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Duke Dumont Announces First Album in Five Years, "Union"

After a five-year hiatus following his acclaimed debut album, Duke Dumont has announced his highly anticipated sophomore project, Union, set for release on July 25th via EMI Records. The announcement comes alongside his first single of 2025, "Your Loving."
The new album builds upon the creative foundation established in 2020's Duality, expanding the influential "I Got U" producer's sonic palette through a thoughtful fusion of deep house rhythms and classic dance influences. Union represents an evolution in his artistic vision through music that "celebrates connection, freedom and unity on the dancefloor," according to a press release.
"I've come to realize there aren't many things in life that bring people together on one level," he said. "My album Union is a homage to this unique experience. The entire essence of the album is channeled to create that feeling."
Rather than catering to streaming algorithms or radio formats, Dumont said he designed the album as a complete journey meant to be experienced from start to finish, particularly in live settings. "[Union] was not made to appease playlists or radio," he explained. "It's intended to take the listener on a journey, not provide a quick fix."
The rollout begins with today's release of Dumont's radiant single, "Your Loving," one of 12 tracks to appear on Union. The album will feature just two collaborations: "Ain’t Giving Up" (with Clementine Douglas) and "All My Life" (with Panama).
You can pre-save Union here and listen to "Your Loving" below.
Duke Dumont - Union Tracklist
Union The Chant Prelude #1 I Need You Now Feels Like This ENERGY Hit Em My Heart (Is Full Of Love) Prelude #2 Your Loving Ain’t Giving Up (feat. Clementine Douglas) All My Life (feat. Panama) Follow Duke Dumont:
X: x.com/dukedumont
Instagram: instagram.com/dukedumont
TikTok: tiktok.com/@dukedumont
Facebook: facebook.com/dukedumont
Spotify: spoti.fi/3isP7o0
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EMERGING ARTIST: Eden Hunter

In today’s emerging artist spotlight, we introduce the incredibly talented artist, songwriter, and model Eden Hunter. Since the launch of her music career, she has been making significant waves. Especially so after being honoured as the 2022 Emerging Artist of the Year at Mighty Hoopla. Eden’s captivating lyrical pop has been winning over fans in droves. As her emotionally resonant songs connect on a universal level while showcasing a beautifully textured vocal quality that lays bare her vulnerabilities.
Eden has masterfully refined her craft while making a significant impact in the music industry in a remarkably short time. She has not only opened for major artists like Tom Grennan, Ella Eyre, Thomas Headon, James Smith, and Anna of the North. She has also established herself as a compelling new voice to watch. Now, the moment we’ve all been waiting for has arrived. The announcement of her highly anticipated debut EP, “The Circus Man,” set to release later this year. Leading up to this exciting debut, Eden introduces her first single, “Knock Me Out,” a polished pop anthem that delivers an empowering message sure to resonate with listeners.
Every artist draws influence and inspiration from those who came before them. In the case of “Knock Me Out,” it seems that Eden may be channelling the iconic Madonna. (Particularly her hauntingly beautiful ballad “Frozen.”) The vocal stylings reveal striking similarities that are hard to ignore. It may not be a mere coincidence that Eden so poignantly leads into the chorus with the heartfelt plea, “Dear sweet Madonna, please don’t take this all away.” Seemingly, if true, this connection not only deepens the song’s emotional resonance but also pays homage to a pop legend.
Regarding the song’s theme, Eden states

Notably, Eden Hunter has swiftly and impressively refined her musical style. Thus showcasing a distinctive blend of catchy melodies and emotive lyrics. With the latest offering “Knock Me Out,” she stands on the cusp of a significant breakthrough, ready to captivate audiences and leave a lasting mark on the pop music scene. Above all, Hunter’s confident delivery and vibrant energy position her as an exciting and fresh talent, promising to shine brightly among the industry’s newcomers.
Grab your ticket now! Madison Rose is invading the UK for the first time on Friday night, 6th June 2025 at The Camden Club. Madison will be joined by special guests Myylo and Eden Hunter on support!
General Admission and Meet and Greet tickets are now on-sale.
Connect with Eden Hunter
Instagram:  https://www.instagram.com/edenhunter_/
The post EMERGING ARTIST: Eden Hunter appeared first on EQ Music Blog.
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Watch “Trust Your Touch” by TIN x Lostchild x Janethan

Australian pop sensation TIN kicked off 2025 with an exciting remix of his hit track “Serotonin,” featuring the talented Le Fil. (known for their standout appearances on RuPaul’s Drag Race UK and Canada Vs. The World). This collaboration spotlights a bold new direction for TIN, who is committed to weaving a rich tapestry of authentic queerness into his music. Furthermore, by continuing this collaborative streak with a diverse array of artists, he fosters an environment that champions open expression in both visuals and lyrics. His latest track, “Trust Your Touch,” showcases TIN’s dynamic partnership with Lostchild and Janethan, infusing the song with unique perspectives and deeply resonant themes.
While, it is evident that TIN’s music has undergone a remarkable transformation. Whereby increasingly capturing a sense of authenticity and emotional depth with each new release. It has however come to light, that the process of taking his initial song ideas and nurturing them into fully realized compositions does not always happen immediately. One notable example is “Trust Your Touch,” which TIN wrote back in 2015. Adding context to the backstory – during this period he was deeply influenced by the sounds and styles of Troye Sivan and Olly Alexander. Therefore, this song intricately explores the vivid fantasies he harboured about forming a relationship with these two captivating icons. In fact, their artistry not only inspired his music-making but also authentic expression. Thus making “Trust Your Touch” a testament to the powerful impact these artists have had on his creative journey.
TIN consistently integrates striking visuals to deepen the impact of his lyrical themes. And the music video directed by Aiden Thomas offers a thought-provoking portrayal that delves into complex homoerotic themes. This piece explores the nuances of cruising, the intrigue of voyeurism, and the admiration of the male form through muscle worship. Moreover creating a rich narrative that invites viewers to engage with these bold concepts on multiple levels.
Connect with TIN
Facebook: https://www.facebook.com/tinofficialmusic
Instagram:https://www.instagram.com/tinofficialmusic/
Connect with Lostchild
Facebook: https://facebook.com/lostchilduk
X: https://x.com/lostchilduk
Instagram:https://www.instagram.com/lostchilduk
Connect with Janethan
Facebook: https://www.facebook.com/ItsJanethan
x: https://www.x.com/itsjanethan
Instagram:  https:// www.instagram.com/itsjanethan
The post Watch “Trust Your Touch” by TIN x Lostchild x Janethan appeared first on EQ Music Blog.
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Groove Synthesis announces the 3rd Wave 8M 8-Voice Desktop Synthesiser

Groove Synthesis has announced the 3rd Wave 8M – a compact desktop synthesiser to a more accessible price point, without compromising on sound quality or core features.
Building on the success of the flagship 24-voice 3rd Wave models 24K and 24M, the new 8M features 8 voices of polyphony and bi-timbral operation in a streamlined desktop format. Priced at $1,999 USD, the 8M delivers the same premium sound quality and cutting-edge synthesis capabilities that have made Groove Synthesis a favourite among producers, composers, and performers worldwide.
“We created the 8M to bring the distinct 3rd Wave sonic character and sound design capabilities to more musicians and producers,” said Bob Coover, co-founder of Groove Synthesis. “This isn’t a watered-down version of our flagship 24-voice models. The signal processing chain, analog electronics, and the sound are the same as on the 24. The 8M just makes the 3rd Wave experience accessible to musicians, sound designers, and producers who don’t need the full scale system.”
The 3rd Wave 8M maintains complete patch compatibility with the 24-voice 3rd Wave models, allowing users to seamlessly integrate the 8M into existing setups or upgrade to larger models in the future. The streamlined user interface focuses on performance-oriented controls while utilizing a larger, more intuitive display for deep sound design capabilities.
Key features of the 3rd Wave 8M include:
8-Voice Polyphony: Full 3rd Wave sound engine with 8 voices and three oscillators per voice Complete Synthesis Toolset: Wavetable synthesis, analog-style synthesis, FM, and sampling Bi-timbral: Two independent parts for layering and splitting Complete Patch Compatibility: Seamless integration with 24-voice 3rd Wave models 8 Analog Filters and Output Stage: The same premium analog filters and output circuit design as flagship 24-voice models, 24K and 24M Streamlined Interface: Performance-oriented, expressive control set with larger display Multiple Outputs: 4 balanced outputs for flexible studio integration Compact Design: Smaller footprint ideal for desktop or touring setups “As a bunch of synth enthusiasts ourselves, we know that the sound is everything,” said Andrew Silverman, co-founder of Groove Synthesis. “The 8M has the full DNA of our flagship models. We’ve carefully considered what matters most to musicians and sound designers, preserving the elements that define our sound while creating a more accessible entry point to the 3rd Wave sonic universe.”
The 3rd Wave 8M continues the Groove Synthesis tradition of combining vintage inspiration with modern capabilities. While the 3rd Wave has roots in the classic digital wavetable synths of the past, it takes that concept into the 21st century with a lush, expansive sound that’s a product of its expanded wavetables and warm, organic analog filters. The intuitive, performance-focused interface avoids menu diving for a natural control flow, preserving and adapting the vital parts of the keyboard’s controls in a compact format.
Availability
The 3rd Wave 8M is expected to be available and shipping in July 2025 for $1,999 USD. For more information and to find a dealer, visit www.groovesynthesis.com.
The post Groove Synthesis announces the 3rd Wave 8M 8-Voice Desktop Synthesiser appeared first on Decoded Magazine.
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ROZES Reveals Breast Cancer Diagnosis: "I Will Fight Like Hell to See My Daughter Grow Up"

Elizabeth McQuiston, the dance-pop artist known professionally as ROZES, has revealed that she is battling breast cancer.
The acclaimed singer-songwriter, whose ethereal vocals feature prominently on The Chainsmokers' billion-plus stream generational dance anthem "Roses," shared the news with fans in a candid Instagram post.
"I have cancer. Breast cancer to be exact," McQuiston said. She went on to explain that the cancer has spread to her lymph nodes, adding a layer of complexity to her diagnosis.
The 32-year-old songstress outlined her immediate medical plans, including an MRI to better understand the extent of the mass and affected lymph nodes, followed by a surgical consultation. Though early in her treatment journey, she expressed determination to fight for her future with her family.
"I don't know much right now, but I do know for sure that I will fight like hell to see my daughter grow up, to be with my husband and watch his hair turn gray one day," she continued. "And whatever the next few days, few weeks, the summer holds for me. I have an amazing support system. And I do plan to lean on them. And my piano."
Throughout her career, McQuiston has been known for her openness with fans, often channeling personal experiences into her records. For the artist whose breakout collaborations and solo work have established her as a distinctive voice in electronic-infused pop music, creativity remains central to her coping strategy.
"Creating in any way, shape, or form has always given me an outlet. And I will continue to do so," she affirmed.
We at EDM.com extend our heartfelt support to ROZES, her family and loved ones during this difficult time.
Editor's Note: If you or someone you love has been affected by breast cancer, consider reaching out to support networks, licensed counselors or local advocacy organizations. Early detection and emotional support can make a meaningful difference. For more resources, visit the American Cancer Society or BreastCancer.org.
View the original article to see embedded media.
Follow ROZES:
X: x.com/rozessounds
Instagram: instagram.com/rozessounds
TikTok: tiktok.com/@rozessounds
Facebook: facebook.com/ROZESsounds
Spotify: tinyurl.com/3u6tk6se
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The Magnolia might be the most alluring synth launched at this year’s Superbooth

While Frap Tools is typically known for its Eurorack modular synths, the Italian company is branching out. Magnolia comes as Frap Tools’ very first keyboard synthesiser, and it’s rammed with all of the brand’s signature analogue sounds, from the Brenso to the Cunsa.
The Magnolia boasts an eight-voice polyphony, with two ‘Carrier’ and ‘Modulator’ oscillators. The pair of oscillators are derived from the company’s 30HP Brenso, reworking the module’s two triangle-core oscillators.
READ MORE: My Forever Studio: TOKiMONSTA nabs a historic synth
The ‘Carrier’ or ‘West Coast’ oscillator boasts through-zero frequency modulation, allowing you to capture sideband-rich analogue frequency modulation sounds. The oscillator also has a wavefolder and flip sync capabilities. The second ‘Modulator’ or ‘East Coast’ oscillator allows you to toy with pulse width modulation and fine-tune.
Elsewhere, the ‘sound seasoning’ Cunsa module’s quadruple analogue pingable multimode resonant filter has been repurposed for the Magnolia’s filter section. There’s also 24 dB/Oct resonant high-pass and low-pass filters.
The Magnolia also understands that good things come in threes. That’s why it comes with three loopable attack, decay, delay, hold, release and sustain envelopes. There are also three digital low frequency oscillators.
Taking one look at the Magnolia, and it’s clear that there’s plenty of room for experimentation. We’ve not even mentioned the arpeggiator, 16-step sequencer, bi-timbral programs (boasting SINGLE, MORPH, DUAL, and SPLIT MODES), or all-analogue signal path yet. And there’s 512 preset memory slots, so you can truly go wild creating new projects.
The synth also has an industry favourite keyboard from Fatar, equipped with polyphonic aftertouch capabilities. You can also keep track of your modes and filters thanks to helpful LEDS on every source – and you can switch modulations on/off with a simple toggle.
The company insists that the Magnolia is “fun to play”, and it certainly looks to be. A promo clip of the Magnolia in action highlights just how versatile and exciting the synth can be.
From alien spaceship glitching, to epic fantasy whirring, to eerie piano tones, the Magnolia seems to be quite an impressive debut onto the high-end keyboard synthesiser market.
Those attending Berlin’s Superbooth this weekend will be able to experiment with two pre-production units at Booth B049. Frap Tools aims to release the Magnolia synth by the end of summer.

The post The Magnolia might be the most alluring synth launched at this year’s Superbooth appeared first on MusicTech.
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Catching Up With Mitekiss

In a scene obsessed with categorisation, Mitekiss is busy blending the labels. Once a purveyor of liquid D&B’s more elegant moments, now a father, label head, and low-key disruptor of genre norms, he’s slipped the leash completely. His new album Ingotnito doesn’t so much defy classification as gently welcoming all styles. Hip-hop, garage, 140, jazz, gospel chords, raw textures, it’s all in there, unfiltered and fully human. This one’s for the heads who know that UK sound doesn’t sit still.
Mitekiss operates with a quiet humility that’s become rare in a time of social metrics and genre tourism. He’s not trying to dominate the algorithm; he’s just trying to make honest music, and build something that lasts. Whether it’s a dusty gospel loop in a self-built studio, or a free jungle night tucked away in the belly of Croydon, there’s a throughline of intention and care. Goldfat, the label he co-runs with Mr Porter, has long prioritised community over clout, substance over speed.
We sat down with Mitekiss to talk about genre freedom, label philosophy, Instagram virality, and why being left alone might be the best A&R policy he’s ever had.
How are you doing? You’ve got a new studio. How does it feel to be back in?
Honestly, it’s made me realise just how much making music is therapy for me. Being away from it for three weeks, I started getting twitchy and you realise how important that creative time is. It’s such a good way to express yourself and reset.
Apart from getting your studio done, what have you been up to?
Well, I’m a dad now, that’s been about a year and a half. Massive learning curve, still figuring it out every day. That takes up a lot of time, obviously. Other than that, I work part-time in digital marketing, mostly paid media stuff.
Let’s talk a little bit about some music

The last time you interviewed with us, you said that you “were letting go of genre and you just wanted to make what you love”. Are you still of that mindset?
The album really reflects that, there are only four or five drum & bass tracks on it out of 14. I’m just making whatever feels right at the moment. It naturally leans into that UK sound, bits of garage, a bit of hip-hop, bass-heavy stuff. There’s definitely a Croydon theme running through it too, that South London energy, it all ties back to that.
Was there a shift at one point? Where you were trying to produce a certain sound and then decided to do what your heart was telling you?
Yeah, because I’ve always been that type of producer. More producer than artist. Signing with Hospital changed that a bit and I became a bit more like an artist, focusing on a particular style of music. Now it feels like I’m going back to my roots, just making whatever I’m feeling at the time. I love all styles of UK dance music, so I don’t see why I wouldn’t explore them. There are so many incredible artists across different genres I’d love to work with, I feel like I’d miss out on the opportunity to work with those guys.
When you first started going raving did you go to different types of events? 
Yeah, I used to follow my brother and Mr. Porter around, they were deep into jungle. But I’d hit all sorts of nights. Could be indie rock, hip-hop, whatever really. It was super varied, and that definitely shaped my taste. It still is quite broad, and that has definitely lent itself to what I produce.
Lately, I’ve been doing a lot more 140 stuff, which is kind of new for me. A few grime bits with people too. But to me, it all lives in the same space, the palettes are similar, it’s just different tempos.
There’s a rawness to your album, it doesn’t sound polished, how intentional was that?
I’d say it’s mostly natural. I’m not the most technical producer when it comes to sound design, EQ, all that detailed stuff, it’s just never interested me. So yeah, part of that rawness comes from my own limitations. But I also genuinely love that old, warm ‘70s analog feel where you leave the clicks in, leave a bit of dust. It adds character and texture, which I’m really into.
Back in the day, music naturally had that vibe because of the gear, hardware noise, warmth, white noise, all of it. That was just how things sounded through the ‘80s and ‘90s. It’s only more recently, where you’re fully in the box and there’s no interference from whatever equipment you’ve got. So it is a new thing.
You’re not musically trained, so how did you learn to produce? Where did it all begin? 
It all started by following my brother, he had a setup at home, and I’d jump on it whenever I could. We’re talking from the age of maybe 11, stupidly young. I was just chopping up audio, messing about, and I’ve never really stopped since. It’s all been about putting in the reps.
I’ve been at it for so long. I’m kind of a late bloomer in terms of my musical journey, it wasn’t some quick “three years and I’ve made it” story. It’s been a slow, steady build, and still is. But that’s meant I’ve had decades of practice, making tunes, buying gear, picking up instruments. I can figure stuff out by ear and learn as I go, but I’m definitely not a virtuoso. 
Do you have studio rituals? 
Not really. My brain just goes off in so many different directions. I’m sure I would be diagnosed with something if I had some tests. I get easily distracted. Whenever I do creative sessions, I only ever get in about two to four hours tops before I wander off and get distracted. They come so sporadically as well. It’s not like I can just turn up and make a tune.
But I’m in a good place now where I can spend a couple days a week in the studio, during certain hours. That freedom helps when inspiration hits, I can just roll with it.
Do you get the melody first? 
It depends, but usually it starts with a melody or a sample. Something I’ve played or found. Then the drums follow. Sometimes it works the other way around though. I might hear a drum sound I really like and build from there.
Most of the time I’m just building a palette, collecting sounds, and figuring out the tempo later. Something might feel right at 174, or 140, or even 130. Tunes often start out as hip-hop and become drum and bass, or flip the other way. I made something recently where I ended up with both a garage version and a hip-hop version. It was hard to pick just one.
There are quite a few collaborations on the album. Do you find that collaborators bring out different aspects of you?
Yeah, definitely. I’ve always loved working with UK talent, and not just from the drum and bass scene either. On previous albums, a lot of the collaborators weren’t even really connected to D&B. That’s something I’ve always been drawn to bringing in people with fresh perspectives.
For example, there’s a tune on the album called ‘Incognito’ . It’s this weird 135/140 garage-y thing. I was chatting to Verbz about it and said I’d love to get a female rapper on it. He suggested TrueMendous, who’s from Birmingham. She’s straight-up hip-hop, so it was a bit outside her usual lane. I had to really convince her to jump on it, but I’m glad I did. She absolutely smashed it.
So yeah, collaborations definitely pull something different out of me. I might have a vision for a sound or vibe, but it’s the collaborators that help bring it to life.
What did you say to convince her?
She was like, “Yeah, it’s alright, but do you have anything more hip-hop?” And I just said, “Look, this is for an album project, and right now this is what I’ve got. I genuinely think you’d sound amazing on it.” Eventually she gave it a go, laid something down, and then we tweaked the track a bit, took some elements out to give the vocal more space, and played around with it. In the end, we got something quite cool.
It’s nice to hear about the process of the back and forward and taking stuff out- seems like there’s a balance

Yeah, she had a real influence on the track. There were two other elements I really liked, but she pointed out that taking them out would give her vocal more space. You’ve got to be flexible with stuff like that. Sometimes your ego wants to hold on to every sound, but there’s no harm in stepping back and seeing what actually works best. At the end of the day, collabs are about compromise.
Every artist works differently. Some vocalists send back a fully produced version, some just send stems, and then there are people like her who give you proper notes with timestamps and suggestions. That can be gold, because you can work directly from that and really get it how they want.
Obviously, it’s faster when you’re in the room together. Both tracks with Verbz were done like that. We could just stop mid-flow and tweak things right then and there. Charlotte X was in the room too. So this album’s been a mix, some remote, some face-to-face.
I suppose it gives a different end result as well because if you’re in the same room your reactions will be immediate. But remotely you’ve got a bit more breathing space, you write an email and then come back to it and think actually she was right or I was right there
.
Exactly. There are big pros and cons to both. A lot of people say you should always do it together in person, but I don’t agree. You can’t always be creative on the spot. I might bring in a beat that’s half-baked, and the vocalist just isn’t feeling it that day. Some people need time to sit with something, and that space can actually lead to a better result.
On the other hand, when you’re in the room together, you can make instant decisions. And if you click with someone in person, that can totally change the vibe. Sometimes you spend the first hour just chatting, seeing if you connect and that really feeds into the session. There are so many variables at play.
You had a track go viral on instagram. How did that feel to have that happen?
I don’t know what the criteria is for it to be viral. But it’s a pretty weird one. Obviously, Instagram just liked that bit of content and pushed it to a silly amount of people.
It was just me in the studio chopping up a little vocal clip. For some reason people really really liked it and really liked that tune. I was inundated with people asking me when it was out or could they listen to it.
It was almost frustrating, to be honest. I kind of wished the track was already out, because there was all this buzz but nowhere for people to go and listen to it. Definitely a bit of a learning curve. It made me wonder if I should only post clips of tracks that are already finished and released. But the intention wasn’t promo, I was just documenting the process, sharing a moment in the studio. That one just happened to land.
Did you get an uplift in followers from it?
Definitely. I saw thousands of new followers, and even a bump in Spotify streams. You can see it all in the data, even in back catalogue plays during that period.
The response was strong, it really pushed me to make sure that tune ended up on the album.
Viral can get a bad rep for being disposable, but people go back and listen to artists’ older work, and it actually helps them find more music

I always talk about evergreen and this whole throwaway culture. A tune comes out and we talk about it for a day and that seems crazy to me. There are entire back catalogs. You can put something like that clip out, people like that one tune and 10% of them might be those type of people that like to go and dig and then they follow you, and then they’re going through your entire back catalog.
Sometimes I’ll use an old tune in a reel, something from 10 years ago, and people are asking, “When’s this dropping?” And I’m like, “Mate, this is from a decade ago.”
It’s nice to hear a positive because you do get so many negative social media stories

Depends how you look at it. I’ve kind of reached a point where opinion feels irrelevant, technology is happening regardless. Whether you like it or not, it’s on its own curve. So as a musician, I try to see social media as a tool to build my brand. I’m using it as a form of marketing. Your opinion isn’t going to stop the shift, so you might as well make the most of it for what you’re trying to do.
For me, that’s about making people aware of my music. I don’t use social media for personal stuff, you won’t see pictures of my kid or anything like that. My personal opinion is different and I feel like there are issues. But as a musician, it’s a great tool for me to get to that many people. It’s phenomenal really. And right now, it’s still free, at least in terms of money. Obviously, you’re the product.
As a modern artist, you kind of are the product anyway

And you always have been. 40 years ago you were pitching yourselves to TV and radio and you were doing all those interviews in those places. The format’s just changed to a screen on a phone but it’s the same difference.
First independent album. How does that feel? 
It’s a mix of things, really. There are different emotions tied to it. We probably would’ve ended up doing the same kind of thing again if I stayed at Hospital, but honestly, I don’t think it would’ve worked for either of us. I wanted to do different genre stuff and start leaning more into sync, I don’t think I fit what they’re doing now.
That said, I feel really strongly about being independent and owning your masters. I think that’s the future for artists. I know it’s slightly hypocritical since my label still operates on a 50/50 master rights, but we’re actively working on a radical model. More on that in the future.
What was the original vibe for the label? You’ve always seemed quite nurturing to your artists

I suppose the community-building side has always been there, and nurturing artists has always been a big part of it. I just wish we had more time to connect more regularly with everyone, but we run the label part-time, so that’s the only real frustration. We’ve always focused on finding good people, not just good music. We take the time to get to know the artists and see what they’re about before anything else.
If it’s not just the music, it’s not really an A&R project. How do you find your crew then? 
At first, it was about reaching out directly or getting recommendations from people. During COVID, I had a Discord community going and it was really active. Loads of talent was popping up in places like that. I also used to do live feedback sessions on YouTube, which was another way of discovering artists.
A lot of it came through word of mouth. Like when we first started chatting to Kublai, he mentioned his mate Note made tunes. We checked him out, and even though he hadn’t released any drum and bass at the time, we were like, “This guy is sick.” Now he’s smashing it.
I’d like to think all the artists we’ve worked with would say good things about the experience. We might not have loads of money, and sometimes at events we can’t even pay what they deserve, but we do everything we can to support them.
Tell us about the events.
Yeah, we’ve been running Jungle in the Cronx at Riff Raffs in Croydon. It’s a sick little spot, downstairs you’ve got secondhand clothes and vinyl, and upstairs it’s got that brewery feel. We’ve been putting on these events for free, mostly driven by Mr. Porter who lives just around the corner.
They’re proper community-based jungle nights. Everyone plays for free, the decks are set up in the middle of the room, and the vibe is really raw and close-knit. The last few have gone off, it’s been amazing. We even had Bailey turn up and play a guest set, which was unbelievable. A few other DJs have mentioned they want to jump on too, but honestly, it’s not about big names. Mr. Porter’s been pulling in local talent and the crowds have been building. The lineups aren’t stacked with headliners, it’s just about the music and the community.
I’ve also got a little LP launch party at Planet Wax on May 10. Jessica Wilde’s doing a PA, Charlotte X and Mark Menzies from the album will be performing too. I’ll be playing through the whole album, and then we’ve got TJ doing a garage set, Counter Culture with some drum & bass, and Mr. Porter on hip-hop duties. It’s all the influences from the album in one night. And again it’s free. Just about celebrating the music with people.
Going back to the album do you think your experiences with Goldfat and other labels have shaped the way you’ve released this independent album.
Definitely. I’ve learned a lot from releasing with other labels, especially around structure. There’s a lot of thought that goes into things like release days, singles, rollout plans. I took a lot of that with me. Goldfat is a bit more DIY obviously, it’s not on the same scale, but we still try to plan ahead and stay organised.
The bigger labels also helped me understand the promo side of things. Reaching out to people like you, getting on playlists, DJ support, radio. That all came from experience with those labels. I’ve been able to carry those relationships over and use what I learned.
Stuff like distribution is pretty straightforward. But the admin side, like sorting agreements with vocalists, that took a while. This album has loads of features and I had to handle all the paperwork myself. I leaned on past experience from working with the legal team at Hospital, which really helped.
Sample clearance is another one. Reaching out to publishing companies, figuring out who owns what, chasing contacts. It’s boring, but it takes time. You don’t have to do it, but if you want to do it properly, you need to.
I think the area where I’ve learned the most is A&R. On this album, there was no A&R team apart from Mr. Porter. He gave me a few notes, which helped, but it was just us two. A&R is a strange one. Honestly, I’m glad I didn’t have to deal with too much of it. Sometimes you get two or three people giving opinions on a tune, and you don’t even know if you trust their take. You don’t know what angle they’re coming from. I’ve had vague feedback like “I don’t get this vocal” or “Why is this type of singing on this track?” and it might be from someone so far removed from parts of different music scenes that you’re like I don’t trust your opinion anyway.
It can get complicated. Good A&R is valuable, especially on the technical side, which is where I actually need input. But when it comes to songwriting, that’s so subjective. I don’t want someone writing the tune for me. If someone says, “The bass is too loud” fair enough. But if it’s like “Have you tried moving the vocal here or there?” it’s like, “Yes, I’ve already tried a million different versions.”
It’s wild when you think about it. Unless you’re making big, bait pop records where everything’s paint-by-numbers, music shouldn’t be that formulaic. Big labels know how to move records and they have A&R people to help sell millions, and that’s their job. But what we’re trying to make here at Goldfat is not an exact formula.
Why bring that kind of industry thinking to a side of music that’s not trying to play by those rules? Funny thing is, when I look back, my best-performing tracks usually had no A&R or very little. Some of my worst-performing ones had loads of it.
So your gut is helping

This album represents where you are as an artist right now. If this is a reflection you right now, what got you to this point?
I think it’s everything that’s come before that’s led me here. It’s the freedom I have now to just create what I want, how I want. There’s no team behind this, it’s just me, and the collaborators I brought in. No managers, no label interference. It’s just all of us collectively. It’s just what we want to make. That’s it.
It’s a raw project, and I think it sounds like that too. There’s a running theme through every track, a gospel influence, whether it’s in the samples or the chord progressions. I’m not religious, but there’s a definite spiritual thread throughout. Even the cover art is a mandala, which is rooted in Hinduism. That spiritual element came through naturally. Maybe it’s tied to personal stuff I’ve been processing, but it definitely reflects where I am right now.
I wouldn’t say I’m religious, but there’s a kind of spirituality in there without sounding too wishy-washy. Some of the downtempo tracks even have choirs, and there’s this church-like energy to them. It wasn’t forced, it just happened that way, and it all feels really honest.
You mention you’re not religious, what inspired you to explore the gospel thread rather than sound bowls or other forms of musical worship or spiritual connection with sound?
For me, it’s about the texture and emotion in gospel music. The sound is incredible, there’s so much soul in it. It naturally fits with styles like drum and bass or hip-hop. When I had about three or four track ideas that included gospel elements, I thought, why not try weaving that thread through the whole album? Some of the influences are subtle, some more obvious, but every track has that touch. It gave the album a kind of cohesion without forcing it.
We’ve got some Easter Eggs for people to find.
And as always my final question. What should we be talking about in the bass scene that we’re not currently talking about?
For me, it has to be about artists owning their own music. That’s where I’m at right now. Technology is moving in a direction that’s going to make that possible for everyone, and it feels inevitable. Whether that’s good or bad isn’t really the point. It’s just what’s happening.
I think we’re heading towards a future where artists will own 100% of their work, and everything will be logged digitally, probably on some kind of blockchain. That means all contributors be it producers, vocalists, writers, even visual artists can be recognised and credited properly. Collaborations could work through token-based systems that make sure everyone gets their share without all the usual gatekeeping.
Technology is slowly bridging the gaps between roles like publishers, labels, writers and artists. And the traditional label model, especially the part that’s mostly about distribution, is becoming less essential. All the stuff that used to be difficult like distribution, admin, paperwork is becoming more accessible and automatable. Labels will need to evolve, maybe into more of a management or creative support role, rather than gatekeepers. That’s where I think we’re headed.
Do you think they also add an element of community and family?
They’ll have to. Because if a label isn’t giving you more than what you can do yourself with an internet connection, then what’s the point? They need to bring community, events, parties, support and all of that. All that stuff is super important but those things aren’t really what a record label traditionally is, they’re communities.
The whole “We’ll look after you, but we’ll take 70%” thing? That’s just robbery. I’ve even heard of 85% splits in drum and bass. Vultures! That’s pure greed, and I don’t know why we would stand for that. Even 50 percent can feel off. And yeah, I’ll admit that’s slightly hypocritical because what we do at Goldfat, we’re still at 50/50, but even that’s something I wrestle with all the time morally and something as I said is changing as quickly as I can.
That’s why I think artists are building their own brands now. Loads of producers and vocalists have huge followings already. They don’t need a label. They’ve got their audience, and they can go direct to market. Technology can hopefully help with the backend stuff like admin and royalties.
Record labels need to fix up. Artists need to push back and start asking for fairer splits. No more 70 or 85 percent deals. That just shouldn’t be a thing anymore.
 Ingotnito is out now.
Follow Mitekiss: Facebook / Soundcloud / Twitter

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Roland Juno-60 and Moog Rogue among 12-piece Andrew Weatherall gear auction

A collection of studio gear belonging to late British DJ and producer Andrew Weatherall is now up for auction. His family is selling 12 pieces of his production arsenal via Soundgas, including sequencers, vintage synths and pedals.
The auction is now live, and is scheduled to end Sunday May 11 at 11pm BST. Highlights of the collection include a Roland Juno-60, Moog Rogue, Dunlop TS-1 Stereo Tremolo pedal, and an Ensoniq DP/4 parallel effects processor. There’s also a Roland Rhythm TR-77 drum machine, a Sequential Circuits Pro synth, and a Tech 21 Comptortion pedal.
READ MORE: Moog Messenger: Everything you need to know on features, pricing, and availability
Andrew’s brother Ian says the family’s intention with the sale is to get his gear into the hands of musicians so it can continue to be used for music making.
“We have kept [Andrew’s] whole archive/possessions in storage, with plans for display/exhibition in the near future,” Ian writes. “Musical equipment does not appreciate being stored away, unused, for great lengths of time
 and with that in mind we have instructed Soundgas, as experts in their field, to help us re-home Andrew’s collection.”
He says it’s important that Andrew’s gear continues to be used to “create, push boundaries, but above all, see the light of day, and be cherished by people who recognise Andrew’s contributions to music and beyond”.
“This is what Andrew would have wanted, so if you are successful in purchasing anything sold here, please cherish the fact that you own something of Andrew’s,” Ian concludes.
Many of the items have already seen bids, with the Moog Rogue sitting at a bid of £1,029.99 (significantly past its estimate of £500-£750). The Roland Juno-60 currently sits at a bid of £1,600, but bear in mind there’s still two days to go, so they’re likely to go for quite a bit more.
View the full collections and, if you wish, place a bid, over at Soundgas.
The post Roland Juno-60 and Moog Rogue among 12-piece Andrew Weatherall gear auction appeared first on MusicTech.
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Listen to borne's Gritty Club Weapon, "Go Again"

Surging electronic music producer borne has returned to NIGHTMODE with "Go Again," a snarling, club-ready track bound to command dancefloors.
The release marks a bold shift for the Montreal-raised producer, who recently told us he's been heavily experimenting with his production over the past eight years.
"I experimented with everything, and I think that’s important for every producer to do," borne said in the sweeping interview. "Dip your toes into everything and then see what you really enjoy doing."
This fearlessly experimental attitude manifests in "Go Again," where high-octane four-on-the-floor beats collide with gritty synths and warped bass. It's a controlled riot of rhythm and texture, built for the club and fueled by after-hours adrenaline.
“NIGHTMODE has been home to some of my biggest releases and I am excited to bring a new direction with them," borne shared in a press release.
You can listen to "Go Again" below.
Follow borne:
Instagram: instagram.com/itsborne
X: x.com/bornemusicc
TikTok: tiktok.com/@bornemusic
Spotify: spoti.fi/3Yoezly 
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Z3LLA Sculpt Hope From Heartache in New Dance Anthem, "Origami"

Z3LLA's new single "Origami" takes its name seriously, folding together delicate lyricism and evocative production for a euphoric anthem that blooms like paper in motion.
Out now via Steve Aoki's Dim Mak label, the track unfolds methodically, beginning with distant vocal swells and cinematic pads before collapsing into a blissed-out drop with tinctures of vintage trance. Like master origamists calibrating folds and creases, Z3LLA understand when to build tension, when to release it and when to reveal the patterns hidden within.
Lyrically, they prove there's power in the plainspoken. The duo's vocals trace the fragile moment when hope morphs into belief, zeroing in on the emotional geometry of not just wanting someone, but envisioning a life so vividly with them that fantasy begins to feel like memory.
To that end, Z3LLA treat the arrangement like a blueprint for building meaning in moments that haven't happened yet. And they make it sound effortless.
You can listen to "Origami" below and find the new single on streaming platforms here.
Follow Z3LLA:
Instagram: instagram.com/z3llamusic
TikTok: tiktok.com/@z3llamusic
X: x.com/z3llamusic
Spotify: tinyurl.com/3bw92wfd
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Sherm, Isaac Palmer, Amero and Devarra Deliver Tech House Knockout, "Second Round"

Sherm, Isaac Palmer, Amero and Devarra step into the ring with "Second Round," a tech house banger that fights dirty in all the right ways., 
With the new single, they've found the sweet spot where hip-hop's swagger meets tech house's club sensibilities. Like any good prizefighters returning to the ring, they show off their confidence and production finesse throughout the track.
The arrangement's central lyrical grenade, a simple but effective "back for a second round," works as both earworm and mission statement. A chunky bassline functions as its backbone while driving drum elements keep it perpetually in motion, creating a technical knockout of rhythmic precision.
For Sherm, "Second Round" showcases an artist who's studied the classics but isn't trapped by their conventions.
"Everyone who is familiar with me and my music knows that I love to make club ready records," he explained in a press release. "Tracks that hit live. Tracks that make you feel something different. Tracks that create memories with your friends. 'Second Round' is right in line with that mission and my collaborators on the track had the same mindset."
The new single arrives ahead of Sherm's set at the Coors Light Snake Pit Pre-Party in Indianapolis on May 8th. It's a big moment for the proud IU grad and Indiana native, who will return to the city June 6th for a homecoming headline show before a high-profile performance at Chicago's North Coast Music Festival in late-August.
You can listen to "Second Round" below.
Follow Sherm:
X: x.com/sherminthebooth
Instagram: instagram.com/sherminthebooth
TikTok: tiktok.com/@sherminthebooth
Facebook: facebook.com/ShermInTheBooth
Spotify: spoti.fi/31HVYpt
Follow Isaac Palmer:
X: x.com/isaacpalmerlive
Instagram: instagram.com/isaacpalmer
TikTok: tiktok.com/@isaacpalmerofficial
Facebook: facebook.com/isaacpalmerofficial
Spotify: tinyurl.com/yyauudpt
Follow Amero:
X: x.com/itsameromusic
Instagram: instagram.com/itsamero
TikTok: tiktok.com/@ameromusic
Facebook: facebook.com/ameroofficial
Spotify: tinyurl.com/ymarbwks
Follow Devarra:
Instagram: instagram.com/devarra_
Facebook: facebook.com/devarramusic
Spotify: tinyurl.com/2y742ch6
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Get To Know: Katie Rose

This Spring Equinox, vocal visionary Katie Rose returns with a powerful new release: “Can U Feel It” – a vibrant EDM reimagining of her lockdown anthem “Go the Distance”, remixed by internationally acclaimed producer Michael Doiley. Having dropped this March, the track pulses with a message of unity, healing and the transformative power of music,  perfectly timed with the seasonal turning point of renewal.
Hailed by The Guardian as a “fine singer” and by fRoots Magazine as “an eye (and ear) opener,” Katie Rose has long blurred the lines between art and activism. From leading choirs in London hospitals to coaching performers across music, film and theatre, her work champions voice as a force for connection and change. With “Can U Feel It,” she invites us back onto the dancefloor – not just to move, but to feel, affirm and awaken.
We sat down with Katie to talk about remixing across genres, keeping love alive through isolation, and why this single is more than just a track, it’s a message for our times.

Introduce yourself in one paragraph:
 
As a singer and writer, I’m powered by the understanding that our voices can change our worlds – individually and collectively. Endlessly fascinated by the diversity of human expression – sung, spoken, written and signed – I create music, events and sessions where people can experience the joy, magic and power of voice. To that end, I’ve created four albums, written for local and international media, directed multiple choir projects and coached individuals from beginners to acclaimed industry professionals.
 
 
Tell us more about your musical journey. 
 
From our first baby yell to our last heartbeat, music is the soundtrack of our lives.  As a medium of self-expression and service in the world, for me music is a living, breathing, daily vocation and a life-long technicolour adventure. 
 
Growing up in a musical family, with lots of singing around the piano, embedded my love of music and writing words and songs came naturally. My grandmother was deaf, and my grandfather, the hearing child of deaf parents, wrote a book advocating for sign language and led signing choirs. I realised at the age of 15 that singing was profoundly transformative and that I wanted to sing and help people sing
 
I initially started recording music whilst exploring singing and sound as a meditative/ spiritual practice. From there I found my way into directing choirs in settings including hospitals, hospices, mental health groups and large scale charity projects. It’s amazing seeing people come in bent over and walk out standing tall and smiling after singing. 
My eclectic ear and musical curiosity has led me into all sorts of cross-genre, cross-cultural projects including this latest collaboration with EDM DJ and Producer Michael Doiley.
 

Any words you want to share to encourage other artists and producers?
 
Follow your path and don’t give up – the twists and turns are all part of the journey.
 
Networking, consistency, character, approach
 what and how do you initiate your Industry relationships?
 
I take an organic, intuitive and proactive approach. When we resonate clearly, align with our values and follow our inner sat nav, we naturally seek and connect with likeminded people. Beyond the initial spark of connection it’s essential to develop mutual trust, respect, understanding and clear professional agreements, as a foundation for long-lasting creative collaborations. No matter what the outcomes, every connection has its reason and season, offering rich opportunities to learn and grow.
 
Is there anyone specific you’d like to thank that has helped you evolve and why?
 
Huge thanks to my choral-collaborator and musical genius Mike King, who produced my  last album Flame (2021) and to Michael Doiley for taking a track from that album Go The Distance, and make two stunning remixes titled can u feel it.  I’m also so grateful to my longstanding friend, film director and editor Leon Stuparich –  we had so much fun creating the video.
A big shout out to my trusted close circle of friends and family for going the distance with me – they are the precious stars in my sky.
Name 3 albums or labels that have inspired you the most.
Ella Fitzgerald – For the Love of Ella 
Kate Bush – The Sensual World 
Eric Whitacre – Lux Aurumque
 
What’s your favourite piece of studio equipment or software?
 
My microphone 
 
Name your favourite club or festival in the world, and how does it makes you feel?
 
WOW (Women of the World) Festival – I love listening to pioneering leaders, experts and artists and always come away feeling strengthened and inspired.
 
Name an outlandish rider request?
A kettle, bowl and towel so I can steam my voice before singing and have a cup of tea 🙂
Favourite clubbing memory, who or what did it involve?
 
All I can say is that I had a wild time clubbing whilst at University in Leeds 🙂
 
What quote represents you best?
 
“To love a person is to learn the song that is in their heart and to sing it to them when they have forgotten.” – Arne Garborg, Norwegian Author (1851-1924)
Singing is an amazing medium of self discovery and self expression – a way to ‘know thyself’ and come home to ourselves – so I aim to sing my own song and support others to do the same.
 
If you could play any venue, where would it be and why?
 
Royal Festival Hall – because I love the vibe, ethos and riverside location.
 
One song you really couldn’t live without?
 
Eric Whitacre’s piece Lux Aurumque – it’s instantly calming
 
Name drop your favourite tunes, artists or DJs (past or present)
 
I love being immersed in vocal harmony from classical requiems to dazzling acapella ensembles such as Pentatonix, Voces 8, Ladysmith Black Mambazo and Sweet Honey in the Rock. 
Ella Fitzgerald and Kate Bush were early musical heroines and I’m inspired by pioneering artists who use music to advocate for social justice including Annie Lennox and John Legend. 
I love running and dancing to uplifting EDM tracks – eg David Guetta, Swedish House Mafia, Clean Bandit etc. Current favourite songs amongst my choirs are Die with a Smile by Lady Gaga and Bruno Mars and Stargazing by Myles Smith.
 
Tell us more about your plans for the future.
 
To continue sharing the magic of singing wherever and whenever I can.
 
Any worldly advice you’d like to share?
 
As a vocalist, I’d love to encourage us all to share our voices courageously, truthfully, creatively and lovingly. Whether it’s singing a song, writing a book, having an honest conversation, standing up for an important cause or telling someone we love them – our voices are such powerful instruments of transformation. We each have a unique song to sing or sound to make within the symphony of life, so when we love and listen to our own voices and those around us, it has a big ripple out effect.
 
Listen to more from Katie here 
Watch the video for ‘Can U Feel It’ 
The post Get To Know: Katie Rose appeared first on Electric Mode.
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After the Afters: Big Paellas and Cold Sangrias at El Sur

After the music fades and the adrenaline dips, there’s a familiar craving among ravers, this week its paellas at El Sur. You don’t want a club, you don’t want noise—you want food. Real food. El Sur, a Spanish restaurant tucked inside The Westin Mina Seyahi, showed up on our radar through trusted word of mouth. No reservation panic, no dress code stress. Just good plates, easy conversation, and a vibe that lets you land gently after a night of going hard. That’s exactly the kind of experience we were looking for.
The atmosphere felt low-key in the best way. Both indoor and outdoor seating were available, with the terrace giving off summer holiday energy without trying too hard. No blaring speakers or flashing lights, just the quiet hum of diners unwinding. Their sangria arrived first—cold, fruity, and dangerously easy to drink. It set the tone for what turned out to be a night of simple but satisfying hits.
The Community’s Favorite Tapas Did Not Disappoint
We started with Ensalada de Queso de Cabra, a caramelized goat cheese salad served with almonds, grapes, and a honey-truffle vinaigrette. It landed perfectly—just sweet enough to keep it interesting without overwhelming the fresh ingredients. Next came Gazpacho Andaluz, served chilled with a creamy cheese topping and olive oil. It wasn’t the star of the night, but it refreshed the palate and earned its place on the table.
The real standout moments came with the arrival of Gambas al Ajillo and Mejillones a la Marinera. The prawns arrived sizzling in garlic, white wine, and chili oil. The mussels came swimming in spicy tomato sauce. Both dishes demanded bread, and luckily, El Sur serves theirs warm and fresh. We tore through it, soaking up every last drop of those rich sauces. These two plates had everyone leaning in, sharing bites, and going quiet in that way people do when the food takes over the conversation.
El Sur Paellas That Are Meant For Sharing
We had heard the paellas at El Sur was worth ordering, but we didn’t expect the portions to be this generous. Though the menu said it served four, the chef agreed to prepare both paellas for two. The El Sur Seafood Paella arrived first, packed with prawns, calamari, and clams, with crispy rice bits adding that extra texture those craving paellas want. You could taste the sea in every bite. The Chicken Paella, cooked with butter beans and artichokes, leaned softer and slightly sweet. It felt comforting, though it didn’t steal the spotlight the way the seafood version did. Either way, both were big enough for three or four, especially if you start with tapas. We kept the sangria flowing, which paired perfectly with every plate on the table.
Re-Sync The Warm Service
While the kitchen kept its rhythm, the service felt like it missed a few beats. The team was welcoming and warm, spoke Spanish and shared helpful recommendations. But more than once, we found ourselves waiting longer than expected to place orders or ask for something. We’re watching the crew hustle, but never quite catching their attention. The restaurant is popular and slightly packed, adding a few more hands to the team would definitely lift the experience. Still, the laid-back atmosphere made for the slowdown.
El Sur isn’t trying to impress anyone with flash or theatrics. It’s here for the people who want honest food, easy conversation, and space to wind down with friends. Bring your crew, order the gambas, fill up with paellas, and let the sangria do the rest. You’ll leave satisfied, already thinking about what’s after the afters.
The post After the Afters: Big Paellas and Cold Sangrias at El Sur appeared first on EDMNOMAD.
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Teenage Engineering just gave its Field System a sleek black makeover – and we want it more than ever

In search of gear that matches your studio’s dark, minimalist vibe? Look no further, for Teenage engineering is giving its ultra-portable Field System a fresh look.
Starting 10 June, three of the tech company’s compact audio devices – the TP-7 recorder, TX-6 mixer, and CM-15 microphone – will be available in a sleek black finish.
While the internals remain unchanged, the updated exteriors give the devices a distinctly different vibe, adding a chic twist to the company’s signature retro-futuristic aesthetic. One device, however, is being left out of the blackout treatment: the OP-1 Field, which will retain its current silver finish.
READ MORE: Novation just launched a slew of new products at Superbooth, including a limited-edition Bass Station II with artwork from an acclaimed graphic designer TE’s original Field System included the OP-1 Field, the TP-7, TX-6, CM-15, and most recently, the OP-XY – a $2,299 sequencer, synthesizer, and sampler.
A successor to the Swedish brand’s OP-Z synth, the OP-XY is billed as an “all-in-one powerful synthesizer and composer with deep, direct sequencing capabilities”. It takes the advanced sequencing of the OP-Z and places it in a smaller enclosure, reminiscent of the iconic OP-1.
In other news, Teenage Engineering’s EP-133 K.O.II recently received its first major OS update, nearly one and a half years after the sampler was released.
The new OS boasts a slew of “knockout features” including the introduction of resampling and hands-free sampling, increased polyphony from 12 mono and six stereo sounds to 16 mono and 12 stereo sounds, allowing for denser and more expressive arrangements.
There’s also a new song mode, which makes it easier to “chain scenes and create longer, more structured track arrangements,” as well as sidechaining, which allows “one sound to control the volume of another” – perfect for controlling those kick and bass grooves.
Learn more at Teenage Engineering.
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LANDR Sampler uses AI to organise your sample library – could this be a godsend for producers?

LANDR Sampler is a new AI-powered sample organising plugin described as the “smartest way to play your sample library”.
Building off the Montreal-based company’s reputation for integrating AI into music production tools, LANDR Sampler functions as both an instrument and a sample library organiser.
READ MORE: Will GTA 6 change the way gamers discover music?
Users can drag in their entire collection of samples – whether they are from LANDR’s sample collection or not – and the plugin uses AI to categorise them. From there, a simple click prompts the AI function to search through the library for similar sounds and even create new combinations. Any singular sample or newly created sound can then be played chromatically using the standard keyboard interface.

The plugin also includes a sequencer and precision slicing tools for creating loops, chops, and other manipulations stemming from the combinations fuelled by LANDR’s AI functionality.
“Hit a creative wall? Break through with one click,” LANDR says. “LANDR Sampler auto-generates unique sample combinations, curated textures, and surprising mashups – perfect for unlocking happy accidents and sparking new ideas.”
Additionally, LANDR Sampler has a chromatic playback function, so you can turn any sample into a fully playable instrument. It also features precision slicing tools for creating loops, chops and rhythms, while a built-in sequencer allows you to quickly create dynamic patterns without leaving the plugin. “Creators today sit on massive libraries of inspiring sounds that too often go unused simply because they’re hard to find,” says Patrick Bourget, VP of Product at LANDR. “LANDR Sampler changes that. It brings forgotten gems back into the spotlight and unlocks new creative momentum – with just one click.”
LANDR Sampler is available now. For more information, head to LANDR.
The post LANDR Sampler uses AI to organise your sample library – could this be a godsend for producers? appeared first on MusicTech.
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New EDM Friday: Calvin Harris, David Guetta, Hardwell, Tiesto, Armin van Buuren

Calvin Harris & Clementine Douglas – Blessings
Calvin Harris teams up with Clementine Douglas for Blessings, a soulful house tune that blends smooth vocals with laid-back grooves and lush instrumentation. It’s a feel-good, sun-soaked track perfect for both summer playlists and chill dance floors.
David Guetta, Hypaton & Europe – The Final Countdown 2025
David Guetta and Hypaton reimagine Europe’s legendary anthem with The Final Countdown 2025, turning the rock classic into a modern-day dancefloor beast. With pounding kicks, massive synths, and stadium-level energy, this one’s built for festival fireworks and crowd singalongs.
Hardwell – Lift Off
Hardwell launches into full throttle with Lift Off, a high-intensity big room techno anthem. Featuring thunderous drops and cinematic build-ups, this track captures the raw energy of his recent sets and reaffirms his reign on the mainstage.
TiĂ«sto, Odd Mob, Goodboys – Won’t Be Possible
TiĂ«sto joins forces with Odd Mob and Goodboys for Won’t Be Possible, a slick, vocal-driven house banger. With its infectious groove, polished production, and catchy topline, the track balances underground cool with mainstream appeal.
Armin van Buuren & BLR – Bach To The Future
Armin van Buuren and BLR team up for Bach To The Future, a unique fusion of classical inspiration and modern trance. Built around Baroque-style motifs and high-energy production, the track feels cinematic and daring—perfect for pushing boundaries in a festival set.
EDX – Desire
Celebrating a monumental milestone for his record label, Sirup Music, EDX unveils ‘Desire’. Dropping amidst the label’s 25th anniversary year, ‘Desire’ not only pays tribute to EDX’s legacy of genre-defining house music, but also offers a glimpse into the future of the sound he helped pioneer.
Christine Mae – Sleep Better
Blending vocal house with progressive flair, Christine Mae delivers a standout track with ‘Sleep Better’. She crafts an immersive soundscape driven by a captivating melody, while a irresistibly catchy vocal takes center stage. Complemented by addictive vocal chops, the elements intertwine seamlessly to create a truly memorable listening experience.
Honorable mentions:
Alan Walker & KING – Story Of A Bird
Andrew Rayel, Robbie Seed & Susana – A Love Like You (Uplifting Mix)
Blasterjaxx x Brennan Heart – Together as One
David Tort, Adriana Vega – Mesmerized in the Moment
Eli Brown – Wavey
Joris Voorn – Tomorrow
Juicy M & AVE – Bad Girls
Julian Jordan – Something to Believe In
Kill The Buzz, CHRNS – Desire
Linney, Layton Giordani, Sarah De Warren – Act of God (CamelPhat Remix)
LNY TNZ x Coone – Dedicated
Lucas Estrada x YouNotUs x Sam Gray – Love Me Again
Mike Williams & Eirik Néss – Learn To Fly
Nicky Romero, Rory Hope, Millforlife – Don’t Be Shy
NIIKO X SWAE – International Party Girl
Patrick Topping & Camden Cox – Walk On Air
R3HAB – The Chase
Rezident – Feelings Fades (Album)
Rezz, Chuurch – Telepathy
Roland Clark – Who Keeps Changing
Sara Landry, LEGZDINA – Pressure (Indira Paganotto Remix)
Sub Zero Project & Rebelion ft. Micah Martin – Capital of Crazy (Official Intents Festival 2025 Anthem)
Tujamo x Dizzee Rascal – Fader
Vicetone – Over Too Soon
Volkoder – Need Your Body
William Black x Siberia x Freja the Dragon – Waiting on This Day Forever
Wolfgang Gartner – Dubplate VIP
Ziggy X & Wasted Penguinz – Mad World
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Serato: Is being labeled ‘Women DJ’ A Career Killer?

In a culture where women in music still fight for space, Serato doesn’t ask for change—it demands it.
Serato launched Women to the Front during Women’s History Month, but its purpose stretches far beyond a commemorative window. The campaign was born from a cultural urgency: the DJ and music production world remains a boys’ club, where talent alone doesn’t guarantee visibility. “Women are historically underrepresented in the DJ and music production spaces,” said Nicola Tims, Marketing Manager at Serato. “It’s paramount that we use our platform to empower the women making waves in the industry.”
The campaign confronts outdated gatekeeping by doing more than featuring women. It invites them to tell their own stories, connect with broader audiences, and discuss the barriers they continue to face. Its alignment with Women’s History Month is deliberate—but not performative. It’s a reminder that progress must be ongoing, not seasonal.
From One-Off Activations to Full-Year Accountability
Many companies rush to amplify women during March and then fall silent. Serato took a different route. Their strategy spans the full year with workshops, beat sessions, educational partnerships, and a physical presence at Serato Studios in Los Angeles and New York. They build community by creating recurring touchpoints—not just content drops.
“Community is at the heart of Serato,” Tims emphasized. “Our artist relations team supports creators year-round—through campaigns, mentorships, and local workshops.” This approach fosters genuine relationships with DJs, producers, and event organizers. It also includes original content platforms like “Hometown Sounds,” where women like UNIIQU3 have been celebrated for innovating local music scenes. But the work doesn’t stop at public-facing stories.
Behind the curtain, Serato has an internal team of women shaping campaigns. These professionals work across marketing, A&R, social media, growth, and production. “It’s equally important that the women in our team help shape these narratives,” Tims said. “That’s how we ensure representation from the inside out.” The brand recognizes that representation without influence is hollow. Women in the Serato ecosystem are given both the microphone and the producer’s seat—allowing them to rewrite the rules.
Serato Uncovers The Danger of ‘Women DJ’ as a Label
At the heart of Serato’s campaign is a critical idea: women in music shouldn’t need a separate category to be recognized. The term “woman DJ” implies that “DJ” by default means male—an assumption Serato is actively dismantling. “My hope is that when people hear the words ‘DJ’ or ‘producer,’ women are thought of equally—and even first,” Tims said.
The campaign doesn’t just chase growth metrics or highlight success stories. Its purpose is to normalize the presence of women in roles where they’re still viewed as outliers. It doesn’t tokenize—it insists on system-wide change. That said, visibility is working. The most recent campaign drew over 720,000 views in just weeks, with a nearly equal gender split in viewership—proof that the audience for change already exists.
The campaign’s artists often lead their own collectives, host their own events, and mentor others. Serato supports this momentum not to shape their image, but to amplify movements that already exist. These aren’t sponsored talents. They’re architects of alternative futures.
Beyond Diversity Statements: A Roadmap for Industry-Wide Reform
For Serato, the real work is in making sure this campaign isn’t just another diversity initiative that checks boxes and fades out. They’re creating infrastructure and access where industry barriers still dominate. “We want to ensure women producers and DJs know that there is a place for them in these industries,” Tims said.
Feedback from campaign participants has been overwhelmingly positive. Not only do they feel seen, but they feel invited into long-term conversations about their careers and the systems shaping them. “It’s been awesome to give them their flowers,” she said. But Serato doesn’t intend to stop there. With data showing a 30-to-1 male-to-female producer ratio in 2023, they know the campaign must evolve into long-term, structural disruption.
The real test isn’t how loudly the campaign speaks—it’s whether the industry listens.
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Watch “Lose Yourself” by MØ

Denmark’s MØ is gearing up to unveil her highly anticipated fourth album, ‘Pléygirl,’ on 16th May via RCA/Sony, creating perfect buzz for yet another exciting track before its release. Her recent singles “Who Said,” “Keep Moving,” and “Sweet” mark a thrilling evolution in her sound. MØ skillfully blends fresh electronic elements with her signature dance-oriented beats, delivering an invigorating listening experience that fans have come to love. This exploration of new musical territory continues with her enticing latest release, “Lose Yourself,” while promising to take fans on an exhilarating ride.
From the very first listen, it becomes evident that this track embraces a strikingly distinct sound, which leans heavily into the electronic genre—something that sets it apart from her extensive and diverse catalogue. This track not only stands out amidst the sea of dance-oriented creations, but it also captures the listener’s attention with its captivating arrangement. The combination of vibrant electro-disco elements paired with the sleek, polished aesthetics characteristic of Scandi-pop results in an infectious rhythm that is both innovative and refreshing, making it a noteworthy addition to her repertoire.
Further to the upcoming her highly anticipated 12-track collection “Pléygirl” MØ has treated fans to a captivating behind-the-scenes visualiser for “Lose Yourself.” Filmed during her recent European “Pléygirl” live tour, this visualiser powerfully showcases her most authentic and liberated self. Through animated glimpses of her electrifying performances and the excitement of travelling to various venues, it invites viewers to experience the magic of her journey.
Be sure to tune into “Lose Yourself,” feel the groove and let your wild side loose.
Pre-order/pre-save the album “Pléygirl” (Out May 16th)
Connect with MØ
Facebook: https://www.facebook.com/MOMOMOYOUTH
X: https://x.com/MOMOMOYOUTH
Instagram: https://www.instagram.com/MOMOMOYOUTH/
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Dockland Enters A New Chapter with KANELLO Series

Dockland is back after a significant renovation as MĂŒnster’s open-air club reopens on 10 May, launching a new KANELLO season. The relaunch pays tribute to the crew’s 30-year legacy with a lineup built for electronic music purists. This summer, DJ Tennis, Jimi Jules, Monika Kruse, and Oliver Koletzki lead a dynamic schedule of events in the heart of MĂŒnster’s industrial canal zone.
Germany’s beloved Dockland has undergone a major transformation. The once-industrial space now blends raw architecture with cutting-edge technology. A 600 mÂČ transparent roof now covers most of the venue. It keeps the weather out, but the open-air spirit remains. A new d&b audiotechnik sound system, LED visuals, and a redesigned DJ booth create a full-body audio-visual immersion. Every design decision supports the original Dockland mission—bringing people together through sound.
Dockland KANELLO: From Slang to Symbol
The DJ booth, intentionally kept low and close to the crowd, intensifies the connection between artist and dancer. With immersive stage elements now surrounding the booth, every set becomes an up-close, sensory experience. Dockland now feels more like a living organism than a traditional venue.
KANELLO isn’t just a name—it’s a callback to Dockland and MĂŒnster’s past. The term comes from local slang for “canal,” nodding to Dockland’s original 1995 club. Since then, the crew behind the space has become a staple of Europe’s underground scene. KANELLO events deliver melodic techno and house curated for a forward-thinking audience that cares deeply about sound, experience, and quality.
The season kicks off with a four-hour back-to-back from DJ Tennis and Jimi Jules, setting the tone for a high-caliber summer. Berlin’s DJ Norma b2b Greta Spark joins the bill, alongside Dockland regulars Alyf, Cutmaster Jay b2b Khetama, and Marco Mesem. Rising acts Krackk, Dilliboi_91, and Valeby round out the opening lineup, adding fresh energy to the stage.
Summer Highlights: From DJ Tennis to Oliver Koletzki
As the Dockland KANELLO series builds momentum with a stacked summer program of house and melodic techno pioneers. The season officially begins on Saturday, May 10, with the long-awaited Kanello Opening. DJ Tennis and Jimi Jules lead the charge with a four-hour back-to-back set that sets the bar for the summer ahead.
Just one week later, on Saturday, May 17, Dockland presents Welcome Back Moni. This special night sees Monika Kruse return to the decks after three years away. Joining her is Brazilian techno heavyweight Alex Stein, adding a harder edge to the program. Saturday, May 31 brings another high-caliber event under the Docklands banner. This night features Âme Live performing a special b2b set with DJ Holographic, promising a blend of classic and futuristic house energy.
In June, Saturday, June 21 sees Marlon Hoffstadt headline one of his only seven European club shows in 2025. His performance is already building excitement among fans looking for rare appearances from the Berlin talent. Finally, on Saturday, July 5, Kanello teams up with Stil vor Talent for a 20th-anniversary showcase. Leading the celebration is label boss Oliver Koletzki, bringing his signature melodic sound back to Dockland’s upgraded space.
The season promises even more surprises still to come. Fans can expect additional names and dates announced throughout the summer. Secure your tickets at dockland.de.
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Kendrick Lamar Catches Another Lawsuit On a Drake Diss Track, This Time For Future and Metro Boomin Hit ‘Like That’

Photo Credit: Kendrick Lamar by Batiste Safont / CC by 4.0
Kendrick Lamar is caught up in another Drake diss track lawsuit as Rodney O sues over allegedly unpaid royalties for Future and Metro Boomin’s “Like That.”
Rapper Rodney O is suing Kendrick Lamar, Future, and Metro Boomin over allegedly unpaid royalties from the scathing Drake and J. Cole diss track, “Like That.” Rodney filed his complaint on Wednesday, and blames Epic Records and the estate of Barry White for his lack of royalties for the song.
TMZ reached out to him about why he was suing all three rappers involved in the track. Rodney claimed the version of the song Epic Records showed him a week before its release only contained Future’s work.
“I didn’t even know Kendrick was on it until a day before when somebody called and said, ‘I heard Kendrick is on that record,’” he said. “And I said, ‘No, I have the record. He’s not on there and the song was like two minutes.’” According to Rodney, the song he was sent was the one “intended for release,” and only Future and Metro Boomin’s teams were allowed to hear the Kendrick version before it went live.
But Rodney still says he should have been allowed to hear the track, since his work, 1988’s “Everlasting Bass,” is sampled—especially given Kendrick’s beef with Drake. “Say I was cool with Drake. Give me that option to say yea or nay. [
] They just dropped the ball, and it’s not giving us any type of respect. That’s cold to do that to old school artists.”
Rodney says he’s further upset by being omitted from the Grammy nominations for the song. “How can you do that? No respect at all and that’s how a lot of old school artists get treated. [
] At a time when I should be celebrating, I don’t even want to hear the record.”
In addition to his complaint against Kendrick, Future, and Metro, Rodney filed a lawsuit against Barry White’s estate, who first filed a copyright infringement suit against him. Rodney says there were never any issues from the estate for years since his song dropped in the late ‘80s, but its renewed popularity through its sampling in “Like That” caught the estate’s attention.
“The song’s been out for 35 years and [there’s] never been an infringement claim,” said Rodney. He insists the only place where an unsanctioned Barry White sample occurs in the first place is in Kanye West’s (similarly unsanctioned) “Like That” remix.
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iHeartMedia Faces Class Action Lawsuit After Major Data Breach

Photo Credit: iHeartMedia
A recent class action lawsuit filed in New York’s Southern District Court has put iHeartMedia under scrutiny after a cyberattack in December 2024. The data breach allowed hackers to exfiltrate sensitive information that iHeartMedia did not keep secure including social security numbers, financial account details, and health insurance data.
The complaint filed on behalf of Tennessee resident Cheryl Shields and affected individuals, revolves around the significant delay in notifying those who were impacted by the data breach in December. iHeartMedia did not complete its investigation into the data breach until April 11, 2025 and then only began the notification process on April 30—over four months after the breach occurred.
“As a result of this delayed response, the plaintiff had no idea for four months that their private information had been compromised,” the lawsuit reads. “The risk [from this data breach] will remain for their respective lifetimes.”
Shield’s legal team argues that iHeartMedia’s security protocols were insufficient for a company of its scale and responsibility. “Had iHeart properly monitored its networks, it would have discovered the breach sooner,” the lawsuit asserts. Her lawyers argue that the stolen data represents a “treasure trove for data thieves.”
iHeartMedia says it quickly activated response protocols once the data breach was discovered. Since the investigation, the company says it has “enhanced its current security protocols to help avert similar occurrences in the future.” As a result of the data breach, iHeartMedia has offered all impacted customers complimentary credit monitoring service.
Data breaches can often lead to class action litigation like this—take the Equifax case in 2017. That class action lawsuit resulted in a $425 million settlement after the personal information of more than 150 million Americans was exposed.
The iHeartMedia data breach was much smaller—but the full national scope has not yet been disclosed. Attackers accessed and obtained files stored at several of the company’s local radio stations over the course of a three-day period (December 24-27), exploiting the holidays and reduced staffing during this time period.
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Yamaha Announces Music Innovations Fund to Invest $50 Million in Next-Gen Music and Media Startups

Photo Credit: Nadine E
Yamaha announces the Yamaha Music Innovations Fund to begin investing in music and media startups with a dedicated $50 million fund.
Yamaha has announced that its corporate venture capital fund, Yamaha Music Innovations Fund (YMIF), will begin to invest out of a dedicated $50 million fund this month. The conglomerate set up the VC fund last year to secure the company’s “leadership position as an innovator in the fields of sound and music,” and will invest in music and media startups in Silicon Valley.
“Since establishing our base in Silicon Valley in April 2024, we have collaborated with six startups by leveraging our group’s assets as the leading comprehensive musical instrument manufacturer with the No. 1 market share,” said Yamaha Music Innovations President and CEO Yusuke “Scott” Sugino.
“Through our investment activities via YMIF and business collaborations utilizing our assets, we are bringing our mechanisms for creating new value and new businesses to the next stage.”
The fund will be headed up by Managing Partner Andrew Kahn, a veteran in the music innovation space and a former Live Nation alum. Billboard named Kahn one of Music’s Top Investors in Tech of The Future in 2023, and he has been widely recognized by other publications for his efforts in the field.
“With this fund, we’ll be backing early-stage, visionary founders at the intersection of culture, creativity, and technology—from next-gen creative tools and AI to interactive media, immersive music experiences, learning platforms, and new models for collaborations and creator empowerment,” said Kahn.
Most recently, Kahn was a partner for six years at Crush Ventures, whose talent management firm boasts a roster including Fall Out Boy, Lil Nas X, Lorde, Miley Cyrus, Green Day, and Weezer.
Sugino concluded: “Through the dual approach of investment and collaboration, we aim to foster the development of the music entertainment industry in a manner distinctive of Yamaha, support the growth of startups, and realize our mission, ‘The Well-Being of People Around the World.’”
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5 Must See Artists At EDC Las Vegas 2025

As the countdown to EDC Las Vegas 2025 begins, the excitement is truly building! Taking place from May 16–18 at the Las Vegas Motor Speedway, this year’s Electric Daisy Carnival is set to be an incredible experience under the dazzling electric sky. With over 250 artists lined up to perform across several stages, you can expect a fun mix of electronic music genres, including house, techno, dubstep, and trance. But EDC is more than just music! It’s a chance to explore amazing art installations, enjoy thrilling carnival rides, and connect with a fantastic community of fellow festival-goers. While the extensive lineup may seem a bit overwhelming, there are definitely some standout artists you won’t want to miss. Whether you’re a seasoned raver or a first-time attendee, here are five DJs you shouldn’t miss at EDC Las Vegas 2025:
1. Eric Prydz
 Swedish DJ and producer Eric Prydz is renowned for his progressive house and techno sounds. With iconic tracks like ‘Call on Me’ and ‘Opus,’ Prydz delivers immersive live performances that blend music with cutting-edge visuals. For over ten years, Eric Prydz has been synonymous with immaculately produced and unique sounding electronic music. The Platinum-selling producer is responsible for some of the biggest progressive house tracks of the last decade, not to mention some of the most technically impressive live shows of any touring artist.
As a solo artist, Prydz has headlined some of the world’s most storied venues, from Madison Square Garden to Brixton Academy and Alexandra Palace, earned multiple Grammy nominations, hosted an ongoing radio show for Beats1 and topped charts with his alter-egos Pryda and Cirez D. Despite the headline-grabbing shows and releases, Prydz remains exclusive. It’s his dedication to his craft as a producer and DJ that leaves him in the highly enviable and singular position of appealing to dance music’s underground connoisseurs and main-stage masses alike.
EDC 2025 Appearance: Eric Prydz is scheduled to perform at EDC Las Vegas 2025 on Saturday, May 17 From 11:18 PM to 12:28 AM at Kinetic Field Residency: He will also present his “Pryda” show at Marquee Dayclub during EDC Week on May 17. Tickets HERE! Instagram: @ericprydz 2. Amelie Lens
Amelie Lens has taken the techno scene to another level, with her unrelenting passion for the genre, with a strong message that she always was, and always will be a raver at heart.
Amelie‘s debut release in 2016 marked the beginning of her distinguished career. Since then, she has released music on many of the industry‘s leading labels and contributed to the prestigious Global Underground City mix series. Amelie is a regular headliner at major festivals such as Awakenings, Sonar, Timewarp, and Tomorrowland’s mainstage. Additionally, she performs at renowned club venues across the globe.
Fast forward to 2024 and Amelie is heading her labels Lenske and EXHALE Records, running her party series EXHALE, holds down an extensive touring schedule and hosts her own radio show ‘Amelie Lens presents EXHALE’. The show now streams online and broadcasts on 34 radio stations across the globe, reaching nearly 5 million listeners with every episode.
EDC 2025 Appearance: Amelie Lens is set to perform at EDC Las Vegas 2025 on Sunday , May 18 from 1:20 am to 3:00 am at Neon Garden. Instagram: @amelie_lens 3. Vintage Culture
Vintage Culture, aka Lukas Ruiz, is an artist who lives and breathes the culture of dance music. The Brazilian artist has more than 1.5B streams online, gathers 8M across his social media platforms, and currently ranks at #30 in DJ Mag’s Top 100 DJs of 2020 poll.
Vintage Culture has graced the cover of Rolling Stone (Brazil), was nominated as one of the most influential “30 Under 30” industry leaders by Forbes, and premiere his very-first Essential Mix for Pete Tong on BBC Radio 1.
He simultaneously had three songs in the top 10 on popular electronic music digital service provider Beatport, including the #1 Main Chart Overall with his debut single at Defected Records, ‘It Is What It Is.’
EDC 2025 Appearance: Vintage Culture is confirmed to perform at EDC Las Vegas 2025 on Saturday , May 18 from 4:15 AM to 5:30 AM at Neon Garden and also at 11:00 PM to 2:00 AM B2B Doozie Instagram: @vintageculture 4. Rezz
REZZ is a veteran in her own right, producing state of the art, genre-bending works, while striking a sharp balance between bass heavy and minimal tech compositions, she oozes originality and stands shoulder to shoulder with the very best in the electronic music scene. Starting out as a local DJ in her hometown of Niagara Falls, she was still a teen when she decided that music production was the path she would take. After studying sound design extensively at home and psychology as an aid to her creative process, her experimentation, dedication and hard work paid off in paving the way for a long career ahead as a highly regarded producer of downtempo soundscapes.
REZZ’s headstrong decisiveness and clear vision are arguably the keys to her success so far. She began to build a following on Soundcloud with a series of free releases that caught the ears of electronic music icons Skrillex and deadmau5. Skrillex subsequently brought her talent to the masses by organizing the release of REZZ’s debut three-track ‘Insurrection’ EP on OWSLA’s The Nest imprint in 2015, which was critically acclaimed and universally lauded, with REZZ being dubbed a “prodigy” (EDM.com) and the “Queen of the Dark Techno Scene” (MTV) in the media.
EDC 2025 Appearance: Rezz is scheduled to perform at EDC Las Vegas 2025 On Saturday, May 17 from 12:05 AM to 1:15 AM at Circuit Grounds Instagram: @officialrezz 5. Fisher
Known for his wild sense of humor and energetic DJing style, FISHER has become one of the scene’s most in-demand talents – sending him to the spotlight. From his Grammy nomination in 2019, courtesy of the monster hit Losing It, currently sitting at half a billion streams and counting, through to releasing hit albums, snagging international airplay, viral TikTok tracks, multiple award nominations, and performances at some of the most iconic stages across the globe, FISHER’s one-of-a-kind personality and performance is truly the stuff of legend; and the legend continues to powerfully explode with each new release and live set. Whether collaborating with Kita Alexander on the dance anthem Atmosphere or with UK rapper Flowdan on Boost Up, reworking Gotye’s iconic 2011 hit Somebody That I Used To Know, or performing major global headline shows, hosting his own annual festival OUT 2 LUNCH on the Gold Coast, and appearing onstage at Coachella with CHRIS LAKE as part of their Under Construction project, FISHER knows what it takes to get the party started for his millions of fans, there is definitely no sign of this modern dance phenomenon slowing down anytime soon.  
FISHER is on a roll this year, with a weekly Hi Ibiza residency, his TAO Vegas residency and appearances including headlining Outside Lands and We Are FSTVL to name a few. FISHER’s first curated festival TRIIP in Malta also took place in June, with a huge lineup featuring Claptone, Eats Everything, Loco Dice and many more.
EDC 2025 Appearance: FISHER is set to perform at EDC Las Vegas 2025 on Saturday May 17 from 12:31 AM to 1:41 AM Residency: In 2025, FISHER continues his successful residency at Hï Ibiza, where he delivers high-energy sets that have become a staple of the island’s nightlife. Tickets HERE! Instagram: @followthefishtv The post 5 Must See Artists At EDC Las Vegas 2025 appeared first on EDMTunes.
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RESISTANCE Ibiza Reveals Full 2025 Season Calendar for Nine-Week Residency

Ahead of its highly-anticipated return to the White Isle this summer, ULTRA Worldwide’s esteemed house and techno brand RESISTANCE has unveiled the full Season Calendar for RESISTANCE Ibiza 2025, which will be making its debut at Amnesia for a nine-week long summer residency. 
Running every Wednesday from July 23 through September 17, 2025, RESISTANCE Ibiza 2025 will be anchored by Season Residents Adam Beyer andARTBAT, who will deliver weekly headlining performances, rotating between Amnesia’s immersive Main Room and emblematic sky-roof Terrace – ensuring each night stands as its own distinct sonic voyage. RESISTANCE Ibiza 2025 will also host Headlining Residents Korolova and Massano – who will each perform four nights during the nine-week run. 
The residency will feature 12 Exclusive Ibiza B2Bs, including the World Debuts of Adam Beyer B3B ARTBAT B3B Vintage Culture, ARTBAT B2B Hardwell (for his only Ibiza performance in 2025), ARTBAT B2B Argy, ARTBAT B2B Gordo, HI-LO B2B Nicole Moudaber, and ANNA B3B Chris Avantgarde B3B Innellea. RESISTANCE Ibiza will also host the Ibiza Debuts of Adam Beyer B2B Mau P, Adam Beyer B2B Eli Brown, ARTBAT B2B Kölsch, Massano B2B ANNA, and Max Styler B2B Oscar L.
RESISTANCE Ibiza will bring more than 50 house and techno heavyweights to Amnesia throughout the nine-week residency, including Anfisa Letyago, Argy, Colyn, Deep Dish, Fideles, Ilario Alicante,Joris Voorn, Maceo Plex, Marco Faraone, Mathame, Mind Against, Richie Hawtin, Sasha & John Digweed, and Stephan Bodzin (live).
RESISTANCE Ibiza 2025 kicks off on Wednesday, July 23 with its official Opening Party, featuring the highly-anticipated Ibiza Debut of Adam Beyer B2B Mau P on the Terrace, which follows their World Debut set at ULTRA Europe – two milestone performances that showcase ULTRA Worldwide’s signature penchant for curating rare, globally exclusive dance music experiences. The RESISTANCE Ibiza 2025 Opening Party will also host ARTBAT, Massano, and Max Styler on the Terrace, while Mathame, Eli Brown, Korolova, and Kasia will take over the Main Room.
The residency continues the following week on Wednesday, July 30, with the World Debut of ARTBAT B2B Gordo, theIbiza Debut of Massano B2B ANNA, Stephan Bodzin (Live), and NO_IP performing in the Terrace, and Adam Beyer, Ilario Alicante, Anfisa Letyago, and HNTR playing in the Main Room. 
On Wednesday, August 6, Adam Beyer will switch over to the Terrace alongside Richie Hawtin, Joris Voorn, and Anna Tur, while ARTBAT will take their first turn in the Main Room alongside Korolova, Deep Dish, and Hidden Gem B2B Pongo. 
The momentum will continue on Wednesday, August 13, with the Terrace seeing sets from Adam Beyer, Maceo Plex, Mind Against, Marco Faraone and ANII, while the Main Room hosts ARTBAT, the World Debut of ANNA B3B Chris Avantgarde B3B Innellea, Olympe, and Josefin Rosen. 

On Wednesday, August 20, RESISTANCE Ibiza will present the World Debut of ARTBAT B2B Hardwell, who will play together underneath the stars on Amnesia’s Terrace, for Hardwell’s only Ibiza performance this summer. The Terrace will also feature performances from Massano, Korolova, Annicka, and Brian Cross, while that week’s Main Room lineup will feature the World Debut of HI-LO B2B Nicole Moudaber, Adam Beyer, the Ibiza Debut of Max Styler B2B Oscar L, and Linska.
The following week on Wednesday, August 27, the Terrace will host the World Debut of ARTBAT B2B Argy, as well as Adam Beyer, Joris Voorn, and Fred Lenix; over in the Main Room, revelers will be able to experience Sasha & John Digweed, and Juliet Fox. 
Crossing over into the final weeks of the residency, RESISTANCE Ibiza will keep the party going on Wednesday, September 3 with Adam Beyer B2B Layton Giordani, Mind Against, Ida Engberg, and Weska on the Terrace, while the Main Room will bare witness to the World Debut of ARTBAT B2B Kölsch, Fideles, Korolova in her final performance of the residency, and Sandro Bianchi. 
On Wednesday, September 10, ARTBAT will be on the Terrace with Stephan Bodzin (Live), Innellea, Rebƫke, and Kasia. In the Main Room, Adam Beyer B2B Eli Brown will be making its Ibiza Debut, alongside additional performances from Ilario Alicante, Alan Fitzpatrick,  Oscar L, MHA IRI.
Then, on Wednesday, September 17, RESISTANCE Ibiza will conclude its residency with the official Closing Party, featuring the World Debut of Adam Beyer B3B ARTBAT B3B Vintage Culture – which will see the two Season Residents playing together for the first time all summer – as well as solo sets from each of those three artists, all on the Terrace. The Terrace will also host Mind Against and Olympe that evening. Meanwhile, the Main Room will close out in grand fashion with sets from Massano for his fourth performance of the residency, Colyn, Chris Avantgarde, and Kitty Amor. 
Shortly after the Ibiza residency finale, RESISTANCE will continue its tenth anniversary global expansion with RESISTANCE London, a landmark two-day event taking over the city’s iconic Drumsheds venue from Friday, September 26 – Saturday, September 27, 2025.
The debut edition of RESISTANCE London will host two consecutive nights of programming at the 15,000-capacity cultural space, further cementing RESISTANCE’s global dominance in house and techno. The event will be headlined by ARTBAT, Miss Monique, Amelie Lens, and MRAK presenting his live We Don’t Follow showcase. 

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Intercept Music Announces $50 Million Catalog Partnership, Intends To ‘Begin Deploying Capital Immediately’

Intercept Music has announced a $50 million song rights partnership. Photo Credit: Casey Botticello
Let the song rights purchases continue: Intercept Music has announced $50 million in fresh catalog funding, and “several initial acquisitions” are said to be in the works.
According to the San Francisco-headquartered distributor and marketer, the sizable tranche resulted from a “private partnership.” Beyond this, Intercept Music didn’t provide too many details about the tie-up.
But it did confirm that founder and chairman Ralph Tashjian is a “co-investor and strategic advisor in the partnership.” Additionally, Intercept indicated that it’ll target U.S. and Latin catalogs in particular.
(Longtime Universal Music Mexico exec Martín Roca signed on with Intercept in February as Mexico GM. The same month, eight-year Believe vet Raquel Martins, who’s based in Spain, began as a YouTube music-services advisor, and the namesake head of Bob Frank Entertainment joined the board.)
The plays could involve “full or partial rights” in IP, the seven-year-old company said, acknowledging as well a special focus on bodies of work “with untapped or under-leveraged revenue.”
From there, the buyer would by its own description utilize “proprietary technology, predictive analytics and [its] targeted marketing portal to amplify both earnings and audience reach.”
“This is more than just a funding deal—it’s a commitment to restructuring music rights management,” Intercept CEO Tod Turner elaborated. “This partnership is a significant endorsement of our platform and strategy allowing us to combine capital with cutting-edge technology to unlock more value for artists, songwriters, and catalog owners, while accelerating our growth into the Latin and U.S. markets.”
Lastly, in terms of the funding’s specifics, Intercept spelled out that it intends to start wrapping deals sooner rather than later. “Intercept’s catalog management division will begin deploying capital immediately,” the business relayed, “with several initial acquisitions already under review.”
It’ll be worth keeping an eye out for related announcements – and catalog purchases from different companies – moving forward. Despite the mountain of music IP deals that have wrapped, Intercept certainly isn’t alone in looking to scoop up song rights.
Following 2024’s numerous catalog transactions and billions in funding, 2025’s initial four months delivered massive capital disclosures from Duetti ($200 million), Aquarian and Raven Capital ($250 million), and Pophouse Entertainment ($1.3 billion, about 30% of which has been deployed), to name a few.
Meanwhile, 2025’s many catalog deals (all compiled in DMN Pro’s Music IP Acquisition Tracker) extend to the work of Deadmau5, Snow Patrol, Morgan Wallen, DJ Khaled, Notorious B.I.G., T-Pain, and many others.
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