weeknd Kicks Off 2025 ‘After Hours Til Dawn’ Stadium Tour—Sold Out Show for 60,000 Fans in Phoenix

Photo Credit: @iwally
The Weeknd kicked off his 43-date ‘After Hours Til Dawn‘ stadium tour with a massive, sold-out show at State Farm Stadium in Phoenix, AZ. Around 60,000 fans lined up to see the star, with nosebleed ticket prices bottoming out around $73.
Special guests Mike Dean and Playboi Carti opened the show before The Weeknd took the stage alongside 30 dancers in red cloaks. The never-before-seen production included a towering gold statue, gold ruins, rings of gold across the stage, lasers, flames, and more.
The show featured an electrifying setlist that included tracks from Hurry Up Tomorrow like “The Abyss,” “Cry For Me,” and “São Paulo.” He also performed fan favorites from After Hours and Dawn FM, along with hits from his extensive catalog including “Starboy,” “Can’t Feel My Face,” “Blinding Lights” and more.
Opening night of The Weeknd’s tour arrives just ahead of the theatrical release of his highly anticipated feature film, Hurry Up Tomorrow. The film premiers May 16 via Lionsgate and stars The Weeknd alongside Jenna Ortega and Barry Keoghan. The film was written and directed by Trey Edward Shults, featuring original music by The Weeknd who co-scored the film alongside composer Daniel Lopatin.
Meanwhile, the ‘After Hours Til Dawn‘ tour continues on May 24 in Detroit MI at Ford Field before making additional stops in Chicago, East Rutherford, Denver, Inglewood, Vancouver, Toronto, Miami, and more this summer. The Weekend will also appear on ‘The Tonight Show‘ with Jimmy Fallon for a special musical performance and his first-ever couch interview on May 15.
The Weeknd — After Hours Til Dawn 2025 Tour Dates
May
09 | State Farm Stadium – Phoenix, AZ 24 | Ford Field – Detroit, MI 25 | Ford Field – Detroit, MI 30 | Soldier Field Stadium – Chicago, IL 31 | Soldier Field Stadium – Chicago, IL June
05 | MetLife Stadium – East Rutherford, NJ 06 | MetLife Stadium – East Rutherford, NJ 07 | MetLife Stadium – East Rutherford, NJ 10 | Gillette Stadium – Foxboro, MA 11 | Gillette Stadium – Foxboro, MA 14 | U.S. Bank Stadium – Minneapolis, MN 21 | Empower Field at Mile High – Denver, CO 25 | SoFi Stadium – Inglewood, CA 26 | SoFi Stadium – Inglewood, CA 28 | SoFi Stadium – Inglewood, CA 29 | SoFi Stadium – Inglewood, CA July
04 | Allegiant Stadium – Las Vegas, NV 05 | Allegiant Stadium – Las Vegas, NV 08 | Levi’s Stadium – Santa Clara, CA 09 | Levi’s Stadium – Santa Clara, CA 12 | Lumen Field – Seattle, WA 15 | BC Place – Vancouver, BC 16 | BC Place – Vancouver, BC 19 | Commonwealth Stadium – Edmonton, AB 24 | Parc Jean Drapeau – Montréal, QC 25 | Parc Jean Drapeau – Montréal, QC 27 | Rogers Centre – Toronto, ON 28 | Rogers Centre – Toronto, ON 30 | Lincoln Financial Field – Philadelphia, PA 31 | Lincoln Financial Field – Philadelphia, PA August
02 | Northwest Stadium – Landover, MD 07 | Rogers Centre – Toronto, ON 08 | Rogers Centre – Toronto, ON 12 | Nissan Stadium – Nashville, TN 15 | Hard Rock Stadium – Miami, FL 16 | Hard Rock Stadium – Miami, FL 21 | Mercedes-Benz Stadium – Atlanta, GA 24 | Camping World Stadium – Orlando, FL 27 | AT&T Stadium – Arlington, TX 28 | AT&T Stadium – Arlington, TX 30 | NRG Stadium – Houston, TX 31 | NRG Stadium – Houston, TX September
03 | Alamodome – San Antonio, TX View the full article
Ravebot
Ravebot

GRiZ Hides Link To Mysterious Countdown In Newspaper Puzzles

GRiZ is leading fans on a sidequest.
After the saxophone-toting bass artist began dropping GRiZ-themed newspapers around Chicago last week, fans have deciphered a puzzle within them that reveals a link to a mysterious countdown clock on GRiZ’s official website.
The link, mynameisgriz.com/sidequest, uncovered by fans as the solution to one of many riddles in the mini-publication, counts down to Tuesday, June 17, at 12PM ET, and shows a sketch of an icosahedron, a three-dimensional shape made up of 20 triangular faces. Within those faces are the nine letters of GRiZ’s mystifying message, “SIDEQUEST.”
Though it remains unknown just what the producer and DJ—real name Grant Kwiecinski—is planning, fans have been quick to speculate about several potential announcements, as anticipation builds for his live return after a two-year performance hiatus, set to take place at the artist’s curated Valley of the Seven Stars festival in Virginia this October.
Posts in the r/griz subreddit offer theories ranging from an upcoming B2B with ODESZA, whose logo bears a likeness to the doodle on GRiZ’s website, to an upcoming album announcement and even a surprise appearance at Electric Forest, held annually in his home state of Michigan and this year falling just days after the countdown expires.
Other easter eggs throughout the newspaper, titled Reconnect, included a daily horoscope, traffic report, word search, comics, and a help wanted ad for “The Bassline Boogie Bureau of Investigation.
The cryptic teaser comes weeks after GRiZ marked his emphatic studio return with the release of his four-track GEMiNI EP, featuring tracks such as “Take Me Home,” with Grabbitz and “2-step Nassau.” His last full-length bass album, Rainbow Brain, arrived in 2021.
Have a look at GRiZ’s newspaper teasers in the post below and check out the countdown page here.

Featured image courtesy: GRiZ. Credit: Jason Siegel.
The post GRiZ Hides Link To Mysterious Countdown In Newspaper Puzzles appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

EDC Las Vegas Announces Comprehensive Livestream Across Five Stages

The highly anticipated Electric Daisy Carnival (EDC) Las Vegas, recognized as North America’s preeminent dance music festival, is scheduled to commence next week at the renowned Las Vegas Motor Speedway. Over the course of three nights, from Friday, May 16th to Sunday, May 18th, 2025, the event is poised to welcome in excess of 540,000 attendees.
For individuals unable to attend the festivities in Las Vegas, a comprehensive livestream of the event will be available via the official YouTube channels and Insomniac TV. This will allow a global audience to experience the performances as they unfold across EDC’s nine dynamic stages, including Dom Dolla, Fisher, Kaskade, and Tiësto, among numerous others.
The EDC Las Vegas livestream will begin daily at 6:45 pm Pacific Time (9:45 pm Eastern Time) from the Las Vegas Motor Speedway. For your own conversion see post below.
EDC will be broadcast live on both Insomniac TV and YouTube throughout the duration of the festival. Separate live feeds will be available for Friday, Saturday, and Sunday, accessible free of charge at TV.Insomniac.com. Insomniac TV will feature dedicated channels for five prominent stages—kineticFIELD, cosmicMEADOW, circuitGROUNDS, neonGARDEN, and bassPOD—providing viewers with focused coverage of the key performances at EDC Las Vegas.
There’s no excuse not to be there.
*Image cover credit: Jordan Sabillo

The post EDC Las Vegas Announces Comprehensive Livestream Across Five Stages appeared first on EDMTunes.
Ravebot
Ravebot

Insomniac Launches New Streaming App For EDC Las Vegas

One of Dance Music’s biggest weeks is upon us. EDC Las Vegas is preparing for its biggest year yet under the electric sky. Insomniac is launching its brand-new Insomniac Radio app, a dedicated streaming platform that brings the pulse of the electronic dance music world directly to listeners. Now available for free download on iOS and Android, Insomniac Radio streams curated dance music 24/7. Completely ad-free, the app offers music fans and festival-goers an always-available premium listening experience at their fingertips.
The New Additions
At the heart of the Insomniac Radio experience are four genre-focused channels, each expertly curated to reflect the diverse spectrum of electronic music and the communities that power it:
ONE – DANCE MUSIC 24/7 | ONE brings the heat with festival anthems, chart-topping bangers, and the freshest rising stars across the spectrum of electronic music. If it’s lighting up the biggest stages and breaking the internet, it lives here. This is where the scene goes big. ANALOG – GROOVE LIVES HERE | Dive into the pulse of the underground. ANALOG is your source for every flavor of house and techno straight from the heart of Day Trip and Factory 93. IMPACT – BASS IN YOUR FACE | A frequency built for bassheads and adrenaline junkies. Dubstep wubs, DnB rollers, Trap bangers, and Hardstyle anthems – IMPACT delivers nonstop chaos, straight from the worlds of Bassrush and Basscon. LUCID – MELODY IN MOTION | LUCID is your sonic escape, weaving together deep house, melodic techno, and trance-inspired rhythms. Powered by Dreamstate and Interstellar, this is music for the mind, body, and soul. In addition to continuous programming across these four channels, Insomniac Radio streams over 100 artist-led shows, including 40 exclusive programs from a new wave of Insomniac talent. With a mix of artists, creators, headliners, industry pros, and curators, the hosts bring authenticity and relatability to the airwaves, fostering a community that offers something for everyone.
During EDC Las Vegas 2025, taking place May 16-18, Insomniac Radio will be broadcasting live across all four channels, with exclusive streams from stages such as stereoBLOOM, wasteLAND, and quantumVALLEY, not available via video livestream. With full coverage from dusk ‘til dawn, fans can tune in for artist interviews, behind-the-scenes moments, and stage-specific programming. 
The post Insomniac Launches New Streaming App For EDC Las Vegas appeared first on EDMTunes.
Ravebot
Ravebot

“Steve pursued many fields of interest”: Steve Albini’s estate is selling the “treasures” he amassed throughout his life

Steve Albini’s estate is selling some of his belongings, a year on from his death at the age of 61.
The esteemed producer, who famously worked with Nirvana as well as PJ Harvey and the Pixies, died of a heart attack last year. He worked on over 2,000 albums across his career. A generous portion of his belongings are currently being sold via a website called Steve Albini’s Closet, with all proceeds directed back towards his estate.
READ MORE: Read Steve Albini’s 1992 letter to Nirvana: “Paying a royalty to a producer is ethically indefensible…there’s no fucking way I would take that money.” The website is selling weird and wonderful items such as CDs, records, cassettes, zines, books, original art, and much more. The vast majority of items are currently listed as sold out, however, the website will continue to be updated every Friday, and you can sign up to be notified when new items are posted by filling out a simple form.
“Steve Albini’s Closet is an entity created to distribute the treasures amassed by the late polymath, Steve Albini. Steve pursued many fields of interest, and most of them are represented somewhere in his collections,” reads an ‘about’ notice on the website.
“All items purchased are accompanied by a Certificate of Authenticity from the collection’s administrator, Byron Coley, and the proceeds are directed towards Steve’s estate. All materials are guaranteed authentic, and listings are updated on a weekly basis. Some items are sold through other sites like Discogs and EBay,” it states.
Following Albini’s sudden passing, NME reshared an interview from 2018, in which he shared his views on record labels and contractual agreements within music that have become ever more fitting to today’s music business, as artists continue to pivot away from the major label model.
In it, he said, “I don’t think we need to concern ourselves too much with the record business, just because the record business is such a trivial aspect in most bands’ careers now. Most bands make their living performing live now, or occasionally lining their music up with other projects like doing film stuff, or sync stuff, or licensing their music for advertising.”
He went on to add, “I’ve long argued against the use of contracts in music – I think they’re counterproductive. They tend to create an adversarial relationship, and they put bands on the defensive. I think they favour the party that has more money and resources, and so they’re no protection for a band. I don’t think contracts are useful.”
Head over to Steve Albini’s Closet to sign up for notifications when new items become available.
The post “Steve pursued many fields of interest”: Steve Albini’s estate is selling the “treasures” he amassed throughout his life appeared first on MusicTech.
View the full article
Ravebot
Ravebot

Can the Music Industry Monetize AI – And Like It? A Conversation With OpenPlay Cofounder Edward Ginis

OpenPlay cofounder and Chief Client Officer Edward Ginis.
Is it time for the music industry to radically reconsider its approach to AI? Edward Ginis, cofounder and Chief Client Officer of OpenPlay, is already focused on monetizing AI instead of fighting it. An ardent activist for modernizing the industry’s data infrastructure, Ginis launched OpenPlay in 2013 after serving as CTO at Concord Music Group and views AI as an opportunity to evolve rather than a threat to resist.
With over 15 years of experience in music, technology, and finance specifically, Ginis has serious chops in building large-scale software systems and data management solutions for the music industry.
At OpenPlay, Ginis’ focus is on building independent and flexible data hubs for artists and IP owners — instead of limiting, isolated silos. At DMN, we’re excited to partner with OpenPlay to further broaden that mission.
In this interview, we asked Edward to share his vision on how the music industry can improve its metadata management and monetize AI, and what he’s doing to bring that vision to reality.
Digital Music News: Edward, thanks so much for joining us. We’re really keen to dive into what’s happening with OpenPlay and your vision for upgrading and changing the music industry’s data infrastructure and approach to metadata.
Let’s start with the AI landscape. What’s your take on the AI battle right now?
Edward: Paul, it’s great to be here. The “AI battle,” as it’s perceived, is fundamentally about monetization. It’s not really about stopping the technology or purely about preserving artistry; it’s about figuring out how to monetize something that the industry doesn’t quite know how to monetize yet. We’ve seen this pattern before with other technological disruptions. For example, YouTube was initially viewed as a threat to the industry until Content ID was developed, allowing rights holders to identify and monetize their content on the platform. Now, Content ID has transformed from a defensive tool into a significant revenue stream that most rights holders embrace.
Digital Music News: Alright, so let’s monetize this AI beast. But how can this industry do that?
Edward: The biggest challenge is attribution. Who gets paid when a piece of AI-generated content draws from thousands of existing works? Very few companies are tackling this.
There’s a need to solve the problem of where the generation comes from. We need to control the input into LLMs by protecting and fingerprinting catalogs before they’re ingested. If we can trace a generated work back to its source, we can accurately distribute fractional royalties, even to creators whose works haven’t seen much revenue in a long time.
Digital Music News: So that’s a good segue into OpenPlay. You created OpenPlay because you saw huge issues with how the music industry handles data. It’s a mess out there, but what are the biggest problems you’re trying to solve?
Edward: The biggest problems in the music industry today revolve around data fragmentation and the lack of control. Content owners often have limited options, relying on distributors or publishing administrators who essentially become gatekeepers to their own intellectual property. When these deals end, retrieving their content and associated data can become a nightmare. At OpenPlay, we abstract all that complexity. Rights holders can maintain control of their assets while still delivering content directly to their distributors, societies, or DSPs via our platform.
Digital Music News: Can you explain how that would change the life of a typical artist or IP owner?
Edward: Absolutely. Whether a rights holder is working with FUGA in Latin America, Spotify directly in the US, or AudioSalad in Europe, OpenPlay acts as a central hub. They can set up all those connections from one place without worrying about getting their content back if relationships change. It’s about giving rights holders leverage. If they’re unhappy with a deal, they should be able to switch within 24 hours, not face a mountain of complications.
Digital Music News: And you’re also expanding beyond distribution?
Edward: Yes, we’re expanding into UGC, royalty processing, video generation, and even providing advanced revenue. We see a future where these services operate more like an app store or HubSpot, where labels and publishers can choose and pay only for what they need.
For instance, companies like AudioShake, which offer stem dissociation and lyric translations, can be seamlessly connected through OpenPlay. It simplifies how content and metadata are exchanged, so the focus can be on the commercial value, not technical headaches.
Digital Music News: Perhaps there’s too much power concentrated in distribution hubs.
Edward: Precisely. Distribution as a revenue source is eroding. We need a marketplace where parties pay for what they need, and OpenPlay facilitates those connections. We’re creating an environment where new players have immediate access to the tools they need and can easily try new technologies. Music is notoriously unfriendly to entrepreneurs, and we want to change that.
Digital Music News: So, speaking of changing things, is there anything stopping a major artist or label from mirroring their content onto OpenPlay, even if they have a major distributor?
Edward: No, not at all. In fact, a big part of our business is helping them do exactly that. We’re not telling them to leave their distributors. We’re saying, bring your content into OpenPlay. Moving forward, they enter their content with us, and we deliver it to their existing distributor. They’ll have one entry point, reducing errors and simplifying their workflow. This also gives them the option to switch distributors easily if needed.
Digital Music News: It seems crazy: why is it so hard to wrestle control over your own IP?
Edward: Rights holders are entitled to all the data related to their IP, including stream data. Distributors often make it technically difficult to get this data, citing issues like file sizes or complexity, but in the end, it isn’t their data. Sidestepping this mess, OpenPlay combines publishing and label data into one ecosystem, offering a full view of the copyright assets and facilitating accurate data delivery to the MLC and others. This helps prevent data “black boxes.”
Digital Music News: You’re building a separate data storage and application hub, which sounds like a refreshing progression. Is it too far-fetched to then reconsider a global resource database?
Edward: Well, to work effectively, it needs to be highly decentralized. Trying to build ‘one silo to rule them all’ is impossible and impractical. What we need instead are interconnected systems with standardized interfaces – what technologists call APIs – that allow data to flow freely between different platforms while respecting ownership.
Think of how Plaid works in the financial industry, connecting your bank to services like Venmo without requiring these companies to directly communicate. Your bank doesn’t need a relationship with Venmo for you to move money between them. This level of interoperability is essential for the music industry to move forward.
Digital Music News: Swinging back to the AI discussion – and next steps – is it too late to identify works already ingested into LLMs?
Edward: No, I don’t think so. We’ve seen the early stages of systems like Suno and Udio, but many more are coming. The most successful ones will start with authorized content, working directly with rights holders and ingesting properly fingerprinted material.There’s also a huge need for AI detection technologies – tools that can analyze music and determine what percentage was AI-generated versus human-created. These detection systems would use pattern recognition and other techniques to identify AI signatures in the music.
Ultimately, DSPs like Spotify and Apple Music will be the arbiters of what gets in and stays out, likely implementing their own detection systems alongside content policies.
Digital Music News: Edward, I think we’ve found our fearless metadata and AI monetization leader. Thanks for outlining your vision here.
Edward: Thank you, Paul. The technology is inevitable, so our focus needs to be on creating systems that benefit artists and rights holders in this new landscape.
View the full article
Ravebot
Ravebot

Ibiza's New [UNVRS] Club Unveils Massive Lineup for "Once-in-a-Lifetime" Opening Party

Reinvention is ritual in Ibiza, and its newest nightlife destination, [UNVRS], arrives not merely as another venue but as a game-changer poised to reshape what club culture looks, sounds and feels like on the legendary party island.
Set to open its doors at the end of this month, the hi-tech [UNVRS], the latest venture from Yann Pissenem's The Night League, is readying a launch of epic proportions. Equal parts club, arena and immersive installation, the venue will make its long-awaited debut with a "once-in-a-lifetime" opening party, per a press release.
Promising "scale, spectacle and storytelling," the launch event is dubbed "[UNVRS] - The Opening." Built by the same creative minds behind Ushuaïa and Hï Ibiza, the venue aims to blend the intimacy of a club with the reach and resonance of an arena-sized production.
"With everything we’ve built with Ushuaïa and Hï Ibiza, I hope [UNVRS] becomes a defining cultural icon in Ibiza’s legacy—a place that sets a new global standard and continues to lead the world in sound, creativity, innovation and experience," Pissenem said. "I want to encourage every clubber and guest who shares our passion to feel part of what begins now. This is a new chapter in the island’s story."
The opening party with Michael Bibi,, Carl Cox b2b Jamie Jones, Joseph Capriati b2b The Martinez Brothers and more is just the beginning. The [UNVRS] summer calendar includes high-profile residencies from Anyma, Eric Prydz, David Guetta, FISHER, elrow.
Tickets for "[UNVRS] - The Opening" on May 30th are on sale now. Check out the full lineup below.
View the original article to see embedded media.
Follow [UNVRS]:
X: x.com/unvrsibiza
Instagram: instagram.com/unvrsibiza
TikTok: tiktok.com/@unvrsibiza
YouTube: youtube.com/@unvrsibiza
Facebook: facebook.com/unvrsibiza
Ravebot
Ravebot

Zedd, Illenium & More Perform At The Largest EDM Festival In The Philippines, &Friends

Set in the heart of Manila, &FRIENDS Festival is making its much-anticipated debut—redefining what it means to be a destination music experience in Southeast Asia. Happening on May 30 and 31, 2025, at Okada Manila, global superstars and Asia’s rising artists unite to celebrate music that transcends borders.
Headlining day one of the inaugural &FRIENDS Festival is none other than Zedd. Fresh off a show-stopping performance at Coachella, the Grammy Award-winning artist makes his long-awaited return to Manila. With iconic hits like ‘Clarity’, ‘Stay the Night’, and ‘The Middle’, Zedd remains one of the most electrifying names in the scene, securing him for the debut edition sets the bar high.
Day two brings an equally monumental moment with Illenium, marking his first-ever performance in Manila. For fans, the wait has been long, and well worth it. Known for blending emotion and intensity in his sets, Illenium’s seamless mix of future bass and melodic dubstep makes him the perfect closer for the weekend.
The festival transforms Okada Manila into a multi-stage wonderland, featuring the Cove Stage, Creator Stage, and Plume Friendship Stage, each delivering a unique sonic experience. From high-energy EDM to experimental beats and live vocal sets, &FRIENDS Festival promises an unforgettable journey through sound and connection.
May 30, 2025 (Friday)
Cove Stage: Zedd headlines alongside €URO TRA$H, RayRay, Fairlane b2b Siangyoo, Kiara, Hoang, and more. Creator Stage: The night turns into a K-Pop Rave presented by HIDDEN NIGHTS, with 2Spade, Hoaprox, and Foxela, and more spinning K-wave hits with an EDM twist. Plume Friendship Stage: DJ collectives Restored Bass and EKO&FRIENDS take over for a night of Asian underground music. May 31, 2025 (Saturday)
Cove Stage: ILLENIUM and bbno$ make their Manila debuts, along with Seven Lions, 2Spade, Jeonghyeon b2b KDH, Hoang b2b MVSE, NGHTSHIFT, Caden, Orange Juice Asia, and more. Creator Stage: Filipino music is front and center with the OPM Stage led by Ylona Garcia, joined by Amiel Sol, Kiyo, and music-focused collectives like Orange Juice Asia and Planet Workshop, expanding the definition of what OPM can be. Plume Friendship Stage: Scene-shaping groups Midnight Rebels and Contrast deliver their signature style, fusing sound and community-driven culture. 2-Day Tickets that include entry to both days, are at Php 8,500 for General Admission and Php 15,000 for VIP.
Solo day tickets start at Php 6,000 for Day 1, with Zedd, €URO TRA$H, Kiara, Fairlane b2b Siangyoo and more EDM acts. Day 2 starts at Php 3,500, headlined by bbno$, ILLENIUM, and Seven Lions.
VVIP Cabanas are officially sold out.
&FRIENDS Festival is powered by LastDrop.
Ravebot
Ravebot

“Downright dreadful and awful – true f**king crap”: Jazz pianist Matthew Shipp takes aim at André 3000’s new piano EP

Music is probably the most subjective art form there is, and what sounds like a masterpiece to some may sound like, well, “atrocious shite” to others – as proven in jazz pianist Matthew Shipp’s response to André 3000’s new piano EP.
The new piano-based release, titled 7 Piano Sketches, landed on 5 May, shortly following the former Outkast creative’s bold Met Gala outfit featuring a grand piano strapped to his back. The release also follows on from his 2023 flute album, New Blue Sun, and Shipp is really not a fan.
READ MORE: “There’s a disposable attitude to making music that’s prevalent these days”: Producer Danny L Harle says musicians must take time to reflect on their work The EP is mostly improvisational, and in fact, André 3000 didn’t originally plan on sharing it. Most of the recordings were made using his iPhone or laptop microphone. At its release, he said in a statement, “These piano pieces weren’t recorded with the intention of presenting them in any formal way to the public. They were personal, at home recordings. I would sometimes text them to my family and friends.”
Despite this, Shipp seemingly thinks we’re all being taken for a ride with the release, and has branded it a “fraud” that “does not even deserve the attention of a critique it is so dreadful”. In a lengthy Facebook post, he says a friend told him about the EP, leading to his review.
“I think it is complete and utter crap, horrific-god awful insipidly wretched nothing,” he writes. “This is some atrocious shite – is he some type of fucking asshole? Is he a complete and utter dilettante? I could go into detail about why each cut is stillborn but why bother, it does not even deserve the attention of critique, it is so dreadful.
“The guy is not a pianist – that is the beginning and the end of it – what an ugly piano sound,” he continues. “What a lack of respect for the discipline by someone who in my opinion is a complete asshole for doing this. It is depressing that this garbage will get any attention because he has a name and fame.”
You can read the full post below:


Shipp has since released another statement in light of his comments going viral, and has clarified, “I am sure Andre is a great guy and I am also sure there is no ill intent whatsoever. I should not have used the word asshole, but I stand by what else I said. He is an amazing hip-hop artist – all I ask is that he respect[s] the art of people who can really do a certain thing.”

André 3000 has not responded to Shipp’s comments at the time of writing.
The post “Downright dreadful and awful – true f**king crap”: Jazz pianist Matthew Shipp takes aim at André 3000’s new piano EP appeared first on MusicTech.
View the full article
Ravebot
Ravebot

Armada Music Forms Joint Venture With Joris Voorn

*Featred Cover Photo Credit: Armada Music TV / YouTube
Armada Music has entered into a joint venture with renowned Dutch electronic artist Joris Voorn. This partnership builds on their previous collaborations and will focus on Voorn’s upcoming album, Serotonin, which will release in July under the Spectrum label via Armada Music. The album will feature notable tracks such as ‘Burn’ with Tom Walker, ‘Seventeen’ with Yotto and White Lies, and ‘You & I’ with Nathan Nicholson. Additionally, Voorn’s new single, ‘Tomorrow’, has just dropped on Friday, May 9.
The collaboration will encompass various aspects including A&R, distribution, promotion, and marketing. Armada Music plans to further enhance the project through its publishing division, Armada Music Publishing, which will provide creative support via writing camps and collaborative efforts.
The impact of the joint venture deal between Armada Music and Joris Voorn
This deal enhances the existing relationship between Armada Music and Joris Voorn, highlighted by performances at notable events such as ASOT, the Amsterdam Dance Event, and Tomorrowland Winter, where Voorn and Armada’s co-founder, Armin van Buuren, performed back-to-back sets.
Joris Voorn initially collaborated with Armada Music in 2022 with a remix of ‘Transmission’ by Eelke Kleijn. This remix achieved significant success, reaching No. 1 on the Shazam charts in the Netherlands and Belgium, entering the Dutch Top 40, and accumulating over 60 million streams. Armada Music’s partnership with Voorn aligns with their recent initiatives involving Ki/Ki‘s label, Slash, and Arodes‘ label, Unreleased, announced last year.
Maykel Piron, CEO and co-founder of Armada Music, speaks about joint venture
“Joris’s vision and artistry are unparalleled, and we’re honored to join forces with him in a deeper capacity. Spectrum is a true reflection of his best-in-class creative capabilities, and we’re excited to collaborate on a creative level and help bring his music to an even wider audience. This partnership is a testament to our shared dedication to pushing electronic music forward.”
The post Armada Music Forms Joint Venture With Joris Voorn appeared first on EDMTunes.
Ravebot
Ravebot

‘Del Perú’ Sees Renzo Zong Weave Diverse Influences into a Powerful, Rhythmically-Driven EP

Renzo Zong, Peruvian DJ and Producer, unveils his ‘Del Perú EP’ – a three-track collection marked by its originality and explorations into refreshing sonic territories. Released via MoBlack Records, each track envelops listeners in the Tribal beat flavour of Renzo Zong’s signature style, guiding them through deep, textured soundscapes that reflect his creative vision and reinforce his distinct sonic identity.  
Rooted at the core of Renzo Zong’s project is both passion and purpose; stepping out with the desire to recover the diversity of Peru’s musical landscape, he has cultivated a style that fuses traditional sonic customs with modern electronic production, combining Tribal Beats and psychedelic influences with the rich musicality of Peruvian culture. Now, on full show in this brand-new EP, listeners are invited to dive deep and discover this distinctive blend – immersed in the hypnotic grooves and rhythmic intricacies of ‘Del Perú,’ a title that fittingly translates to ‘From Peru,’ echoing the cultural roots at the core of Renzo Zong’s sound. 
From ‘Pia Pia’ to ‘Pajarito’ to ‘Tulumayos,’ dynamic energy and balanced melodic nuance spread across Renzo Zong’s EP, unfolding through skilfully crafted arrangements.  
‘Pia Pia’ opens the EP with layered percussion, traditional vocal accents, and warm synth textures, creating a sense of flow and momentum that sets the tone for what follows. The track moves with an intuitive rhythm, evolving into a rich soundscape that pays homage to the raw spirit of Peru’s natural and musical landscape. 
‘Pajarito,’ featuring Grammy-nominated vocalist Javier Lazo, a key ambassador for the new wave of Afro-Peruvian music, adds another layer to the release; combining airy flute melodies with precise sound design and expressive vocal phrasing, it creates space for both movement and reflection. Dreamlike synths and dynamic percussion work together to keep the energy consistent, while subtle melodic shifts help carry the track forward. 
Closing the EP, ‘Tulumayos’ fuses driving beats with celestial tones, offering a grounded yet expansive finish. It stands as a powerful tribute to ancient traditions — a sonic interpretation of devotion to Pachamama, shaping an experience that feels both ritualistic and emotionally resonant whilst tying together the themes of rhythm, heritage, and forward-thinking production that define ‘Del Perú.’ 
An EP that encapsulates Renzo Zong’s style, creativity and musical roots, ‘Del Perú’ marks a meaningful moment in his journey. With a distinct approach to sound and storytelling, he presents a release that channels cultural memory into a carefully constructed blend of rhythm and atmosphere — carrying the essence of his heritage to listeners in a deeply personal and dancefloor-ready form. 
Make sure to keep up with Renzo Zong and his journey, staying tuned to his latest updates via social media.  
‘Del Perú EP’ is out now via MoBlack Records and is available to stream and download across all major platforms. 
Listen and Buy ‘Del Perú EP’ Here:  
https://www.beatport.com/release/del-peru-ep/5053052
Renzo Zong Online   
Instagram | Spotify | TikTok   
Javier Lazo Online   
Instagram | Spotify  
MoBlack Records Online   
Instagram | Website | Beatport   
The post ‘Del Perú’ Sees Renzo Zong Weave Diverse Influences into a Powerful, Rhythmically-Driven EP appeared first on EDMTunes.
Ravebot
Ravebot

CASH ONLY & VSTRV Drop Highly Anticipated Afro-House Hit ‘No Way’

UK imprint Famous When Dead Records keeps their momentum rolling with a solid flow of club-focused cuts fueling dancefloors and climbing charts with every release. The forthcoming collaboration features label head CASH ONLY teaming up with rising West London rapper and vocalist VSTRV (Pronounced ASTRA) for ‘No Way’, which has been weaving its way into tastemaker sets in advance of its mid-May release.
This signature track showcases the bold artistry propelling the label toward becoming one of this year’s top independent forces. The song dives deep into Afro-inspired rhythms, taking on a resounding Melodic House persona with a succinct driving bassline, punctuated synths interplayed with uplifting piano riffs, and a standout vocal hook. The highly talented VSTRV is known for his raw, genre-blending style actively influenced by R&B, Hip-Hop, and UK-Afro vibes. His lyrics proudly push the song into a crossover single that’s destined to cycle throughout the summer.
Supported by a string of leading players including Don Diablo, Sam Divine, Hector Romero, Shiba San, Soul Central, Re-Tid, and Robert Owens, “No Way” champions themes of resistance, self-assurance, and cutting through the noise. It provides a striking blend of underground House with vocal-driven energy that instantly highlights the synergy between CASH ONLY on production and the lyrical power of VSTRV.
CASH ONLY comments, “This track has been a secret weapon for me over the last 18 months and has evolved over several different versions until we got it to a place that felt right. The final version represents everything I love about this side of House Music. VSTRV is such a talent, and I’m excited to get more of our collabs out soon!”
Since returning to the studio in late 2023, CASH ONLY has been on a sharp rise, with standout releases like ‘Take It Down’ ft Reigns and ‘Holy Water’ ft China Charmeleon hitting #2 on the Afro Chart TS and approaching a million streams. With over 30k monthly listeners and releases on Dvine Sounds, Nervous, and King Street Sounds, he’s fast becoming a global name to watch, backed by a growing DJ career with upcoming sets at Glastonbury, Defected Croatia, Reading, and Parklife.
Famous When Dead Records, co-founded by CASH ONLY and abstract street artist Famous When Dead, has earned a reputation as a launchpad for emerging talent, merging electronic music with visual art through a bold, anti-establishment lens. With past collaborations from artists like Xamount, Konstantin Kobra, and Reigns, the label continues championing creative evolution, now adding VSTRV to its fast-growing roster.
No Way drops on all major streaming platforms May 16th, solidifying CASH ONLY, VSTRV, and Famous When Dead Records as key players in today’s electronic music landscape.
Presave: https://snd.click/CAVNW
Ravebot
Ravebot

Music Tectonics returning to LA

Music Tectonics is no stranger to Southern California wildfires, since the Getty Fire in 2019 drove a last-minute venue change. The conference organisers aren’t backing down—they’re committed to LA’s unique intersection of tech and music as the community recovers, thrives, and grows. The locations Music Tectonics attendees have come to love—the Santa Monica Carousel, the Annenberg Community Beach House, and the rooftop Expert Dojo—remain untouched by the fires that devastated the region. As this 7th edition returns to the conference’s chosen home in Los Angeles, expect it to tackle seismic conversations like fair use versus ethical use, leaving no music money on the table, and the future of fandom. 

Now, the November 4-6 thousand-person gathering in sunny Santa Monica, California, launches three days of conversation, networking, and getting business done with the announcement of some of the top voices in music innovation. 
MIDiA Research Music Strategy VP Tatiana Cirisano will keynote this year’s conference. This groundbreaking industry analyst sets the tone for the conference’s focus on the shifts in music and adjacent industries that are poised to have tectonic impacts in the near future.
Tatiana will be joined by Music Tectonics speakers who bring expertise from investment, the intersection of music and games, and the recorded music industry: 
Kristen Bender, Universal Music Group Alicia Yaffe, Warner Music Group Maria Egan, Riot Games Aadit Parikh, Sony Ventures Darryl Ballantyne, LyricFind Steven Pardo, Secretly Canadian Joshua Stone, Stuff.io Scott Yusuke Sugino, Yamaha Music Innovations Tetris Kelly, Billboard  Lindsay Meisels, BMG Rian Rochford, Loma Vista Recordings Bruce Hamilton, Everybody Ventures Sun Jen Yung, Nfluence Partners Paul McCabe, Roland Ethan Millman, The Hollywood Reporter Dmitri Vietze, Rock Paper Scissors More to be announced before embargo lifts on 5/6/2025 “The formulas of yesterday are broken, and we don’t think conference centre dungeons are the right place to re-invent the industry,” explains conference director Dmitri Vietze. “My goal is to get the right people to the right beach, give them some space and sunshine, and let the future unfold. This year’s Music Tectonics is the one people will reminisce about two decades from now.” The seventh annual conference returns to creative beachside venues that encourage openness to new connections and ideas, and schedules in networking breaks and parties to make that space. 
Music Tectonics is unlike any other conference in music and tech. Top industry movers and shakers mingle with rising innovators and thought leaders. High-energy sessions explore nuances of the latest trends as well as innovations in the nuts and bolts of the music business. Music tech leaders LyricFind and Stuff.io have already signed on as event partners to support more outstanding experiences at the 2025 conference.
“I spend all year looking for speakers who are established thought leaders, alongside up-and-coming thinkers who are about to shake things up,” remarks Music Tectonics head of events Shayli Ankenbruck. “In my experience, that strategy helps fresh ideas bloom.” That list is just a sample of the 60+ more speakers from leading companies who will join the roster before the conference kicks off in November.
Attendees can expect a new spin on the Creator Fair introduced last year, which moves to the Santa Monica Carousel to feature even more innovative musical instruments, influencers, and artists. The 2024 Creator Fair was built to recognise the emerging creator economy boom by convening the recorded music industry and tech innovators who have been Music Tectonics’ main audience with music makers, content creators, and gear and instrument companies. “Attendees told us that they had a hard time choosing between overlapping panels and creator talks, and we heard them,” Ankenbruck elaborates. “This year, we are giving the Creator Fair more space on the schedule so everyone can experience it.” Expect more details on 2025 Creator Fair keynotes with leading influencers in the music creator space and demos of cutting-edge instruments and gear. 
Music Tectonics now has a limited number of tickets on sale at a special Super Early Bird rate of $299, until they sell out. The Early Bird rate of $349 goes into effect until August 19. Stay tuned for details on the return of the friendliest pitch competition in music tech, Swimming with Narwhals.
Tickets can be purchased at musictectonics.com/conference.
Music Tectonics 2025 Conference Schedule
Tuesday, November 4: Santa Monica Pier
Carousel Creator Fair, Keynote, Demos, Opening Party Wednesday, November 5: Annenberg Beach House 
Keynote, High-Energy Panels, Exhibitors around the Pool, Creative Activations, and Startup Pitch Competition Final Round, Pool Party Thursday, November 6: Expert DOJO
Startup day: Investor & Startup Bootcamp  The post Music Tectonics returning to LA appeared first on Decoded Magazine.
Ravebot
Ravebot

Moog Music announces Moog Messenger

Moog Music has unveiled the Moog Messenger, a compact yet powerful monophonic analog synthesizer designed to deliver the iconic Moog sound to a new generation of musicians. Officially announced today and available beginning early summer, Messenger blends timeless analog warmth with innovative functionality, like dynamic wavefolding, a next-generation ladder filter with resonance bass compensation, and an intuitive hands-on interface. This makes it an inspiring instrument for both newcomers to synthesis and seasoned musicians seeking depth and expressiveness. With its performance-ready design and versatile sound engine, Messenger seamlessly integrates into any studio, live performance setup, or modular rig. Synth collectors who value the Moog sound, brand, and legacy will also appreciate its craftsmanship and sonic capabilities.
An Icon That Inspires 
​For over six decades, Moog synthesizers have profoundly influenced music culture, shaping genres from progressive rock and jazz fusion to electronic dance music. Pioneering artists such as Wendy Carlos, whose 1968 album Switched-On Bach showcased the synthesizer’s versatility, and bands like Emerson, Lake and Palmer and Kraftwerk, who integrated Moog’s distinctive sounds into their groundbreaking work, have cemented its legacy. ​ ​ 
The Moog Messenger continues this tradition of developing innovative musical tools for forward-thinking artists. It represents a significant evolution in Moog’s synthesizer lineage, blending the company’s rich heritage with new sonic possibilities and enhanced playability. Designed for both aspiring and professional musicians, producers, and sound designers, Messenger provides an accessible yet powerful tool for creative exploration. 
“With Messenger, we aim to honour Moog’s rich heritage while embracing the future of analog synthesis,” said Joe Richardson, Moog Music President and inMusic EVP, Chief Commercial Officer. “This instrument is crafted for musicians and producers seeking a portable, powerful monosynth that delivers the iconic Moog sound, enhanced with modern features and intuitive controls.” 
Key Features of Messenger: 
Timeless and Intuitive Design: Building upon the DNA of Moog’s iconic monosynths—such as the Minimoog Model D, Voyager, Grandmother, and Subsequent 37—Messenger introduces innovative circuits within a familiar format, delivering classic analog sound with modern enhancements. ​  Modern Wavefolding Oscillators: Two continuously variable-shape voltage-controlled oscillators (VCOs) with unique hybrid wavefolders, sync, and frequency modulation (FM) capabilities allow for rich harmonic textures and dynamic overtones. A sub-oscillator with a continuously variable waveshape further adds deep, powerful low-end.  Next-Generation Ladder Filter with Resonance Bass Compensation: The legendary Moog transistor ladder filter has been reimagined with a unique pole-mixing design, offering 4-pole low-pass, 2-pole low-pass, band-pass, and high-pass responses. The resonance bass compensation (RES BASS) switch preserves low-end power at high resonance settings, ensuring full-bodied sound across the spectrum. The classic response is also available.  Full-Size Keys with Expressive Control: Messenger features 32 semi-weighted full-size keys with velocity and aftertouch, providing a premium playing experience suitable for both performance and studio use. Its robust metal panel houses 256 presets, offering immediate access to a wide range of sounds and textures.  Hands-On, Performance-Ready Layout: A knob-per-function control scheme ensures immediacy and ease of use, allowing musicians to shape sounds instantly without navigating complex menus. ​  Integrated Sequencer and Arpeggiator: A 64-step sequencer with probability-based generative behavior and parameter recording, along with a versatile arpeggiator offering multiple pattern modes and rhythmic programming, enable real-time composition and dynamic live performances. ​  Sound Design and Modulation Playground: Two loopable ADSR envelopes with velocity responsiveness and multi-trigger capabilities, along with two LFOs—one variable shape with sync and reset, and one triangle-wave tied to the modulation wheel—provide extensive modulation options for creative sound design. ​  Comprehensive Connectivity: Messenger integrates seamlessly into any setup with six analog control voltage (CV) patch points, an external audio input to the filter, expression and sustain pedal inputs, and MIDI In/Out via both 5-pin DIN and USB-C, ensuring compatibility with DAWs, modular systems, and other hardware synthesizers. ​  Compact, Powerful, and Accessible: Delivering the depth and sonic character of Moog’s legacy in a compact, performance-ready format, Messenger is Moog’s most accessible analog synthesizer to date, making it an indispensable tool for musicians and producers alike.  “Messenger embodies our commitment to advancing analog synthesis while staying true to the Moog legacy and innovative spirit of Dr. Robert Moog,” said Erik Norlander, Director of Keyboard Product Development at inMusic. “Our goal was to create a synthesizer that invites immediate exploration—welcoming first-time Moog players and offering the depth and expressiveness that experienced musicians expect. With wavefolding oscillators, a dynamic shape sub-oscillator, a next-generation ladder filter, and comprehensive connectivity options, Messenger is as inspiring as it is accessible.” 
To kick off the campaign, Akai Professional released “Arrival of the Messenger,” a short film introducing the MPC Live III as a catalyst for connection and creativity, where waveforms carry hidden messages and sound becomes a shared experience. “Arrival of the Messenger” features original music by Michael Stein, created using the new Moog Messenger. 
To celebrate the launch, watch Lisa Bella Donna bring the new Moog Messenger to life in a dynamic analog performance—showcasing its depth, versatility, and next-gen take on the iconic Moog sound. 
Preset preview: Lisa Bella Donna showcases the depth and versatility of Moog Messenger’s built-in sounds. 
Availability and Pricing 
​The Moog Messenger is available at select retailers worldwide starting Monday, June 2 for $899 USD.
To learn more about Moog Messenger, please visit www.moogmusic.com. Join the conversation on social media by following @MoogSynthesizers on Instagram, TikTok and YouTube and @MoogMusicInc on Facebook, and X. 
The post Moog Music announces Moog Messenger appeared first on Decoded Magazine.
Ravebot
Ravebot

andhim reimagine Monolink’s “Powerful Play”

In a seamless meeting of two of Germany’s most creative electronic voices, internationally renowned DJ and producer duo andhim now unveil their highly anticipated remix of Monolink’s “Powerful Play”, out now via Embassy One. Known for their emotive fusion of deep grooves and dynamic, electronic storytelling, andhim’s interpretation of “Powerful Play” reimagines the original into an evocative, hypnotic journey built for introspective dance floors and blissful sunrise moments.
Originally released in March 2025, Monolink’s “Powerful Play” has captured hearts and ears with its reflective storytelling, poignant vocal layers and rich fusion of acoustic and electronic textures. Delivering a musical musing on impermanence and presence — drawing listeners into a richly layered world of poetic lyricism, acoustic instrumentation and electronic subtlety — the track, which was accompanied by a beautiful music video created by Copenhagen-based filmmakers FRANZI, explored themes of human connection and emotional legacy through the lens of siblinghood and memory.
Now, andhim rework the track with their signature blend of luscious grooves, refined electronica and subtle euphoria, breathing fresh life into the original while preserving its philosophical core. In typical andhim fashion, the remix plays with dynamics and space, pulling Monolink’s haunting vocal lines through intricate rhythms, warm analog textures and a hypnotic build that carries listeners through an immersive sonic narrative. The duo’s characteristic groove meets Monolink’s elegiac depth, resulting in a track that’s both club-ready and emotionally resonant.
Formed in 2011 by Simon Haehnel and Tobias Müller, andhim has become one of electronic music’s most revered duos. With collaborations spanning Diplo, RÜFÜS DU SOL and Theophilus London, and residencies in cultural hotspots like New York, Los Angeles, London and Berlin, they continue to define their own path in the global electronic scene, boasting a huge catalogue of releases on some of the industry’s most esteemed record labels. Their own imprint, Superfriends Records, founded in 2016, further exemplifies their devotion to curating forward-thinking, genre-blending sounds. A label that captures a refined and contagiously unique electronic sound, it is an outlet for the duo’s most ambitious ideas, and has also welcomed leading electronic artists including Roman Flügel and Acid Pauli. 
Monolink – Powerful Play (andhim Remix) is out now via Embassy One: https://monolink.lnk.to/PowerfulPlay_andhimRemix
The post andhim reimagine Monolink’s “Powerful Play” appeared first on Decoded Magazine.
Ravebot
Ravebot

Peshay’s 1996 Mix Erased in Copyright Dispute

In 1996, drum and bass legend Peshay (Paul Pesce) crafted “Studio Set 1996”, a mix that has become a cornerstone of electronic music history. For decades, this mix has become a time capsule of jungle’s golden era and has inspired artists, generations of producers, and acted as a gateway to the genre. Its 3.8 million YouTube views weren’t just numbers, they represented a living archive of a genre that shaped rave culture worldwide.
But in 2025, this piece of history was erased twice by wrongful copyright claims from Dice Ryu Sykes (Ninj Yang Productions), Sykes registered Chameleon – Links (1995, Good Looking Records) as Tropical Jungle (Remade) (SR0001026600) without any authorisation, then rebranded it as his own creation. He has then exploited YouTube’s copyright system to monetise uploads of disputed tracks while disputing the original creators’ rights. By erasing Peshay’s mix, Sykes’ actions threaten the preservation of drum and bass history, a loss we believe constitutes cultural vandalism.
For fans, this mix isn’t just music, it’s the soundtrack to late night raves, friendships forged in basslines, and a genre that defied boundaries. For Peshay, it’s a legacy under siege.
The Crisis: Wrongful Takedowns Threaten All Music
In 2025, Dice Ryu Sykes managed to register “Chameleon – Links” as his own track, renaming it “Tropical Jungle (Remade)” (U.S. Copyright Office registration number SR0001026600, registered on 2025-02-11).
With this registration filed nearly 30 years after the original, Sykes was able to exploit YouTube’s copyright system to remove Peshay’s legendary mix. He’s using this paperwork to claim ownership of music he didn’t create, and to silence the real artists who made drum and bass what it is today.
This isn’t just a loophole; it’s a flaw in the system that lets anyone erase our musical history with a few clicks and a disputed registration. If this can happen to Peshay and Good Looking Records, it can happen to any artist, in any genre.
Sykes’ scheme is part of a systemic issue threatening artists globally:
He registered works such as ‘Chameleon – Links’ and ‘Shogun – Ulysses’ under new titles and uploaded them to Spotify, Apple Music, and YouTube. He filed copyright claims that resulted in the removal of Peshay’s mix, taking advantage of gaps in the DMCA process.. As a result, these uploads generate ad and streaming revenue, while the original creators’ work is removed. This isn’t isolated:
Over 34,000 disputed DMCA notices targeted legitimate content in 2022 alone (Lumen Database). 13% of music piracy now involves YouTube rips, costing artists $29.2 billion annually (Muso). YouTube’s system is failing creators: 60% of disputed claims are resolved in favour of uploaders, but only after videos are banned for weeks (YouTube Transparency Report). Our Demands
We call on YouTube and U.S. lawmakers to enact urgent reforms:
Automatically Reinstate Content
If claimants like Sykes fail to sue within 10 business days, videos must be restored immediately. No more “takedown limbo.” Penalise Fraudulent Claimants
Suspend channels that repeatedly abuse the system (e.g., Sykes’ Ninj Yang Productions).
Impose fines under 17 U.S.C. § 512(f) for knowingly false claims. Modernise the DMCA
Require proof of original ownership for takedowns targeting legacy works (pre 2000).
Void registrations like Sykes’ “Tropical Jungle (Remade),” which violate 17 U.S.C. § 103(b) (unauthorised derivatives). Why This Matters for Everyone
This isn’t just about drum and bass. Every genre is at risk:
Hip-hop samples, classic rock riffs, and folk melodies could vanish overnight. Legacy artists (especially those on defunct labels) often lack the resources to fight back. Fans lose access to the music that has defined their lives. If we lose our archives, we lose our history. This is a fight for every artist and fan.
How You Can Help
Sign this petition to demand that YouTube and Congress act. Share on social media with #SavePeshayMix and #StopCopyrightAbuse.  The Stakes
Peshay’s mix is just the tip of the iceberg. Without change:
Individuals, like Sykes, will continue to exploit copyright registration loopholes Platforms like YouTube will prioritise automation over artistry. Creators everywhere will face being silenced by bad actors. We can’t let this stand. Sign now to defend the past and protect the future of music.
Evidence of Disputed Ownership
Shazam Match: “Tropical Jungle (Remade)” = “Chameleon – Links.” Watch here: https://drive.google.com/file/d/1BpzK8k67vhhju9468JTLSYX8i9LVevlw/view Original 1996 Release: Good Looking Records’ catalogue entry. Label: Good Looking Records – GLR 14. Format: Vinyl, 12″, 33 ⅓ RPM. Country: UK. Released: 1995 50,000 signatures will force YouTube and Congress to respond. Let’s make history again. Sign now. Share widely. Save our sound and culture.

The post Peshay’s 1996 Mix Erased in Copyright Dispute appeared first on Decoded Magazine.
Ravebot
Ravebot

HARD Summer 2025 Lineup Drops the Heat at Hollywood Park This August

HARD Summer returns for its 2nd year at Hollywood Park the first weekend in August — and it’s coming back even bigger, bolder, and bass-heavier than ever. After making its move from the Los Angeles Memorial Coliseum in 2024, the festival has found its perfect home adjacent to SoFi Stadium and YouTube Theater. As the Southern California sun cranks up the heat, HARD Summer 2025 promises to match the hot August temps with a lineup that’s nothing short of a solar flare.
Set for August 2–3, 2025, this year’s programming is a techno lover’s dream, leading with every shade of the genre: Acid Techno, Industrial Techno, Tech House, and beyond. Yet, true to HARD’s DNA, the lineup refuses to be boxed in — mixing reggaetón, dancehall, hip-hop, underground club sounds, dubstep, and drum & bass into two unforgettable days. With a little bit of everything — and a whole lot of pounding techno — HARD Summer 2025 is gearing up to be one of the most sonically adventurous weekends of not just the summer, but of the entire year.
Day 1 – Saturday: Heavy Hitters, House Grooves, and Global Icons
Saturday’s programming taps deep into HARD’s signature flavor: fearless, high-intensity, and genre-defying.
Techno fans can brace themselves for tidal wave sets from global standouts like Deborah De Luca, Sara Landry, and Berlin underground heavyweights Marlon Hoffstadt and MALUGI. Industrial and acid elements will thread through performances from boundary-pushers like Floating Points and Overmono, ensuring the dance floor will stay drenched in sweat.
House lovers, be prepared to be spoiled. The legendary The Blessed Madonna delivers her eclectic, euphoric soundscapes alongside tech-house favorites like Blackchild, SOSA, and the back-to-back pairing of Torren Foot B2B Airwolf Paradise. Latin house rhythms will be front and center with sets from Gordo and Deorro.
Bass and low-frequency fanatics get their fix with experimental heavyweights like Peekaboo, Tape B B2B Mersiv, and Crankdat, while drum & bass purists can catch high-energy sets from Bou and Hybrid Minds.
Global rhythms and rising underground sounds will flood the grounds with acts like Funk Tribu, Dara Genesis, STVSH, Villager, and Viperactive.
On the crossover front, FEID brings Colombian reggaetón fire to the stage, while dancehall icon Sean Paul guarantees a feel-good singalong session packed with timeless Y2K hits.
Finally, multi-genre wizard Kaytranada will close out the night with a soul-drenched, groove-heavy set blending hip-hop, house, and R&B into one magnetic performance.
Other Day 1 standouts include Alex Chapman + Zoe Gitter, Annicka, BOLO, Cromby, Ivarr, pluko, Walker & Royce B2B VNSSA, and YDG, each adding their unique energy to a jam-packed Saturday.
Day 2 – Sunday: Techno Titans, House Heroes, and Bass-Heavy Rebellion
Sunday keeps the momentum surging with a lineup that digs even deeper into HARD’s relentless spirit.
Techno dominates yet again, with an electrifying (and still partially secret) 999999999 B2B TBA set, plus industrial powerhouse performances from Alignment, I Hate Models, Nico Moreno, ØTTA, and Narciss. Expect nothing less than high-speed energy from KI/KI‘s back-to-back with a yet-to-be-announced artist.
House fans, rejoice! Dom Dolla and bassline wizard James Hype are set to deliver floor-filling sets, alongside tech-house leaders Ben Sterling and Riordan, and Latin-house juggernaut Deorro. Meanwhile, Adam Ten B2B Mita Gami and KILIMANJARO B2B Melé will push the envelope with globally-inspired house rhythms and irresistible percussion.
Bass-lovers will find their home in forward-thinking performances from Player Dave, Trax Unit, fun2bjane, and D.O.D, while rising names like Daniel Allan, Yamagucci, Trace, and AIMMIA bring fresh underground energy to Sunday’s roster.
Genre-bending sets from experimentalists Joy Orbison and Prospa promise a feast of rave nostalgia, bassweight, and genre fusion, capped off by a hypnotic and emotional live set from Four Tet — one of electronic music’s most innovative icons.
In the hip-hop arena, Gen Xers can relive their 20s with Juvenile & The 400 Degreez Band throwing it back to New Orleans bounce classics, while the legendary Gesaffelstein closes the weekend with a masterclass in dark, brooding electronic brilliance.
Other Sunday must-sees include rising talents like BRUX, Linska, and it’s murph, rounding out a day where every set promises something unforgettable.
With its 2025 edition, HARD Summer cements itself as one of the most daring and dynamic festivals in the global scene — a place where techno titans, house innovators, bass disruptors, and genre-pushers all share the same spotlight.
Mark your calendars for August 2–3, 2025. Tickets are available now at hardsummer.com. Fans are encouraged to secure their passes early — because when the bass drops at Hollywood Park, you’ll want to be there rather than FOMO-scrolling your phone on your couch.
Ravebot
Ravebot

Von Dutch Seizes New Opportunities in the Rave Community

Von Dutch just surprised the rave community with its biggest move yet. Launching Von Dutch Loves right in the heart of Europe’s music scene. This summer, Barcelona’s Sónar and Brunch Elektronik Festivals will both feature Von Dutch activations. It brings together music lovers, DJs, and fashion fans under one rebellious banner. At Brunch Elektronik, Von Dutch will go even bigger by hosting its own stage. This puts the brand front and center at one of the city’s most anticipated music gatherings. The brand speaks directly into the heart of a thriving and untapped global electronic music culture.
Fashion’s Next Battleground Is the Rave Scene
While luxury brands fight for attention in sports, gaming, and pop music; electronic music remains surprisingly untouched by lifestyle labels. Von Dutch recognizes the gap and now, it takes a bold step into the rave community that’s global, loyal, and deeply rooted in underground culture. Rave culture is massive, yet few brands have dared to build authentic relationships with this audience. Von Dutch arrives at the perfect moment, stepping into an untapped lifestyle market full of energy, influence, and creative potential. This strategy positions Von Dutch as one of the first legacy brands to build a long-term presence in the live electronic music economy, where fashion, nightlife, and community collide.
Rave to Retail: A Music-First Move For Von Dutch
Von Dutch Loves marks a new era for the brand, pushing beyond fashion into rave and cultural experiences. This new identity builds on Von Dutch’s rebellious history but expands it into music, nightlife, and creative collaboration. Von Dutch Loves will focus on exclusive merch drops, DJ partnerships, and pop-up events to connect with fans deeper. “Von Dutch Loves is our playground to create, connect, and celebrate the culture and communities that inspire us,” says Jack Cheika, CEO of WSG Brands. This mission kicks off in Barcelona, where Von Dutch takes its first official steps into music culture this summer.
Barcelona’s Festival Season Welcomes Von Dutch
The campaign begins at Sónar Festival, one of the world’s leading electronic music and digital art events. This year’s lineup includes Peggy Gou, Skrillex, Vintage Culture, Bicep, and Mochakk. Sónar provides the perfect launchpad for Von Dutch Loves to connect with a global community of artists, fans, and innovators. The momentum continues at Brunch Elektronik, where Von Dutch goes even bigger by hosting its own stage. Brunch Elektronik’s stacked lineup includes Nina Kraviz, The Martinez Brothers, Marco Carola, and Jungle. Von Dutch’s presence at these festivals signals a bold new chapter for the brand.
“Von Dutch Loves is the perfect blend of honoring our legacy and riding the next wave,” adds Cheika. “We expand beyond fashion to amplify artistic voices and foster creative collaboration for today’s artists, creators, and tastemakers.”
This is only the beginning for Von Dutch’s new lifestyle platform. More festival partnerships, exclusive merchandise, and pop-up activations are expected in the coming months. Fans can follow @vondutchloves on Instagram or sign up at www.vondutchloves.com for early access to merch drops, event tickets, and the latest updates. With Von Dutch Loves, the brand proves it is not following trends—it’s traversing untapped markets.
The post Von Dutch Seizes New Opportunities in the Rave Community appeared first on EDMNOMAD.
View the full article
Ravebot
Ravebot

“SoundCloud has never used artist content to train AI models”: SoundCloud affirms it is not using your content to train generative AI amid user panic

Musicians uploading to SoundCloud recently raised concerns that their content could be being used to train AI, but according to the music sharing platform, there’s been a misunderstanding.
An extract from the Terms of Use , which is publicly outlined on the SoundCloud website, began to cause alarm among artists last week, as it states that “in the absence of a separate agreement that states otherwise, you explicitly agree that your content may be used to inform, train, develop or serve as input to artificial intelligence or machine intelligence technologies or services as part of and for providing the services”. According to the platform itself, this doesn’t refer to AI tech that exists outside of SoundCloud.
READ MORE: Spotify records its highest subscriber net adds since 2020 in first quarter of 2025 While music makers began sharing their worries online just recently, this term has been in place for over a year already, with the last amendment to the Terms of Use article dated as 7 February 2024. Further details in SoundCloud’s ToU left artists under the impression they would need to opt out having their music scraped and fed to generative AI, or that by having third party involvement (such as a label) in the upload of their music, they’d have blanket protection from this term. To gather some clarity on the matter, MusicTech reached out to SoundCloud for further information.


According to SoundCloud, this update to its ToU “was intended to clarify how content may interact with AI technologies within SoundCloud’s own platform”, including personalised recommendations, content organisation, fraud detection, and “improvements to content identification with the help of AI technologies”. It also clarifies that these efforts are aligned with existing licensing agreements and ethical standards.
“SoundCloud has always been and will remain artist-first. Our focus is on empowering artists with control, clarity, and meaningful opportunities to grow. We believe AI, when developed responsibly, can expand creative potential – especially when guided by principles of consent, attribution, and fair compensation,” a spokesperson tells MusicTech. “SoundCloud has never used artist content to train AI models, nor do we develop AI tools or allow third parties to scrape or use SoundCloud content from our platform for AI training purposes. In fact, we implemented technical safeguards, including a ‘no AI’ tag on our site to explicitly prohibit unauthorised use.”
While SoundCloud doesn’t completely rule out any other work with external AI technologies in the future, it does claim that “any future application of AI at SoundCloud will be designed to support human artists, enhancing the tools, capabilities, reach and opportunities available to them on our platform.” The spokesperson adds, “We understand the concerns raised and remain committed to open dialogue. Artists will continue to have control over their work, and we’ll keep our community informed every step of the way as we explore innovation and apply AI technologies responsibly, especially as legal and commercial frameworks continue to evolve.”
For users who still remain uncomfortable with their content being used to inform its internal AI usage, it seems you can still opt out on a track-by-track basis. The Terms of Use outlines that you can in fact “limit and restrict the availability of certain of your content [sic] to other users of the platform, and to users of Linked Services, at any time using the permissions tab in the track edit section for each sound you upload”.
While SoundCloud did not clarify what it means by a separate agreement when asked by MusicTech, the ToU states that “neither SoundCloud nor any third party is allowed to use, copy or reproduce any content delivered to the platform under separate agreements, which is owned or controlled by third party rights holders” for the purposes of informing, training, or as input to AI tech without consent from these rightsholders. This includes not only musical works, but also things like artwork, images, logos, lyrics, metadata, and more.
You can view the full Terms of Use via the SoundCloud website. 
The post “SoundCloud has never used artist content to train AI models”: SoundCloud affirms it is not using your content to train generative AI amid user panic appeared first on MusicTech.
View the full article
Ravebot
Ravebot

KERRI CHANDLER presents his GUEST DJS for ‘KAOZ Theory: IBIZA His 11 Week Residency at Chinois

KERRI CHANDLER is back at Chinois Ibiza with his ‘KAOZ Theory: IBIZA’ residency, this time for eleven Thursday nights 31st July – 9th October. The New Jersey legend’s return is universally welcomed, especially with the calibre of guest DJs he brings with him. 
 ‘Ibiza! I can’t wait to bring ‘KAOZ Theory: IBIZA’ to Chinois this summer, joined by musical friends and family. Hope to see you there. With Love, Respect and Admiration. Kerri’

His ethos this year of celebrating the old school vibes of Ibiza dovetails perfectly with Chinois, ‘the club of Ibiza’, embracing the unique energy and spirit of the island to create a diverse yet inclusive community. Nestled in Ibiza’s marina, in the Ibiza Gran Hotel, Chinois’ cutting-edge sound system, immersive sensual visuals, and a dancefloor-first experience ensure ideal conditions for this explosion of world stage talent.

KERRI CHANDLER
The New Jersey House hero’s decades on the scene spanned early funk, soul, jazz influences to becoming an architect/pioneer/inspiration of Deep House, UK Garage and more as DJ/producer/A&R. His KAOZ Theory label, releasing the likes of Jamie Jones, Martinez Brothers, Seth Troxler…, has exciting new titles and re-releases of some of his own most beloved music in the pipeline. His legendary status, his warm heart and boundless tech chops keep him globetrotting round the biggest stages, including appearing at fellow Chinois Resident DJ Honey Dijon’s Finsbury Park festival, Timewarp Brazil, Warung Day Festival, 909 Festival, Kappa Futur, Electrico Festival, Elrow NYC, Defected Croatia and Fuse Malta…. plus more KAOZ Theory events to come in Historic Park (Los Angeles) and venues across Europe.

A taste of the GUEST DJS to play include seminal Ibiza icon DJ Harvey; Detroit visionary Moodymann; Running Back boss Gerd Janson (also a TRIP Chinois fave); Grammy-winning Iranian-American, DC-based producers DEEP DISH for a house set; US sensation, ‘We Still Believe’ imprint boss and previous BBC Radio 6 Music show host THE BLESSED MADONNA; UK duo GROOVE ARMADA, with multiple Brit & Grammy noms to their name; Ibiza favourite since 2006, UK DJ/Knee Deep In Sound label boss HOT SINCE 82; Belfast-born, Berlin-based ‘Big Saldo’s Chunkers’ label head SALLY C.

With more artists TBA and more surprises in store, KAOZ Theory: IBIZA is a party that you won’t want to miss!

FULL ARTISTS A-Z
CUARTERO
DAVIDE SQUILLACE
DEEP DISH (HOUSE SET)
DJ Deep
DJ HARVEY
DJ SIMI
DJ VIVONA
EATS EVERYTHING
ELLIOT SCHOOLING & LIAM PALMER
GERD JANSON
GORGON CITY
GROOVE ARMADA
HOT SINCE 82
KERRI CHANDLER
KINK LIVE
LUKE DEAN B2B LP RHYTHM
LUPE FUENTES
MANDA MOOR & SIRUS HOOD
MANU GONZALEZ
MONA LEE / SIMON SHAW
MOODYMANN
NIKITA VOGEL
PRUNK
ROUTE 94
SALLY C
SIMON SHAW / MONA LEE
SYREETA
THE BLESSED MADONNA
THE CHECKUP
TUCCILLO
Connect with: 
Chinois – @chinoisibiza
Kerri Chandler – @kerrichandler
The post KERRI CHANDLER presents his GUEST DJS for ‘KAOZ Theory: IBIZA His 11 Week Residency at Chinois appeared first on Electric Mode.
Ravebot
Ravebot

Mixmag Ibiza Sessions unveils its impressive lineup for its debut residency at Amnesia Ibiza including Armand Van Helden, Sam Divine and More

Armand Van Helden, Angerfist, Sam Divine, Fish56Octagon, Pan-Pot, Julian Jeweil, Boys Noize, Franky Wah, Joris Voorn, Hector Oaks, Daria Kolosova, Space 92, Popof and many more join the lineup.

Mixmag, a global reference in dance music, kicks off its first residency on the White Isle on Wednesday, June 11th with a grand opening featuring the legendary Armand Van Helden, Defected star Sam Divine, and the innovative Ares Carter.

Mixmag Ibiza Sessions will occupy a total of eight dates taking place on June 18th and 25th, July 2nd, 9th and 16th, September 24th and will culminate with an epic Closing Party on October 1st.
 
During June, the Amnesia terrace will host social media sensation and rave lover Fish56Octagon, hard and fast techno from Oguz and Rebekah, hardcore with Angerfist and different shades of minimal and techno with Julian Jeweil, Pan-Pot and Space 92.
 
In July comes the energy of Boys Noize, hard dance and trance from Davyboi and Pegassi, as well as techno, acid and high-impact grooves with Faster Horses, Adrian Mills and Cloudy, along with a special b2b between Joris Voorn and Yotto and the tech vibes of Franky Wah.
 
Other artists joining throughout the season include Hector Oaks, Bad Boombox, Pastis & Buenri and Daria Kolosova.
 
These electrifying sessions will take place on Amnesia’s legendary Terrace, with an immersive setup that will allow the public to experience the headliners up close.
 
Nick Stevenson, Global General Manager of Mixmag, comments: “Mixmag has been covering, supporting and organizing parties in Ibiza since the 80s. In 2025 we bring eight great events to the island with genres and artists from all over the world. Come and be part of electronic music history.”
 
For his part, Grego O’Halloran, promoter of Mixmag Ibiza Sessions at Amnesia, adds: “It is incredibly exciting to be able to launch this residency. We are going to offer an energetic dance floor experience on Amnesia’s iconic terrace, creating an unprecedented vibe with a gigantic multi-genre lineup. See you on the dance floor!”
 
In addition to this anticipated residency, Mixmag Ibiza Sessions will also organize special pop-ups in different parts of the island, so stay tuned for news that will be revealed throughout the season.
 
OPENING PARTY
 
WEDNESDAY, JUNE 11
 
TERRACE
 
ARES CARTER
 
ARMAND VAN HELDEN
 
HARVY VALENCIA b3b JESSE CALOSSO b3b JEAN PIERRE
 
SAM DIVINE
 
WEDNESDAY, JUNE 18
 
TERRACE
 
ANGERFIST
 
DEMONIA
 
FISH56OCTAGON
 
GASTON ZANI
 
GNRØ
 
OGUZ
 
REBEKAH
 
WEDNESDAY, JUNE 25
 
TERRACE
 
JULIAN JEWEIL
 
ONYVAA
 
PAN-POT
 
SPACE 92
 
+TBA
 
WEDNESDAY, JULY 2
 
TERRACE
 
BOYS NOIZE
 
DAVYBOI
 
GI.O
 
PASTIS & BUENRI
 
PEGASSI
 
ADRIAN MILLS INVITES:
 
WEDNESDAY, JULY 9
 
TERRACE
 
ADRIAN MILLS
 
CLOUDY
 
FASTER HORSES
 
KATY ROUGH
 
KUKO
 
SERAFINA
 
SIKOTI
 
WEDNESDAY, JULY 16
 
TERRACE
 
CAAL
 
FRANKY WAH
 
JORIS VOORN b2b YOTTO
 
MARLIE
 
+TBA
 
WEDNESDAY, SEPTEMBER 24
 
TERRACE
 
BAD BOOMBOX
 
FIHIGA
 
MISCHLUFT
 
PARKERSTRANGE
 
SUPERSTRINGS
 
CLOSING PARTY
 
WEDNESDAY, OCTOBER 1
 
TERRACE
 
HECTOR OAKS B2B DARIA KOLOSOVA
 
MHA IRI B2B MARIE VAUNT
 
SPACE 92 X POPOF PRESENT TURBULENCES
 
+TBA
The post Mixmag Ibiza Sessions unveils its impressive lineup for its debut residency at Amnesia Ibiza including Armand Van Helden, Sam Divine and More appeared first on Electric Mode.
Ravebot
Ravebot

Villa delle Rose Promises Fashion, Style, Quality at its 2025 Edition

A perfect mix of elegance, style, and class, Villa delle Rose delivers unforgettable nights of high-quality entertainment. Located in Misano Adriatico on the Italian Adriatic Riviera, this is the ultimate summer club experience. On Friday 9th and Saturday 10th May 2025, Villa delle Rose officially opens a new season – a fresh chapter in a legendary story that began in 1992 and continues to evolve with unforgettable moments year after year. A legacy that looks to the future.
As always, Villa delle Rose is ready to welcome its guests with a series of exciting updates. This season introduces a real backstage area behind the DJ booth, a revamped VIP zone with first-class flight-style boxes, upgraded audio and video systems, new installations, and an enhanced LED wall. Every night at Villa delle Rose offers something truly unique – thanks to theatrical staging, live shows, stunning lighting, a cosmopolitan crowd, the Asian Lounge restaurant, meticulous attention to detail, and of course, the best in electronic music from world-renowned DJs.

In 2025, the club’s Friday calendar will rotate between signature party formats such as AMA, Clorophilla, and Pulse, while Saturdays are dedicated to Vita. On Sundays, Vidaloca returns as the headline event, continuing its long-standing residency.
Opening weekend kicks off with two gala events:
Friday 9th May: the debut of Pulse, featuring Bora Uzer (resident of Flower Power Saturdays at Pacha, Ibiza), Ayamoon, Danny Lozito, Mappa, and Tanja Monies.
Saturday 10th May: the season’s first Vita party, with Blackchild and DJ Protein.

The month continues on:
Friday 16th May with the first AMA (Art Meets Art) of the season. In the early evening, the club transforms into a curated art space by Tanja Monies, blending music, live art, and visual installations. DJ sets by Fiona Kraft, Zodiak, and Nikita Voguel.
Saturday 17th May, Vita returns with Miguelle & Tons and Ricky Pedro.
Friday 23rd May sees the season debut of Clorophilla, featuring Goodboys and Samuele Sartini.
Saturday 24th May, Vita brings HoneyLuv and Bartolomeo to the decks.

A major highlight arrives with the June bank holiday weekend:
Friday 30th May: Bob Sinclar, whose sets at Villa delle Rose are always iconic.
Saturday 31st May: WhoMadeWho, a standout name in cutting-edge electronic music.
Sunday 1st June: an additional Vidaloca event, ahead of its regular Sunday residency starting later in June.
The summer line-up promises both returning legends and fresh faces. On Fridays, expect sets from Bob Sinclar, Bora Uzer, Fiona Kraft, Goodboys, Grossomodo, Mestiza, Moojo, Pablo Fierro, and Rivo. Saturdays will feature Bartolomeo, Blackchild, Blond:ish, Carlita, DJ Protein, Dukwa, Fidelio, HoneyLuv, Jamie Jones, Kilimanjaro, Miguelle & Tons, Prospa, Seth Troxler, The Martinez Brothers, Themba, Vintage Culture, and WhoMadeWho, to name just a few.
An impressive roster that combines consistency with quality—bringing together artists who headline the world’s most influential clubs and festivals.
The style of Villa delle Rose is truly one of a kind: the ideal destination for those seeking a night that’s unforgettable, unrepeatable, and always worth looking forward to.
👉 www.villadellerose.net
The post Villa delle Rose Promises Fashion, Style, Quality at its 2025 Edition appeared first on Electric Mode.
Ravebot
Ravebot

Detroit DJ Grant Jackson has passed away aged 35.

Grant Jackson, a well-known Detroit-based DJ known for hosting the popular local club night ‘Taco Tuesdays,’has passed away at the age of 35.
His family announced the news on his Facebook page on Friday, May 2nd, 2025. “We’re grateful for all the messages, memories, and photos you’ve shared of your time with Grant,” the post read. “He would want everyone—friends and family alike—to come together and celebrate a life that, while brief, was full of meaning.” The cause of death has not been disclosed yet.
Jackson began his musical journey organising dubstep nights in the late 2000s, eventually expanding into other genres including funk, disco, and drum & bass. He held his ‘Taco Tuesdays’ residency at venues like TV Lounge and UFO Bar, and frequently played at Detroit staples such as The Eagle of Detroit and Spkrbox.
“Grant was a true icon in our community,” UFO Bar wrote on Instagram. “He valued the culture’s history and always embraced fresh talent with genuine excitement. His impact on Detroit’s dance scene is lasting, and his absence will be deeply felt.” Spkrbox also announced a memorial event set for Sunday, May 11th, with further details forthcoming.
The post Detroit DJ Grant Jackson has passed away aged 35. appeared first on Electric Mode.
Ravebot
Ravebot

Tantok Launches Tok About It Records with Debut Release “Den-Lon”

From Denver, to London, Den-Lon marks the start of a new chapter for Tantok, created between tour dates and shaped by transatlantic ambition
 

Released on April 18th via the newly founded Tok About It Records, “Den-Lon” is the first official release from Tantok’s imprint. Available now on digital platforms
Written in transit and completed between international dates, the track blends elements of tech house, acid house, and melodic techno, shaped by the artist’s evolving experiences on the road and his longstanding goal to launch a label focused on creative freedom and collaborative spirit.
“Den-Lon” was originally sketched on a laptop during a flight layover in London, en route to Tantok’s attendance to IMS Ibiza. Composed without access to external instruments, the core arrangement was drawn using only MIDI tools. It was later developed using a hybrid setup of Moog Minitaur, Prophet Rev 2, Serum, and SynX. The result is a club-driven cut with a direct connection to the moment it was conceived: an artist between cities, channeling anticipation and momentum.
LISTEN HERE
The title Den-Lon nods to both the flight route and the aspirations it carried. “I wanted people to feel like they’re accomplishing something huge—like playing their debut show in London at Ministry of Sound,” Tantok said. Less than a year after writing the first sketch, that vision materialized in January 2025, when he performed at the iconic London venue. From Denver, to London.

Tok About It was launched by Tantok as a space to express himself freely and to bring together like-minded producers. The label’s name references its intention to prioritize artistic dialogue and independent direction. “This label has always been a goal,” Tantok explained. “It’s about setting the tone for releases that come from a personal place.”
“Den-Lon” opens that catalog, reflecting the kind of energy and mindset the label seeks to amplify: a sense of movement, post-show adrenaline, and the creative potential found in travel.

The release follows a string of international tour dates that have helped define Tantok’s current trajectory. The All That I Need tour included performances in Italy at I Due Merli (Bardonecchia) and Head Studios (Turin), followed by his London debut at Ministry of Sound.
After returning from Europe, Tantok joined Miami Music Week with a run of 12 shows, performing at more than 10 venues across the city. Most recently, he played in Austin, Texas—often cited as the cultural capital of the U.S.—adding another milestone to a year marked by growth and visibility.

Tantok is a producer and live performer working at the intersection of tech house and melodic techno. His performances are informed by a combination of hardware-based experimentation and in-the-moment arrangement, often drawing on the emotional atmosphere of the cities he plays in. With Tok About It Records now live, his focus turns to developing the label’s identity while continuing to expand his touring and studio work.
The next release, Space Is Boundless, is expected soon via Like That Underground. “Den-Lon” is now available across streaming platforms. Tantok’s tour visuals, photos, and upcoming news are available on his official channels and via Tok About It Records on Instagram. The track can also be accessed here via direct link.
 
The post Tantok Launches Tok About It Records with Debut Release “Den-Lon” appeared first on Electric Mode.
Ravebot
Ravebot

IYRE’s Food Themed Bangers

Foreign Beggars x Noisia – Contact
“I’m seasoned like a chicken tikka wrap in Dalston”
NOW, you CANNOT go wrong with a nice Chicken Tikka Wrap and who’s better to start the list other than the mighty Foreign Beggars. PAV4N pays homage to his Indian roots by shouting out a favourite dish which is quite popular in the UK. 

MC Det Skibadee and Shabba D
“Mans spicy like peri-peri, jumpin’ on riddims like I’m mad off curry”
Obviously, being a fan of the jungle and drum & dass MC culture, I had to include a legendary exchange between MC Det, Skibadee and Shabba D, from the olden golden days. Clever wordplay, and another famous dish in the UK. 
Stormzy – Wiley Flow
“Now I’m eatin’ prawns on a Caribbean Coast, couple of jerk wings, I’m the GOAT”
Stormzy’s music inspires me, and I do tend to incorporate some of the grime elements in my music then and there, which is why I chose this tune, along with some TASTY food references. Reminds me of the time we went to this Jamaican restaurant called The DUTCHIE!! 
Aitch – Taste (Make it shake)
“Finish fingers, chips, beans, and some broccoli”
Can’t go wrong with a balanced diet (somewhat hahaha) but shouts to Aitch for bringing in the greens to the table.
D Double E – Where Do We Come From
“Steak bake, corned beef pasty, man get a ting from Greggs”
For the East London crew, and whenever I visit London, I don’t forget to get my dose of G R EGGS (see what I did there) Personally, a huge fan of the Orange Chocolate !!! Can’t go wrong with a nice pastry to go with the Orange Chocolate..  
Nina Simone – I Want A Little Sugar In My Bowl
Clever word play I thought, with the name, makes me happy. Nina is a legend, so obvious to have made this list. 
The Beatles – Savoy Truffle
“Crème tangerine and montelimar, a ginger along with a pineapple heart”
I’m a huge fan of chocolates, the song is basically about Eric Claption’s fondness for chocolates, hence why this was selected !! 
Mouth watering goodness..
Nirvana – Pennyroyal Tea
“I’m on warm milk and laxatives”
A bit of grunge never hurts, and this performance was historical, nice word play in relation to Tea, something Sri Lanka is world famous for..
Duck Sauce – Babra Streisand
The whole aesthetic of duck sauce associated with food so had to choose this as well.. 
Prince – Cream
Mostly a metaphor but prince might also be hinting about the actual cream.
Apparently he had written this as a response to a label who requested a hit song from him. Initially started as a parody of himself, this became one his smash hits. Quite rebellious and a cleverly used metaphor to show his disdain towards the situation he was in. 

IYRE, PAV4N & Foreign Beggars – UK Flavour is out now.
IYRE Facebook / IYRE Instagram  / IYRE Spotify
PAV4N Facebook / PAV4N Instagram / PAV4N Spotify

Ravebot
Ravebot

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.