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

Seth Hills Collaborates with DAMEN on ‘Losing My Mind’

Dutch electronic powerhouse Seth Hills joins forces with rising South African DJ/producer DAMEN to deliver an emotionally-charged, club-ready anthem ‘Losing My Mind’, released on Tomorrowland Music today.
Blending hard-hitting beats, soaring synths, and raw emotion, ‘Losing My Mind’ is a high-energy, dark, and bold anthem about the moment everything feels like it’s slipping away. From the very first beat, it builds tension, then drops into a heavy, bass-driven hook that’s made for festival stages and late-night drives alike. With its emotional vocals, polished production, and undeniable energy, ‘Losing My Mind’ is poised to be a standout moment in both artists’ catalogs – and a must-add for any summer playlist.
Representing utmost authenticity within House music, Seth Hills has already impacted the industry in more ways than one. Renowned for dropping spectacular beats during his rousing performances, it’s no secret that he is a natural not only on stage, but also in the studio, where he wields endless effort into preparing spicy new productions, and this new collaboration with DAMEN is no exception.
As for DAMEN, he is quickly carving out a name for himself with his distinctive underground synths, grungy drums, and emotive melodies. He brings a bold, authentic sound to every production, crafting each track with a strong artistic identity. DAMEN’s journey began with a standout debut on Tomorrowland Records, a powerful collaboration with Korolova that marked the start of international recognition.
You can listen to ‘Losing My Mind’ below and on all available streaming platforms.
Stay tuned for news!
The post Seth Hills Collaborates with DAMEN on ‘Losing My Mind’ appeared first on EDMTunes.
Ravebot
Ravebot

Grigoré & Serve Cold x Jaguar Jaguar Join Forces on New Single “Dancing”

A fresh and summery collaboration arrives on Defected, as Grigoré, Serve Cold and Jaguar Jaguar deliver ‘Dancing’. Grigoré has risen to success producing and DJing across house and techno spheres, quickly earning him respect from world-class artists like Solomun, CamelPhat, and Kevin de Vries. His work with frequent collaborator Serve Cold began with his third EP, Seasons, in which the tracks channeled both artists’ melancholic and melodic sides.

For their Defected debut, the pair unite with Belgian band Jaguar Jaguar, who share the producers’ spiritual aesthetic and talent for electronic music. Jaguar Jaguar’s blissed-out vocals contrast with Grigoré and Serve Cold’s harder production for a chic and dreamlike house outing, evoking open-air vibes just in time for summer.
With catchy vocal hooks and deep synths combining in ecstasy, Dancing is sure to make an impact for the incoming festival season and well beyond.

‘Dancing’ by Grigoré & Serve Cold x Jaguar Jaguar is out now on Defected. Order/Save here.


The post Grigoré & Serve Cold x Jaguar Jaguar Join Forces on New Single “Dancing” appeared first on EDMTunes.
Ravebot
Ravebot

PLS&TY’s ‘Into The Light’ Enters A Bold New Era with MOTi Remix

PLS&TY’s ‘Into The Light (Remixes)‘ brings fresh energy with MOTi’s driving House rework and Repiet’s sharp, stutter-heavy House flip, two distinct takes that push the original into bold new territory.
MOTi’s remix of the EP’s title track “Into The Light” featuring Miggy Dela Rosa maintains the original’s uplifting and catchy vocals, while infusing bold house elements into it – giving it that festival dancefloor touch. 
PLS&TY’s “Into The Light (Remixes)” is out on Dim Mak now. Save/stream here.
ABOUT MOTI
Producer, DJ, and songwriter MOTi stands out in the music industry for his versatility and dynamic collaborations across multiple genres.
Throughout his career, MOTi has amassed over 2 billion streams and graced the stages of leading festivals worldwide, including Tomorrowland, Ultra Music Festival, EDC, Balaton Sound, and Creamfields, among others.
MOTi’s impressive list of collaborations includes industry titans like Tiësto, Martin Garrix, Major Lazer, and Ty Dolla $ign. He has also lent his production skills to many remixes for global superstars such as OneRepublic, Ava Max, Jason Derulo, Selena Gomez, DJ Snake, P!nk, and Diana Ross, to name a few.
His work has achieved significant acclaim, including a number one single on Beatport with Martin Garrix for their track “Virus,” a number one dance record on US radio with his hit “In My Head (On My Mind),” and multiple gold and platinum awards worldwide.
In 2018, MOTi launched his own record label, Zero Cool Records, which garnered an impressive 100 million streams within its first year.

ABOUT PLS&TY
Tommy Leas, a Florida native better known as PLS&TY is burgeoning into the electronic dance music scene with his unique sound: languid bass, captivating vocals and enough upbeat melodies to make anybody feel good.
His music has amassed hundreds of millions streams across platforms.. that’s if you don’t include a feature in a Hershey’s chocolate television commercial that has now reached over 1 BILLION views. PLS&TY’s singles have gone on to top Billboard, iTunes, Spotify, Apple Music, and Youtube Music Viral charts multiple times over, & have been Remixed by Grammy-nominated Morgan Page, Rusko, Cazzette, Bondax, Cat Dealers, and more. Tommy has toured a bevy of A-list festivals including Bonnaroo, EDC Vegas, Electric Forest, and Breakaway, not to mention owning over a half decade of North American club tour dates under his belt.
“Your Love”, featuring Kenyan vocalist Sofiya Nzau, extends PLS&TY’s globally-focused rise. The song has currently been streamed more than 50 Million times, racking in an impressive 100,000+ Shazams, has been used in more than 50,000 Videos on social media, sits in rotation on radio stations in every continent, and has even graced MainStage DJ sets at festivals like Tomorrowland. 2025 sees PLS&TY emerging with new music & artistic endeavors, all while wielding the lighthearted “mind your manners” and “please and thank you” catchphrases.
The post PLS&TY’s ‘Into The Light’ Enters A Bold New Era with MOTi Remix appeared first on EDMTunes.
Ravebot
Ravebot

Coca-Cola Launches Record Label with UMG

Photo Credit: Coca-Cola
The Coca-Cola Company is partnering with Universal Music Group (UMG) to launch real thing records (rtr), a new record label dedicated to uplifting emerging artists from around the world.
Coca-Cola says the record label will represent a new evolution of the company’s legacy in music with UMG as a partner in artist development. The new label will take a genre-agnostic approach to signing artists, rather aiming to find authentic voices from around the world. The label aims to be a launchpad for the next generation of music talent, already having signed new artists.
French-New Zealand artist Max Allais (Better Now Records/Universal Music Germany) and Indian singer-songwriter and producer Aksomaniac (Def Jam Recordigns India/Universal Music India) are both rising stars now signed to the label.
“The Coca-Cola Company has a rich legacy, one of deep human connection and cultural resonance—breaking barriers and bringing people together across borders and generations,” shares Joshua Burke, The Coca-Cola Company’s Global Head of Music & Culture.
“real thing records is designed to unlock greater potential for artists, fans, and our brands—where creativity fuels growth, and the combined power of our network and key global music partners create value greater than the sum of its parts. It’s our intention to let artists shine and give them the flexibility to develop their identities with the support of global reach and expertise.”
“It’s a long-term commitment to music—enabling us to reinvest in our programs, champion the next generation of talent, and stay rooted in what matters most: music and fandom.”
The label is launching with two artists who reflect this future-facing ethos. Allais brings an intimate, globally-minded sound rooted in emotional storytelling and the timeless craft of acoustic-driven pop. Meanwhile Aksomaniac shares his personal story through sound and visuals that blend Jazz, R&B, and hip-hop with his Carnatic roots—carving out a space that is entirely his own. Both artists embody rtr’s vision for a new era of global music and will be releasing music in the months ahead.
“Being one of the first artists signed to real thing records is surreal,” shared Allais. “More than just being signed to a label; it’s a chance to share my music without creative compromise and connect with my fans on a deeper level. I’m excited to further develop my personal brand with the support of two global powerhouses in Coca-Cola and UMG.”
“I make music to name things I never had words for growing up—feelings that didn’t fit cleanly into one language, one genre, one version of myself,” adds Aksomaniac. “real thing records isn’t asking me to translate or simplify. They’re helping me echo it louder. I want these songs to reach people who feel things deeply—the ones who live in between, who’ve never quite seen themselves in what’s out there. If we can reach them—wherever they are in the world—that’s the point.”
View the full article
Ravebot
Ravebot

Beach Boys’ Brian Wilson Passed Away, Aged 82

Photo Credit: Brian Wilson’s family
Brian Wilson, legendary singer and co-founder of the Beach Boys, has passed away at age 82.
“We are heartbroken to announce that our beloved father Brian Wilson has passed away,” his family posted on Wilson’s social media accounts. “We are at a loss for words right now. Please respect our privacy at this time as our family is grieving. We realize that we are sharing our grief with the world.”
Described in the ‘70s as the “genius of the group,” Wilson was the Beach Boys’ songwriter, multi-instrumentalist, and co-lead vocalist. He played bass guitar and keyboard alongside his brothers, Dennis and Carl, cousin Mike Love, and friend Al Jardine. All were part of the original group’s lineup.
Brian Wilson was the eldest child among his siblings, born on June 20, 1942, in Inglewood, California. His bandmate brothers, Dennis and Carl, were born in 1944 and 1946, respectively. Brian was said to have an aptitude for music at an early age; multiple biographies have noted his abilities with pitch and melody.
The Beach Boys formed when Wilson was 19, though the group was originally known as the Pendletones. He co-wrote their first song, “Surfin’,” and by 1962, they had released their first studio album, Surfin’ Safari. Thanks to the success of their second album, Surfin’ USA, the Beach Boys quickly became synonymous with the “California sound,” focused on surfing and beach life.
Wilson also helped the group expand beyond surf culture with decidedly more mature music, culminating in 1966’s Pet Sounds. That album went on to become one of the most influential of all time, cementing the Beach Boys’ place in rock history.
Despite the group’s ongoing success, Wilson began to succumb to various maladies brought on by depression over deafness in his right ear, the relentless nature of touring, and an unofficial music rivalry with the Beatles. After years of increasingly self-destructive behavior and mental decline, Wilson all but became a recluse after his father’s death in 1973. He was widely described by news outlets as a “victim of his own genius.”
“I’ve been through a great deal of mental anguish,” Wilson once told People. “I felt like a fat slob. It was very embarrassing. I used to go onstage, and it was scary. Now I’m getting used to it. I feel a little more confidence in myself.” Wilson noted that, thanks to therapy, “I had to learn to get off a lot of bad stuff.”
The 1990s saw him return to the studio and begin performing again regularly. He released several solo albums during this period, such as 2004’s Brian Wilson Presents Smile, which was his version of a previously uncompleted Beach Boys project.
Wilson received numerous accolades throughout his career. He earned nine Grammy nominations, most for his work with the Beach Boys—but his two wins were for his solo work in 2005 and 2013.
He was inducted into the Rock n’ Roll Hall of Fame as a member of the Beach Boys in 1988. Wilson was also recognized by the Kennedy Center Honors in 2007, and earned a Golden Globe nomination in 2016.
In 2024, his family filed for a conservatorship in a Los Angeles court, stating that he had “major neurocognitive disorder, such as dementia.” They noted that he had become “unable to properly provide for his […] personal needs for physical health, food, clothing, or shelter.”
Wilson was married twice, and had two daughters—Carnie and Wendy—with his first wife, Marilyn Rovell. With his second wife, Melinda Kae Ledbetter, Wilson adopted five children: Daria, Delanie, Dylan, Dash, and Dakota Rose. He is survived by his children.
View the full article
Ravebot
Ravebot

Adam Beyer and Ida Engberg's Daughter Struck by Car in Ibiza, Suffers "Severe" Head Trauma

A routine night out with friends turned into a life-threatening emergency for the daughter of Adam Beyer, who says the young girl, Uma, suffered "severe" head trauma over the weekend after being hit by a car in Ibiza.
Beyer, the founder of influential techno label Drumcode Records and one of Sweden's most prominent electronic music artists, shared details of the accident in a social media post. He says Uma was crossing the street with friends when she was struck by a car traveling "at fairly high speed."
She was then airlifted from Ibiza to a hospital in Mallorca, where she has been receiving intensive care. Beyer and his former wife, fellow DJ Ida Engberg, have been maintaining a constant bedside vigil, taking turns to stay with their daughter around the clock.
"Over the last five days we have gone from not knowing if she would survive to seeing her talk, eat, smile and slowly but surely come back to us," Beyer wrote. "She had an angel by her side and I can only describe it as a miracle!"
View the original article to see embedded media.
The electronic music artist community has rallied around the family during this difficult period, with Tiësto, Sebastian Ingrosso, Charlotte de Witte, NERVO, Sara Landry and more reaching out with support on social media.
"You deserve only good things," commented Joseph Capriati. "Miracles happen for a reason."
"All best wishes for you guys in these times… praying for a speedy recovery," added Armin van Buuren.
Drumcode today announced that Beyer will make the short trip from Mallorca to perform at the label's event in Barcelona on Saturday, June 14th.
View the original article to see embedded media.
Follow Adam Beyer:
Instagram: instagram.com/realadambeyer
X: x.com/realadambeyer
TikTok: tiktok.com/@adamdrumcodebeyer
Facebook: facebook.com/realadambeyer
Spotify: tinyurl.com/56xrkjv6
Ravebot
Ravebot

Beach Boys creative leader and pop music pioneer Brian Wilson dies at 82

Brian Wilson, bandleader of iconic California pop band the Beach Boys, has died aged 82.
His passing was confirmed by his family in an Instagram post made on Wednesday (11 June).
“We are heartbroken to announce that our beloved father Brian Wilson has passed away,” the post reads. “We are at a loss for words right now. Please respect our privacy at this time as our family is grieving. We realize that we are sharing our grief with the world.”

Born in Inglewood, California in 1942, Wilson founded the Beach Boys alongside his brothers Dennis and Carl, their cousin Mike Love and friend Al Jardine. Brian was the creative brains behind many of the band’s biggest hits.
Widely regarded as one of the most influential bands in pop music history, the Beach Boys had hits with the likes of Wouldn’t It Be Nice, God Only Knows and Surfin’ U.S.A.
The band have released 29 studio albums over the course of their over-60-year career, perhaps none more significant, though, than 1966’s Pet Sounds. Produced almost entirely by Brian Wilson, it’s regarded by many as one of the greatest records of all time, featuring the likes of Wouldn’t It Be Nice and God Only Knows.

This is a breaking story and is being updated.
The post Beach Boys creative leader and pop music pioneer Brian Wilson dies at 82 appeared first on MusicTech.
View the full article
Ravebot
Ravebot

Swedish House Mafia Deletes All Instagram Posts

Swedish House Mafia are hinting something big, on 11 June, the trio deleted all their Instagram posts, leaving the account blank and fans in wonder.
Swedish House Mafia have once again cleared their Instagram account and their website has also gone dark. It is not the first time Swedish House Mafia does this, but a strategy they use to tease upcoming projects. The boys did the same prior to their break-up in 2013, Ultra reunion in 2018 and the announcement of ‘Paradise Again,’ their latest album, released in 2022. This time it could be a sign of many things, as the trio moved to an independent label owned by themselves, have recently teased new songs, are playing two different sets at Tomorrowland next month and making a highly anticipated return to Creamfields.

New Album / New Music
Album speculations are going around between fans, who are hoping for new music from the Swedish House Mafia.
The supergroup were supposed to release one at the end of summer 2023, but confirmed months later that it has been scrapped.
Since then, few singles have been released, leaving records like OMEN and Not Yesterday live on the internet, through videos taken at shows and fan remakes.
Earlier this year, Swedish House Mafia switched labels from Republic Records to SUPERHUMAN, their own label.
This increases chances for a new album, as the boys have more freedom and control over what, when and how something gets released.
If an album is not on the way, then new music could be it. The Swedes have shared on Instagram, stories of them being together in the studio.
Besides this, Axwell played two new IDs at Horizon Lake Garda Festival in Italy, one rumoured to be called ‘Wait So Long,’ while the other remains unnamed so far.
Meanwhile, Sebastian Ingrosso debuted a new version of ‘The Brilliantz,’ a single made with Pharrell Williams, that leaked in 2023.
New Tour
Other than music, a new tour could be what the possible announcement is about for fans.
The last time Swedish House Mafia were on a worldwide tour was in 2022, when they brought ‘Paradise Again’ to multiple venues like The O2 in London, Ziggo Dome in Amsterdam, and Madison Square Garden in New York.
This year’s schedule so far would allow the trio to go on tour during autumn-winter, as the only show announced then is Axwell’s performance at Tomorrowland Brasil, which takes place in October.
With no official information available at the moment, only time will tell what Swedish House Mafia have up their sleeves.
To cope with the waiting time, you can check out their set from Creamfields 2010, which has been exclusively published on BBC Sounds and is available for only 26 days.

The post Swedish House Mafia Deletes All Instagram Posts appeared first on EDM House Network.
Ravebot
Ravebot

Unplug & Immerse Yourself: A Guide to the Must-Do Side Quests of Electric Forest 2025

In just one week, the magic of Electric Forest will return to the forests of Rothbury, Michigan, for its celebrated four-day event. While the world-class lineup is a major draw, the true magic of Electric Forest lies in the myriad of interactive and immersive experiences woven into the fabric of the festival. For those looking to dive deeper than the live music, a world of “side quests” awaits, offering everything from whimsical encounters to collaborative art projects and secret gatherings. As you prepare for Electric Forest 2025, here is a curated list of must-do side quests to add to your adventure itinerary.
The Enduring Classics: Forest Staples Not to Be Missed
These beloved traditions are the heart and soul of the Electric Forest experience, fostering a sense of community and wonder year after year:
The Giving Tree: A cornerstone of the Forest’s spirit of generosity, The Giving Tree is a place to leave a thoughtful gift and, in turn, discover a treasure left by a fellow Forester. The act of selfless giving and receiving is a powerful reminder of the festival’s communal ethos. The Fairy Houses: Tucked away in the nooks and crannies of Sherwood Forest are intricately crafted, miniature fairy houses. Discovering these hidden portals is a delight in itself, but the real magic lies in the notes and tiny trinkets left by others inside. Participate in the magic by leaving a small offering of your own. Chapel Parties: Stop in for one of the many parties hosted inside The Chapel in Sherwood Forest over the weekend. Known for flamboyant, silly, and over-the top dance parties, weddings, and everything else in between, the chapel parties are a must-see side quest for all Forest attendees. The Brainery: Engage your mind and learn a new skill at The Brainery. This interactive workshop space offers a diverse range of classes and discussions led by fellow attendees and experts on topics ranging from arts and crafts to wellness and sustainability. Embark on a Deeper Adventure: Interactive Installations & Scavenger Hunts
For those who crave a more in-depth experience, Electric Forest offers a variety of immersive installations and challenges.
The Dream Emporium: Step into a surreal and whimsical world within The Dream Emporium. This multi-room, interactive installation is a sensory journey filled with bizarre characters, playful challenges, and mind-bending art. Be prepared to lose yourself in its fantastical narrative. The Grand Scavenger Hunt: A true test of your exploratory skills, the official Electric Forest scavenger hunt will lead you on a journey throughout the festival grounds, unlocking secrets and revealing hidden art. Keep an eye out for clues and be ready for a rewarding adventure. Secret Sets and Hidden Stages: One of the most thrilling side quests is the hunt for secret musical performances. Artists, both big and small, are known to play unannounced sets on smaller, hidden stages or even in the middle of the forest. Keep your ears open for rumors and be prepared to stumble upon an intimate and unforgettable show. While there are hints and whispers of additional, new experiences in 2025, one thing is for certain: there is no shortage of activities inside the Forest. However, the most important side quest at Electric Forest is to simply wander, explore, and be open to the unexpected. Strike up a conversation with a costumed character, follow a path you’ve never taken, and allow the magic of the Forest to guide your journey. You never know what enchanting secrets you might uncover.
Weekend passes and single-day tickets for Electric Forest are still available here. Happy Forest!


The post Unplug & Immerse Yourself: A Guide to the Must-Do Side Quests of Electric Forest 2025 appeared first on EDMTunes.
Ravebot
Ravebot

Jonathan Mayers, Founder of Bonnaroo and Outside Lands, Dies at 51

Jonathan Mayers, a co-founder of Superfly Entertainment and a driving force behind groundbreaking music festivals like Bonnaroo and Outside Lands, has died at the age of 51. With Bonnaroo taking place this week, it is a sad day for the community.
Raised just outside New York City, Mayers graduated from Tulane University in 1995 and quickly immersed himself in the vibrant New Orleans music scene. He worked at iconic institutions like Tipitina’s and Jazz Fest before co-founding Superfly Entertainment in 1996 alongside Rick Farman, Richard Goodstone, and Kerry Black. The group’s first concert—featuring The Meters, Maceo Parker, and Rebirth Brass Band—was held during Mardi Gras, marking the start of their ambitious journey.
In 2002, Superfly launched the inaugural Bonnaroo Music and Arts Festival in Manchester, Tennessee. Partnering with Ashley Capps of AC Entertainment, agent Chip Hooper of Paradigm, and manager Coran Capshaw of Red Light Management, they transformed a farm an hour outside of Nashville into a massive cultural event. With headliners like Trey Anastasio (Phish) and Grateful Dead members Phil Lesh and Bob Weir, Bonnaroo sold out its first year and quickly established itself as a cornerstone of the modern music festival movement. It set a new standard for large-scale events in the 21st century, inspiring countless other festivals across the U.S.
Superfly continued to expand its festival footprint. In 2005, the company launched Vegoose, a Halloween-themed festival in Las Vegas. Three years later, Mayers partnered with Another Planet Entertainment to debut Outside Lands in San Francisco’s Golden Gate Park. The multi-genre, multi-day event grew into the largest independently owned music festival in the country.
Mayers’ legacy lives on in the festivals and experiences that helped redefine live entertainment for a new generation.
The post Jonathan Mayers, Founder of Bonnaroo and Outside Lands, Dies at 51 appeared first on EDMTunes.
Ravebot
Ravebot

DGTL Drops Full Lineup For 2025 ADE Showcase

Amsterdam’s DGTL festival has shared the full lineup for its 2025 Amsterdam Dance Event (ADE) showcase.
When the week-long industry conference returns to Amsterdam this fall, the renowned house and techno festival will host four days of music at the NDSM Warehouse, a former shipbuilding facility in Amsterdam-Noord, from October 23-26. By day or by night, this year’s program comprises six shows featuring an array of electronic sounds, from bright pop and disco to dark techno, melodic electronica, hard house, and beyond.
Aussie disco-electro duo Confidence Man kick things off with their party-rocking live show during the day on Thursday, while nightfall brings a unique two-room blend of club programming. In Area 1, hard house and speed garage purveyors SAIDAH, Diffrent, and Benwal give way to headline sets from Ukrainian techno style-weaver Daria Kolosova and Belgian club stalwart Pegassi. Meanwhile, Area 2 is a hotspot for high-octane techno, breaks, and UK bass sounds from Emvae & Moxes, DJ Fuckoff, Chippy Nonstop, and Dr. Dubplate & Kikelomo.
Perhaps the most unique show on the calendar is a live show from MUETE, the German techno marching band known for its covers of popular dance tracks. They’ll blend brass and beats on Friday.
The following day, DGTL invites Berlin-based melodic star Ben Böhmer to curate a daytime showcase in Area 1, full of deep grooves and dreamy builds from Mees Salomé, Qrion, and Parra for Cuva (live), among others. At night, ethereal melodies are swapped for driving kicks from techno stars Patrick Mason, 999999999, Boys Noize & SPFDJ, and Anetha, as well as a takeover from German party brand SESH, featuring MCR-T, future.666, and Somewhen.
As DGTL’s ADE program comes to a grand close on Sunday, the festival will link up with famed London party FUSE for a tailored night of timeless house and techno. Area 1 is set to host FUSE founder Enzo Siragusa, fellow heavyweights Traumer and Raresh, and rising selectors Rossi. and Sweely. Area 2 gets more experimental on the night, with sets from underground trailblazers Ogazón, Call Super, Shanti Celeste, Dr. Banana, and DouDou MD.
ADE returns to the Dutch capital for its 30th edition from October 22-26.
Check out DGTL’s full lineup for ADE 2025 below. For more information or to purchase tickets, visit shop.dgtl.nl.

Featured image courtesy: DGTL.
The post DGTL Drops Full Lineup For 2025 ADE Showcase appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

DGTL Drops Full Lineup For 2025 ADE Showcase

Amsterdam’s DGTL festival has shared the full lineup for its 2025 Amsterdam Dance Event (ADE) showcase.
When the week-long industry conference returns to Amsterdam this fall, the renowned house and techno festival will host four days of music at the NDSM Warehouse, a former shipbuilding facility in Amsterdam-Noord, from October 23-26. By day or by night, this year’s program comprises six shows featuring an array of electronic sounds, from bright pop and disco to dark techno, melodic electronica, hard house, and beyond.
Aussie disco-electro duo Confidence Man kick things off with their party-rocking live show during the day on Thursday, while nightfall brings a unique two-room blend of club programming. In Area 1, hard house and speed garage purveyors SAIDAH, Diffrent, and Benwal give way to headline sets from Ukrainian techno style-weaver Daria Kolosova and Belgian club stalwart Pegassi. Meanwhile, Area 2 is a hotspot for high-octane techno, breaks, and UK bass sounds from Emvae & Moxes, DJ Fuckoff, Chippy Nonstop, and Dr. Dubplate & Kikelomo.
Perhaps the most unique show on the calendar is a live show from MUETE, the German techno marching band known for its covers of popular dance tracks. They’ll blend brass and beats on Friday.
The following day, DGTL invites Berlin-based melodic star Ben Böhmer to curate a daytime showcase in Area 1, full of deep grooves and dreamy builds from Mees Salomé, Qrion, and Parra for Cuva (live), among others. At night, ethereal melodies are swapped for driving kicks from techno stars Patrick Mason, 999999999, Boys Noize & SPFDJ, and Anetha, as well as a takeover from German party brand SESH, featuring MCR-T, future.666, and Somewhen.
As DGTL’s ADE program comes to a grand close on Sunday, the festival will link up with famed London party FUSE for a tailored night of timeless house and techno. Area 1 is set to host FUSE founder Enzo Siragusa, fellow heavyweights Traumer and Raresh, and rising selectors Rossi. and Sweely. Area 2 gets more experimental on the night, with sets from underground trailblazers Ogazón, Call Super, Shanti Celeste, Dr. Banana, and DouDou MD.
ADE returns to the Dutch capital for its 30th edition from October 22-26.
Check out DGTL’s full lineup for ADE 2025 below. For more information or to purchase tickets, visit shop.dgtl.nl.

Featured image courtesy: DGTL.
The post DGTL Drops Full Lineup For 2025 ADE Showcase appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

The Music Industry Lives Here: Head of Insomniac Music Reveals What Excites The Label About Artists

Head of Insomniac Music Group, Joe Wiseman, talks about the direction Insomniac is taking, leveraging the company’s global imprint, and the ‘many avenues that excite Insomniac as a label, talent buyer, or promoter.’ Insomniac’s distribution partnership with FUGA has ‘opened up new lines of Global communication,’ and Wiseman has advice for artists getting into the music space.
The following recaps an interview with Joe Wiseman as part of Downtown Music’s series, The Music Industry Lives Here. Downtown Music is a company DMN is proud to be partnering with.
Joe Wiseman grew up listening to reggae and rock and roll. “My parents were Deadheads. My first concert was a Grateful Dead concert when I was like 3 or 4 years old. [But] hip hop was probably the dominant genre that I listened to for my childhood and teenage years.”
Following the dance music and electronic music boom in America with artists like Justice, deadmau5, and Diplo, Wiseman got me into the dance music scene.
Now head of Insomniac Music, Wiseman talks about how “Insomniac became an important brand in the dance music space.’
“Insomniac is the world’s biggest dance music brand. Our footprint is global and people pay attention to what Insomniac’s doing — not just on the live side, but also what we’re doing on the music side.”
But the company began in 1993 when Pasquale Rotella, CEO of Insomniac, started his first show in an LA warehouse. “From there, it grew to festivals in Southern California. Over the past three decades, it’s grown into a multimedia company.”
The core business of Insomniac is events, and it has ‘become a massive brand on the event side.’ But the company also dove into other facets, including the record label space.
In 2014, Insomniac Records was officially launched as part of the Insomniac Music Group, an umbrella of record labels under Insomniac.
After becoming independent, Insomniac achieved ‘amazing new heights.’ Wiseman says it feels fantastic to see how far the company has come, “The size of the shows that I attended fifteen years ago, [seeing] where they are now — from the events to the records to everything, [it’s] awesome.”
Wisemen believes Insomniac has made its mark and become an ‘important cultural carrier of all things dance music.’ “It’s pushing the culture forward by educating people and taking it mainstream.”
When Wiseman joined Insomniac ten years ago, a conversation began about the direction Insomniac Records would take. “It was very much centered on commercial dance pop records.”
“I was working with our founder, Pasquale, on his radio show and getting a better understanding of his taste. It meshed with what my [taste] was at the time — trying to be representative of actual rave culture and electronic underground culture.”
However, taste evolves, and different genres emerge and fade. “Insomniac has been ‘very careful about not going to commercial with our releases.’
“[We want to] make sure we’re still servicing our fans and our audiences in the best way possible, while trying not to step on the toes or the territory of what a major label would be doing in the dance music space.”
Wiseman states that Insomniac is aware of what they do best. “DJ-focused music is our specialty. We want to be a chart-topping label on Beatport all the time. We’re consistently at the top of the most played charts by DJs.”
“Our real focus is we want to be streaming well with songs that DJs are playing — not just songs that are on the radio.”
View the full article
Ravebot
Ravebot

Teenage Engineering gives its TX-6, TP-7 and CM-15 a matte-black makeover

Back in May at Superbooth, Teenage Engineering revealed that three products in its Field System range would be undergoing a dark makeover.
A month on, the brand new matte-black versions of the TP-7 recorder, TX-6 mixer and CM-15 microphone are finally available to purchase. The Field System range has previously only been available in aluminium silver, with the exception of the OP-XY sequencer.
READ MORE: Best wired headphones under $500 in 2025: Our picks for mixing, DJing and music production Regardless of what aesthetic you’re going for, the gear is pretty powerful. The TX-6 is a 6-channel stereo mixer, with a 32-bit/48kHz USB audio interface. It’s got built-in EQ, compressor, and digital effects too, as well as a synth, sequencer and even had a DJ mixer mode. Both black and aluminium silver versions cost £1,049.
The CM-15 microphone sits at the exact same price point, costing £1,049. The mic is a battery-powered condenser microphone with a built-in preamp and AD converter, boasting mini XLR, 3.5mm and USB-C outputs. The TP-7 field recorder is a bit pricier at £1,299, with of 128GB multitrack recording space that can capture 96kHz/48-bit audio.

While the sleek design will pair perfectly with an all-black studio, the Field System range prides itself in being ultra-portable. So, even if you’re not so fussy on the colour of your kit, the Field Range is worth considering if you’re regularly working on the go.
The new look was perhaps foreshadowed back in November, when the OP-XY sequencer was revealed with a black body and black/aluminium silver gradient buttons.
“We dare to say it’s probably the most complete, portable sequencer ever built,” Teenage Engineering claimed at the time. “It’s here, it’s real, it’s black. And it’s got so much more than you’ve wished for.”
As it stands, now only one piece of the Field System range is not available in black. Nothing has been confirmed, but its possible that the OP–1 all-in-one synth could follow suit and get its own dark look in future.
That being said, the OP-1 may receive its makeover after Teenage Engineering completes its ‘set your own price’ sales campaign. As it stands, you can use a slider to pick a price anywhere between £1,399 and £9,999 for the synth. Though, why you’d go for the higher end, we’re not so sure.
To find out more information, head to Teenage Engineering.
The post Teenage Engineering gives its TX-6, TP-7 and CM-15 a matte-black makeover appeared first on MusicTech.
View the full article
Ravebot
Ravebot

Avicii and NERVO Collab ‘Enough Is Enough’ Could Be Released

Avicii and NERVO’s might be releasing the long-lost track ‘Enough Is Enough’ after years of waiting.
Avicii and NERVO played an unreleased collaboration at Tomorrowland 2011 that left a lasting impression. The song, titled Enough Is Enough, carried emotional weight, melodic intensity, and the signature style that defined early festival main stages. Despite the response it received at the time, the piece was never officially published. For years, it existed only through ripped recordings and scattered posts on forums and fan pages.

NERVO Hints at a Possible Comeback
This week, the long-silent project reentered the conversation. A throwback post by @edmflashback brought attention back to the unreleased work. Underneath, NERVO replied, “The track is hopefully coming out soon!!!!” Their message didn’t confirm a date, but it marked the first time they had publicly acknowledged the possibility of a release. For longtime fans, it was the clearest indication in over a decade that something might finally be moving forward.

A Glimpse Into Avicii’s Early Sound
Enough Is Enough reflects a very specific period in dance music. Featuring vocals from Amy Pearson, the production leaned into uplifting melodies and emotional buildups. It came before Avicii shifted direction with True and later Tim, and it highlights the tone he was known for in his earlier festival sets. The composition has also circulated under names like “Let Me Show You Love” or “Don’t Give Up On Us,” based on lyrical snippets and unofficial uploads. Regardless of the title, fans have recognized its identity for years.
Why It Took So Long to Resurface
Following Avicii’s passing, his team has managed his archive with caution. Most of the posthumous music has come from more recent sessions or pieces that were close to completion. Older collaborations, especially ones never formally recorded or cleared, remained untouched. That’s likely part of the reason Enough Is Enough stayed in the background. Now, with NERVO referencing it directly, there’s a sense that those barriers may have shifted.
What It Would Mean to Release It Now
If this collaboration is finally made available, it won’t just be about nostalgia. It would serve as a reminder of the sounds that shaped a generation of festivalgoers. For many, it’s a way to reconnect with the atmosphere and creativity of 2011, when progressive house was at its peak and Avicii’s influence was everywhere. For newer fans, it may be the first time hearing this side of his work in studio quality.
There’s still no official timeline, but one thing is clear. This is no longer just fan speculation. NERVO’s comment changed the tone entirely. After more than a decade of waiting, Enough Is Enough might finally get the release it deserves.
The post Avicii and NERVO Collab ‘Enough Is Enough’ Could Be Released appeared first on EDM House Network.
Ravebot
Ravebot

“I’ve always thought of it as a tapestry. A visual puzzle”: Luxxury needs to visualise music to nurture creativity – here’s why

Despite music being an audio art form first and foremost, Luxxury has long relied on visual elements for creativity.
“The way I was built was – even though it’s music – I had to see on the page what all the ideas were so I could allocate them properly. I’ve always thought of it as a tapestry. A visual puzzle,” Luxxury, real name Blake Robin, says in the new episode of MusicTech‘s My Forever Studio podcast, made in partnership with Audient.
READ MORE: “I’m not waiting to program a synth… I can make that sound”: How Ellie Dixon samples everyday objects to keep her set up low-cost
Robin has been producing music since the earliest days of Pro Tools, but before he got his hands on his first DAW and started producing his summery, feel-good dance music, he was recording ideas on his guitar into a four-track recorder. After a while, he had audio of 30 tapes with 50 riffs each, but he had no concept of what to do with them.
“I didn’t know how to take these ideas and string them together and make something complete out of them,” Robin says.
Soon after that, he spent $1000 on a Digi001, Digidesign’s first consumer-grade Pro Tools system, even though he didn’t know how to use it. “I looked at Pro Tools and I looked at the tapes and I was like, ‘How does this become that?’”
Robin found an ad on Craigslist from someone offering to help set up home studios. Her name was Patty Boss, and she digitally arranged Robin’s tapes into an audio file within Pro Tools. This allowed Robin to visualise each idea.
“My first batch of material came from the computer enabling my brain to find songs in all these ideas floating around,” Robin says. He then took his favourites and made them into one tape entitled BBTALL, for Best Bits Together At Long Last. He drove around listening to that tape, and from there he pieced together different ideas into his first productions.
Listen to the full episode of My Forever Studio with Luxxury below:

The post “I’ve always thought of it as a tapestry. A visual puzzle”: Luxxury needs to visualise music to nurture creativity – here’s why appeared first on MusicTech.
View the full article
Ravebot
Ravebot

Ultra Caro talks self-producing ethereal pop with vintage synths, and life after PC Music

PC Music fans might know Ultra Caro for her dreamy and wispy lead vocals with the neo-shoegaze band, Planet 1999, and for her collaborations with Charli XCX and Hannah Diamond. But even before PC Music was archived, the French-born, London-based artist had ventured on a self-produced solo project that’s poised to continue reshaping alt-pop. On her new EP counting sheep — and in an upcoming full-length album — Ultra Caro blends ethereal synths, booming 808s, hyperpop vocals and shoegaze guitars, made mostly from the comfort of her bedroom.
In this edition of Studio Files, Ultra Caro waxes poetic on DIY music-making, explains why she’s trading plugins for vintage hardware, and shares the career-defining lesson she’s carried with her since her teens.
READ MORE: PC Music’s Pop Crypt at London’s HERE was an unforgettable spectacle Ultra Caro, you just released counting sheep — what was your general approach to the production of this EP and your upcoming album?
I focused less on the production in this body of work; it felt complete with a minimalistic set of elements. That minimalism is the production stance, I’d say.
I was more into capturing a vibe and less concerned with making things sound slick. I love DIY of any kind — even in terms of mixing, it’s becoming harder for me to get stuff mixed by someone else, even if I appreciate hearing what another set of ears makes of one of my tracks. But I’ve realised that I’m more into tracks which are mixed surprisingly, like some elements being too loud or upfront for no reason, or chaotic walls of sound.

There have been so many era-defining female artists and producers in the hyper-pop space, such as Indigo De Souza, SOPHIE and Charli XCX. How do you work to ensure your sound remains explicitly yours?
Yes, there are a lot of influential women out there, and that’s great. There’s still a long way to go — women music producers represent a tiny, tiny minority. I don’t think it’s necessarily a conscious choice for me to self-produce for that reason, but I do think about this extra layer of motivation at times. I’ve always admired people who produced their own work, because that’s how you get to the singular stuff; that’s how you make something unexpected, when you trust your instinct.
It’s important that women get to express themselves because music production is such a fun thing to do. But also because it offers such a rich set of tools to convey a point of view, an atmosphere, an emotional, intimate world…And I want to know what women think, feel and imagine.
Tell us a bit about your studio.
My studio is in Hackney Wick, London. But I still work a lot from my bedroom, honestly.
My vintage hardware is at home, but it’s nice to have two different environments to work on music in. I often get inspired in my bedroom at night still, and I use the studio more as a time to focus on mixing, or cleaning tracks, my samples — more for the ‘rational layer’ of it. I also use the studio for collaborations, it feels less heavy than being at home when I don’t know someone too well or when I want to explore another type of vibe. My home studio is my nest; it’s where I get into my little bubble, so I’m conscious of what I let in.
What’s your latest gear or plugin purchase?
I bought the plugin Permut8 because it’s been recommended to me by two producers I worked with recently. I haven’t gotten around to using it much yet, so most of what I do with it is very random still, but I like plugins which are creative and surprising; you don’t know what you’re going to get, but they transform whatever audio into something exciting that gives you more ideas.
I’ve had a similar plugin to Permut8, which is Sinevibes’ Fraction. I often run audio through it, bounce and then chop away little elements that I store in a bank of samples to use in different stuff. It’s a super sleek sound, and it can also be interesting for transitions or inspiring rhythmic patterns. I’ve run entire songs into it and it’s given me great soundscapes to build upon to make something else.
Ethereal textures are very prominent throughout your music, especially in tracks like moonrise. How are you building these sonic textures?
In moonrise, I tweaked a preset from Synapse Audio’s Dune. I also used three Moog filters by Universal Audio to create the phasing, EQ and distortion effects. When I choose a main sound to start a track with, I don’t consciously make a choice; I go for what I find soothing.
For my recent stuff, I use a Roland JV-2080 rack. There are so many gorgeous presets, and I’m very attached to the chorus within it. I also appreciate being ‘limited’ like that and having that strong sonic identity from this machine on my current songs. There are so many VSTs out there, a lot of good ones, but recently I’ve stopped being so inspired by them, and switched to vintage synths, or using my voice a lot, as chops or textures. It also brings a lot of shininess/noisiness, and I like that a lot.
Much of your work aims to encapsulate landscapes or fantasies from your childhood. How challenging is it to turn these physical places into sounds?
My first impulse when I make music is never really intellectual. I naturally converge towards this kind of scenery, musically. Sometimes I think that it’s also inspiring that I don’t live in the south of France anymore. I love London so much, but I guess I will always fantasise about the still haven that has been frozen in my brain when I think about that place. I don’t go back that regularly physically, but mentally I go often. It’s a sort of longing, but also maybe it comes from a desire to experience all of this in a different dimension, which is properly mine. Because in reality, I’m not nostalgic, and I don’t aspire to the stillness of the environment I grew up in. If anything, I’m running away from it, but I guess it haunts me also.
What’s a music production myth you think needs debunking?
Like a lot of producers nowadays, I’m self-taught, so I don’t know that much about ‘industry standards’. I know that I like imperfect mixes and gritty sounding things — I’d say that I get quite bored by things which are too ‘clean’. It’s good to try to randomise productions or give them more grit by purposefully deteriorating or tweaking some elements. I keep finding these super compressed/distorted tracks on Spotify, mostly cloud rap leaning sort of stuff, and I can’t explain how much I love that.
Who gave you the biggest lesson in your career? Can you tell us about how it impacted you?
I remember doing a singing audition when I was a teenager, and at the end, the examiner said to me, “You look nice, you sing well, but you’re standing there like you want us to love you. And that’s not what an artist does. An artist doesn’t expect to receive; an artist is here to give.”
I’ve always remembered that — it works for everything, because it talks about generosity but also self-confidence, doing things that you self-validate and stand by, and accepting that what you do might not bring you what you expect, but you should respect and offer your talent anyway. And if it’s not, it shouldn’t affect your performance or whatever you’re crafting. You do it with a different intention in mind. And I think about that for everything, including music production.
I always wonder, “Am I trying to show off? Am I trying to be accepted into whatever scene I like by making something similar to what the people I admire are doing? Or am I doing this because that’s what I really want to do and because it’s an honest representation of who I am, what I truly like and what I stand for?”.
The post Ultra Caro talks self-producing ethereal pop with vintage synths, and life after PC Music appeared first on MusicTech.
View the full article
Ravebot
Ravebot

Songtradr Announces MassiveMusic-Centered Reorganization — Uniting 7digital, Big Sync, Musicube, and Resonance Under the Brand

Songtradr CEO Paul Wiltshire, whose company’s MassiveMusic subsidiary now houses Big Sync, Resonance, 7digital, and Musicube. Photo Credit: Songtradr
Songtradr has reorganized its B2B divisions under MassiveMusic, which it’s touting as “the industry’s most comprehensive, innovative provider of brand and business-centric music solutions.”
Santa Monica-headquartered Songtradr reached out with word of the reorganization today, about four years after acquiring MassiveMusic. Before that, February 2019 saw the expansion-minded licensing platform purchase Big Sync Music, followed by deals for AI-classification company Musicube (June 2022) and then 7digital (March 2023).
Now, those units as well as Resonance Sonic Branding will operate within the overarching MassiveMusic. As described by Songtradr, in bringing licensing, creative, and technology solutions under the same roof, the new structure will enable clients “to maximize the impact of music and sound at scale.”
Just in passing, said solutions include but aren’t limited to pre-cleared music, commissions, supervision support, metadata analysis, and several proprietary data tools, the Bandcamp parent noted.
Meanwhile, MassiveMusic (which last month debuted a podcast called Sound//Mind) has already rolled out an updated website. According to the latter, the one-stop division can even help bring everything from “immersive experiences to physical activations” to life.
In a statement, Songtradr founder and CEO Paul Wiltshire touted the MassiveMusic-centered unification as a “pivotal” step towards simplifying the music space for brands.
“This unification under MassiveMusic marks a pivotal step in simplifying the complexities of the music industry for our clients,” said Wiltshire. “Together, we deliver scalable, tech-driven, and creative sonic solutions that deepen emotional connections, elevate brand perception, and drive measurable business results across every touchpoint.”
Additionally, Songtradr chief revenue officer Paul Langworthy told Digital Music News that the rebrand’s significance extends beyond “visual identity” and will afford customers a one-stop music solution.
“This rebrand is about more than visual identity–it’s about creating a powerful, unified experience for our clients across every stage of their music journey,” Langworthy said to DMN.
“By bringing together creative, licensing, and technology under one roof, we’re giving brands and platforms a single, integrated partner with a deep rooted passion for music that can solve real business challenges through sound, at scale and with unrivalled expertise,” concluded the former 7digital head.
Closing with a quick look at the personnel side, the reorganization doesn’t appear to have brought team-member changes. Resonance’s existing employees will remain in place under co-founders Ramesh Sathiah and Ralph van Dijk, MassiveMusic’s retooled website shows.
Not losing any offerings due to the MassiveMusic transition, 7digital is actually “on track to launch new and enhanced features and services,” per the same source. And Bandcamp, which Songtradr acquired in September 2023, “is unaffected by this change and will continue to operate as a platform for artists and fans.”
View the full article
Ravebot
Ravebot

Live Music Society Awards $765K to 26 Small Venues

Photo Credit: The Jazz Station (@jazzstationeugene on Instagram)
Live Music Society announces the recipients of its third annual Music in Action grant, with $765,500 awarded to 26 small venues across the country.
Live Music Society has announced the recipients of its third annual Music in Action grant. This year’s grant awarded $765,500 to 26 small venues across the country to support bold, community-driven live music programming.
These grants have been designed to give venues the freedom to take programming risks, presenting shows and festivals they might not otherwise be able to host due to the costs involved. Music in Action empowers venues to prioritize outreach and audience development—with the aim of welcoming new communities and strengthening their business through innovative programming.
Small venues—many of which are vital cultural anchors in their towns or cities—are closing at an alarming rate. This funding provides critical support to spaces that operate on razor-thin margins. These are the same stages where emerging artists get their start, grow their audience, and hone their craft. Live Music Society’s Music in Action grant helps ensure they not only survive, but thrive.
The 2025 grantees include venues presenting everything from youth jazz jams to Broadway mentorships, Appalachian seminars to hip-hop showcases. Highlights include:
Ashkenaz Music & Dance (Berkeley, CA): A global music series and stream team outreach effort spotlighting underrepresented immigrant communities.
Indexical (Santa Cruz, CA): Residencies for local experimental artists, complete with stipends, workspace, and production support.
Crowbar (Tampa, FL): Church Sessions—a monthly all-ages celebration of hip-hop with music, dance, and community vendors.
The Jazz Station (Eugene, OR): In-school jazz clinics with small-group mentorship and public performances.
Pie Shop (Washington, D.C.): Free, all-ages monthly showcases for local acts, including live recordings to help launch their careers.
Spire Center (Plymouth, MA): Sunday matinees welcoming older and retired audiences back into the live music scene.
Floyd Country Store (Floyd, VA): Traditional Appalachian music seminars in collaboration with local colleges.
54 Below (New York, NY): A performance and mentorship program supporting early-career Broadway composers and lyricists.
This year’s Music in Action brings Live Music Society’s total giving to $4.8 million across 201 venues since 2020—supporting both nonprofit and for-profit spaces that form the bedrock of independent music.
Live Music Society also launched a new national initiative this year, called One Night Live. A first-of-its-kind 14-city tour pairing emerging artists with grassroots venues, One Night Live was produced in partnership with Salt Lick Incubator and D-TOUR. The tour modeled a more sustainable and collaborative future for independent music.
View the full article
Ravebot
Ravebot

Get To Know: NuGroove, The Australia-Based DJ Bringing Warmth Back To The Dance Floor

From mobile DJing in muddy fields to lighting up Perth’s dancefloors, NuGroove—aka Adam—is all about feel-good energy, cheeky charm, and tunes that get people moving. Hailing originally from Lancashire, UK, and now calling sunny Western Australia home, his sets are packed with the same warmth and vibrancy he brings to the booth. With a deep love for piano house, a soft spot for wood-fired pizza, and an impressive ability to juggle DJing with operating actual dump trucks (yes, really), NuGroove is the kind of artist you can’t help but root for.
We caught up with him to chat bootlegs, club culture, $400 tequila, and the one song he couldn’t live without…

What’s your artist name and any other aliases you use?
NuGroove
Where do you currently live?
Sunny Perth Western Australia
Introduce yourself in a few short sentences
My Name is Adam A.K.A NuGroove, originally from Lancashire in the UK. Cheesy Music, Wood Fire Pizzas and Beer are my guilty pleasures (Ranked in that order haha)
What first kickstarted your interest in producing music?
I saw all these DJ’s creating their own bootlegs and edits and sometimes I loved a bootleg, but there was something missing or I didn’t like a certain part of it, so I started to learn Ableton so I could make my own. I prefer to make original stuff as I think starting with a blank slate most of the time is easier.
Name three artists that inspire you to make music
Oh jeezzz there are easily more than 3 but, Purple Disco Machine is up there for sure his remix creativity is out of this world. MK because Piano house is my Jam and last but certainly not least Vintage Culture, Belters all day long.
Which DJ’s would you love to perform alongside and why?
Way too many to choose from!
MK – Because Piano house anthem Legend
Carl Cox – Because he’s the GOAT and even my dad knows who he is so he would come for sure.
Gorgon City – Their tunes and vibe are always on point.
Fat Boy Slim – but it would have to be at a beach festival somewhere haha.
Name a track you love to hear on a sound system? 
Eric Prydz – Opus 

Tell us about your first performance opportunity and how it fuelled your fire?
Not really the first performance but before I moved over to Australia I used to be a mobile DJ (weddings birthdays etc) I was Djing this young farmers gig in a field in this huge tent. The place was packed and everyone was up for a good time. Any DJ will tell you that there are gigs that no matter what you play the crowd just goes bananas and that is the addictive thing and Djing and Producing music.
What’s your favourite piece of equipment in the studio
My Super Comfy for long sessions.
Tell us your honest thoughts on sampling?
I think it’s awesome when done correctly. It was, and still is used so much in music these days.
Are there any labels you regularly feature in your playlists?
Vicious 😉 The likes of Defected, Toolroom, Trick, I am a big fan of music and my tastes like to wander.
What excites you about club culture or festivals?
The People. Club culture, festivals, after parties etc are nothing without the people.
How would you encourage other artists coming through?
Go to events, read, watch videos, speak to people. It’s all about having fun connecting with like minded peeps. Don’t be scared to ask questions that you may think are silly as you will never learn otherwise. Most of all stick to your passion, don’t follow the crowd because you think that’s the only way.

Tell us your favourite clubbing memory
Ahh I can’t just have one. One that does always sit in my head is Norman Jay. I had never seen him live until I booked him in Perth one year and his range of music is astonishing, the crowd age ranges blew my mind, from 18 year old’s to 50+ on the dance floor. He even finished with a bit of DnB at the end of his set. Class Act
How do you nurture your industry relationships?
Talk, catch up. Connect with new people on a genuine basis.
Tell us something we don’t know about you
I operator Large Loaders, Watercarts and Dump trucks on a Fly in Fly out basis for my full time job
Share an outlandish rider request
Not going to mention names, but at an event that I put on the artist request was a certain tequila. This might not sound like much now but at the time I ran a bar and even my alcohol reps couldn’t get it for me and I was panicking that I would let the artist down by not having it. Eventually I found it. Cost me $400 for one bottle. I am pretty sure they only had like 3 shots themselves and gave the rest to their guestlist haha
Which song do you wish you’d written? (add youtube link)
Fatboy Slim – Praise you. Genius bit of sampling and those pianos OMG!
Explain yourself using a famous quote
Another Day, Another Smile.
If you could play any event, which one and why?
Probably something like Creamfields or BeatHerder as this festival is quite close to where I grew up and they just get bigger and better each year plus it would feel like a full circle moment leaving the UK then coming back to play near my hometown.
One song you couldn’t live without 
Lola’s theme Tune. Gets me every time.

Music is…
“A spiritual thing”
Music in IMO is one of the only things that can connect strangers together from far and wide and appreciate that moment in time.
Tell us more about your plans for 2025?
Lots and lots of music to release. So keep your eyes out.
Connect with Nu Groove HERE: 
Instagram 
Spotify
Soundcloud



 
The post Get To Know: NuGroove, The Australia-Based DJ Bringing Warmth Back To The Dance Floor appeared first on Electric Mode.
Ravebot
Ravebot

Nervo Hints That Avicii Collab “Enough Is Enough” May Be Released Soon

While reminiscing about Tomorrowland 2011, an exciting moment was shared on the @edmflashback page: Avicii performing on the mainstage.
The clip that was shared was of Avicii playing the song, Enough Is Enough, which he collaborated on with NERVO to create. In the video, you can see the beautiful feeling it brings to the crowd and Nora in Pure in the crowd vibing to Avicii’s set. The interesting thing is this song has never been released in all these years.
The next surprise was discovered hidden below the caption, in the comment thread. There you will find NERVO’s comment.
It’s safe to say we can hope to see this song finally released. It’s an old classic with traditional house vibes, but it’s new to so many ears. It would be an incredible moment if we were able to hear someone play this live next month on the mainstage at Tomorrowland 2025. Check out the Instagram post below.
The post Nervo Hints That Avicii Collab “Enough Is Enough” May Be Released Soon appeared first on EDMTunes.
Ravebot
Ravebot

mau5trap Seeking Producer Submissions for Next "We Are Friends" Compilation

mau5trap is accepting producer submissions for We Are Friends, Vol. 12, marking the return of the label's flagship compilation series, Billboard Dance reports.
Scheduled for release in January 2026, the compilation will be the series' first volume since 2023 and the first since Create Music Group acquired the label's catalog earlier this year.
Founded by deadmau5 in 2007, mau5trap has consistently served as a launchpad for boundary-pushing electronic artists. The We Are Friends compilations, the first of which released in 2012, have played a central role in that mission, spotlighting an eclectic mix of talent across genres like progressive house, techno and electro.
With a track record of championing both rising talent and established innovators, We Are Friends remains one of the most influential compilations in electronic music. The series has historically helped boost the careers of now-prominent names including REZZ, Kasablanca and the late i_o, along with recurring contributions from deadmau5 himself.
For producers looking to break into the scene or align with an iconic record label, the window is officially open. Artists can submit their work for consideration here.
Follow mau5trap:
X: x.com/mau5trap
Instagram: instagram.com/mau5trap
TikTok: tiktok.com/@mau5trap
Facebook: facebook.com/mau5trap
Spotify: spoti.fi/3rF3PvI
Ravebot
Ravebot

Jonathan Mayers, Co-Founder of Bonnaroo and Outside Lands, Dead at 51

Jonathan Mayers, the co-founder of Bonnaroo and Outside Lands, has died at the age of 51, the festivals announced this week.
Mayers was a driving creative force behind the events, two of North America’s most beloved music festivals. He co-founded Superfly Entertainment and helped launch Bonnaroo in 2002, which quickly became a model for community-driven festival experiences.
Six years later, Mayers helped bring Outside Lands to life in San Francisco's Golden Gate Park, where his blend of imagination and detail transformed the space into one of the Bay Area's top music festivals. From the whimsical bridge at the Lands End stage and the Ranger Dave statue, his vision shaped the festival's playful ethos.
"His imagination knew no bounds, and his commitment to joy and wonder shaped the spirit of this festival in ways too numerous to count," Outside Lands wrote in a tribute on Instagram. "More than anything, we will miss his unwavering dedication to bringing people together, his passion for pushing boundaries, his infectious laugh, and his ability to tap into the inner child in all of us."
View the original article to see embedded media.
A cause of death for Mayers has not yet been revealed.
Bonnaroo's proprietors announced they are honoring the late exec by planting a tree on the festival's grounds, colloquially referred to as "The Farm," in his memory. They also paid homage on social media, calling him a "creative force" and thanking him for decades of inspiration. Bonnaroo returns tomorrow, June 12th.
We at EDM.com extend our heartfelt support to Jonathan Mayers, his family and loved ones during this difficult time.
Ravebot
Ravebot

The TAPEoPLEX is Heritage Audio’s plugin version of the iconic Echoplex tape delay 

Heritage Audio has unveiled its latest vintage plugin emulation, the TAPEoPLEX. It seeks to mimic the sound of the legendary Maestro Echoplex EP-1, which was originally released in 1961 and used by Brian May, Jimmy Page, and other music icons. The model went over so well that two ensuing versions, the EP-2 and EP-3, were also released.
READ MORE: My Forever Studio: Luxxury goes punk rock in the Bahamas
The plugin’s interface has been designed to reflect the original hardware, with controls for Echo Time, Echo Repeats, and Echo Volume. There is also an overall input level and two-band EQ for greater frequency control. With this extensive functionality, the plugin hopes to offer users the wide-ranging sound expansions that made the original model so universally adored.
However, in the new digital format, TAPEoPLEX also offers features that the original machine doesn’t. This version’s delay operates in stereo rather than just mono, with individual delay time controls for each side of the mix. Plus, the plugin can simulate wear on the tape to get that authentic analog sound in the exact desired levels via distortion and colour levels.
“We are proud to announce the availability in native form of the Heritage TAPEoPLEX tape delay plugin. Based on the beloved vintage tape delay used by everyone from Eddie Van Halen to Brian May, Jimmy Page, Neil Young, and many others, the Heritage TAPEoPLEX just nails the sound of the most famous tape echo unit of all time,” Heritage Audio writes on Instagram. “Ranging from soft and clean delays to distorted repeats that lead to self-oscillation, the warmth and space that the TAPEoPLEX adds to your tracks is unmatched by any tape delay plugin in the market.”

TAPEoPLEX is available for €99.00/$99.00 and is free for owners of any of Heritage Audio’s i73 PRO audio interfaces. Far cheaper than paying $1750 for buying a used original version.
In other news, Heritage Audio recently unveiled the P.LANE Type 436, reviving a classic compressor used by The Beatles.
Learn more at Heritage Audio.
The post The TAPEoPLEX is Heritage Audio’s plugin version of the iconic Echoplex tape delay  appeared first on MusicTech.
View the full article
Ravebot
Ravebot

EXCLUSIVE – FREE DOWNLOAD – Aphex Twin- Windowlicker (Aubrey Fry & Abandoned Technologies Remix)

Aubrey Fry · Windowlicker (Aubrey Fry & abandoned technologies Interpretation When a track as iconic as Aphex Twin’s Windowlicker gets a rework, it takes an artist with true finesse to even attempt it, let alone transform it into something fresh and transcendent. Enter Aubrey Fry, the Welsh-born sonic architect whose remix of Windowlicker has quietly exploded onto the underground circuit, recently championed by none other than Danny Howells during his standout sets on his Australian tour.
From the moment those warped vocals and glitched textures rise over Fry’s deep, brooding basslines, it’s clear this isn’t just a nostalgic nod. Fry doesn’t remix Windowlicker, he reimagines it. The remix blends the anarchic DNA of Aphex Twin with a hypnotic, late-night energy, layered with cinematic synths and spatial engineering that makes it feel like a conversation between the past and future of electronic music.
Danny Howells, a tastemaker known for unearthing forward-thinking gems, dropped the remix to a packed dancefloor recently in Sydney, drawing an eruption of recognition and disbelief. “It’s not often someone touches a track like this and pulls it off”
In an era where re-edits often lack imagination, Aubrey Fry has delivered a version that doesn’t just honour the legacy of Windowlicker, but elevates it into a modern progressive realm that’s as cerebral as it is visceral.
Expect this one to ripple across club culture in the coming months. Grab your download here  https://hypeddit.com/licker
The post EXCLUSIVE – FREE DOWNLOAD – Aphex Twin- Windowlicker (Aubrey Fry & Abandoned Technologies Remix) appeared first on Decoded Magazine.
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.