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

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

TAPEoPLEX is available for €99.00/$99.00 and is free for owners of any of Heritage Audio’s i73 PRO audio interfaces. Far cheaper than paying $1750 for buying a used original version.
In other news, Heritage Audio recently unveiled the P.LANE Type 436, reviving a classic compressor used by The Beatles.
Learn more at Heritage Audio.
The post The TAPEoPLEX is Heritage Audio’s plugin version of the iconic Echoplex tape delay  appeared first on MusicTech.
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EXCLUSIVE – FREE DOWNLOAD – Aphex Twin- Windowlicker (Aubrey Fry & Abandoned Technologies Remix)

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

Legendary rap outfit Wu-Tang Clan are releasing their own video game: Wu-Tang: Rise of the Deceiver.
According to a description in the game’s official teaser trailer, the premise is as follows: “You’ve been called to battle back the forces of an invading, corrupting force – the Deceiver. You and your friends will fight alongside the Wu-Tang Clan, calling on their powerful skills and timeless wisdom to restore Shaolin to a beacon of hope, community, and prosperity.”
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The game will see Wu-Tang MC Ghostface Killah sending players on their mission, in which they’ll also rescue other MCs while customising their fighting style and earning outfits inspired by the group’s trendsetting taste. Check out the teaser trailer below:

 
As players engage in this adventure, they will listen to classic songs from Wu-Tang Clan in addition to a brand new soundtrack curated by the celebrated hip-hop producer, Just Blaze.
“I’ve actually gotten to reimagine the catalog in a space that is larger than life. A lot of times, when it comes to trying to make a record, you’re stuck within a certain format. With this, you can really stretch out. And just really let the music take you on a journey,” Just Blaze tells Rolling Stone. “This project is very much a love letter to hip-hop culture and to Wu in general. I wanted to make sure that we featured some of the lesser-known songs for the hardcore fans, like Bizarre by U-God or Dexbeat or Elevation.”
Wu-Tang: Rise of the Deceiver is an accompaniment to Angel of Dust, an upcoming horror film produced by Ghostface Killah and directed and scored by RZA. At the end of the teaser trailer for the game, the title logo is struck by a lightning bolt and transmuted into a hooded figure with thick black wings, presented to look like the iconic Wu-Tang “W”.
“Creating Angel Of Dust has been an incredible journey,” Ghostface Killah says. “Bringing the story to life through film was just the beginning. Now, with the development of the video game, we are immersing fans even deeper into this supernatural thriller universe. It’s about blending music, storytelling, and interactive experience. I can’t wait for fans to step into the darkness and discover what lies beneath.”
Wu-Tang: Rise Of The Deceiver will be available on both console and PC, though no release date has been confirmed at the time of writing. For more info, head to the Steam Store.
The post Wu-Tang Clan are releasing their own video game – and it looks very, very fun appeared first on MusicTech.
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Two Friends Pivot to Central Park After Cancellation of Brooklyn Mirage Show

Amid ongoing issues with Brooklyn Mirage's delayed 2025 season opening, Two Friends' scheduled show Friday, June 13th has officially been moved. Instead, the "Big Bootie Mix" duo will perform at Central Park's SummerStage on Friday, September 12th, they announced this week.
The change follows a series of setbacks for the venue's long-awaited reopening. After months of heavily promoted renovations, a planned May 1st reopening featuring techno superstar Sara Landry was halted at the last minute after failing inspections by New York City's Department of Buildings.
Since then, scheduled shows have been continuously forced to relocate or postpone. Brooklyn Mirage CEO Josh Wyatt, who took the reins in October with lofty plans to overhaul the famed venue, was ultimately ousted amid the turmoil and replaced by nightlife veteran Gary Richards.
As the venue's reopening remains uncertain, SummerStage is quickly becoming one of the city’s most reliable new homes for displaced electronic music events. REZZ recently moved her show there as well, transforming the open-air venue into an unexpected "PORTAL" party May 30th.
Two Friends took to Instagram to express regret for the inconvenience and emphasized their team's efforts in finding a solution. All tickets purchased through DICE for their vacated Mirage show will automatically be honored for the new date and venue, and full refunds are available through 5pm ET on Thursday, June 12th.
Follow Two Friends:
X: x.com/twofriendsmusic
Instagram: instagram.com/twofriendsmusic
TikTok: tiktok.com/@twofriends
Facebook: facebook.com/twofriendsmusic
Spotify: spoti.fi/2NlwPct
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Club Space Invites Dads to Groove on the Terrace for Special Father's Day 2025 Celebration

Miami's Club Space is flipping the script on Father's Day this year with a unique celebration for dads who love house music just as much as they love tee time and firing up the grill.
Following in the footsteps of its successful "Mother’s Day Breakfast Club" celebrations, the famed downtown Miami institution is now honoring dads with a dedicated party: "Father’s Day on the Terrace." Scheduled for Sunday, June 15th, the event invites fathers and their party-loving families to spend the day together under the sun on the venue's iconic rooftop.
This time, Space, which was named by EDM.com as the best club of 2024, is trading in late-night raving and sunrise shenanigans for a daytime experience with dad. Guests are invited to arrive after 9am and each ticket includes entry for two: dad and a plus-one. On top of the music, the event will feature a curated lineup of activities such as professional portraits, massages, arcade games and darts.
Tickets for "Father’s Day on the Terrace" are available now via here.
Follow Club Space:
X: x.com/clubspacemiami
Instagram: instagram.com/spacemiami
TikTok: tiktok.com/@clubspace_miami
Facebook: facebook.com/clubspace
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Chinois’ ‘PORTSIDE’ Soundtracked By Luciano, Bedouin, Adassiya (Live), Bruz For Spectacular Third Edition

On Sunday June 1st, Chinois held their third annual free open-air party and gift to the island, the hugely popular ‘PORTSIDE’ at Ibiza Port, at which thousands enjoyed top-flight DJ sets absolutely free.  
 
Chinois loves to thank, celebrate and unite island locals, authorities, businesses, workers and visitors with this love letter to the island. PORTSIDE each year is about inclusion, celebrating the White Isle, its sense of community, its magic spirit, the legacy of Ibiza’s old town…  This year’s evening event was a spectacular success, special effects provided also gratis by a gorgeous, typically Ibizan sunset sky, as Chinois’ world-class DJs played for the crowds. 

Guest DJs: island favourite LUCIANO returned for his third PORTSIDE performance, closing with a magic set inc. classics like Armand Van Helden’s ‘You Don’t Know Me’. Co-headlining, Chinois’ new Sunday residents/SAGA founders BEDOUIN electrified the crowd, with tracks inc. their upcoming release ‘Heavy On My Mind’ (out June 27th), after warm-up sets from hypnotic French talent ADASSIYA, who opened with a sensational live vocal performance, and local hero & Beachouse resident BRUZ. 
 
Thanks are due: Chinois would like especially to thank Ayuntamiento de Eivissa, Autoridad Portuaria de Baleares, Asociación de Vecinos y Comerciantes del Puerto de Ibiza, Asociación de Empresarios de La Marina de Ibiza, Asociación de Comerciantes de la Calle de la Virgen & Asociación de Vecinos de Es Pratet. PORTSIDE, like much of Ibiza’s club culture, would not be possible without their invaluable support and assistance, and thanks to them, all those behind the scenes, and local businesses, this year’s party was yet another incredible success. 
 
Luciano says: ‘Since I left my country Chile 25 years ago, Ibiza has been like my home. It’s a magical place. This is a yearly gathering with music, family, lovely weather… The harbor is somewhere super special. This is one of the last free parties in Ibiza. I think it’s extremely important to give something back to Ibiza and back to the island.’
 
Bedouin adds: ‘It was fantastic, an amazing set up! To be able to play and give back to the island in an authentic way, in a free event like this, it means the world to us. It doesn’t get better than this! It’s a new year for us, we’re very excited to be moving to Chinois for our new home on Sundays, starting on the 27th June. There’s lots of surprises coming!’
 
Many attendees followed the evening with a night’s clubbing at Chinois, a stone’s throw away, where Luciano and Bedouin were headlining, alongside French producers Dorian Craft B2B Baron, and London-born Cameron Jack. This part of the night was a sensational full house, and the perfect way to round up a heart-warming community-driven day. 
 
Connect with: 
Chinois – @chinoisibiza
The post Chinois’ ‘PORTSIDE’ Soundtracked By Luciano, Bedouin, Adassiya (Live), Bruz For Spectacular Third Edition appeared first on Electric Mode.
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Trax Records at 40: A Vibrant Legacy of Power, Grit, and Dancefloor Freedom

Chicago gave us House, Trax gave it a home; 40 years on, the revolution’s still jackin’.
When people talk about the origins of house music, they often start with basements, clubs, and borrowed drum machines. But the moment it turned from local rebellion into global movement—that moment belongs to Trax Records. Born in 1985 on the industrial fringes of Chicago, Trax didn’t just release music—it manufactured culture. And as it celebrates 40 years, the label’s founding ethos of disruption, inclusion, and radical sonic freedom continues to define the DNA of electronic music today.
From Pressing Plant to Powerhouse: How House Went Global
Founded by Larry Sherman from a humble vinyl pressing plant, Trax Records quickly became the engine room of a new genre taking shape in Chicago’s Black, Latinx, and queer communities. The label’s earliest releases—Frankie Knuckles’ “Your Love”, Marshall Jefferson’s “Move Your Body”, Phuture’s “Acid Tracks”—weren’t just club hits. They were cultural blueprints, defining the sound, tempo, and tone of what the world would soon call house.
Looking at its 40 year legacy, Trax offered a platform for outliers: artists who didn’t fit into pop, radio, or traditional industry boxes. It pioneered early acid, jack, and hip house. It put DJ names on vinyl jackets before anyone else did. And most of all, it captured the moment before fame, preserving the raw energy of house before it became a brand.
That same rawness still lives inside every drop of 808 kick and bassline squelch—from Boiler Room sets in São Paulo to basement parties in Berlin.
The First Lady of House: Screamin’ Rachael’s Relentless Vision
While many remember Larry Sherman’s role, the soul and future of Trax lives in Screamin’ Rachael. One of the earliest female voices in house music—and a punk kid from Chicago—Rachael wasn’t just present at the genre’s birth. She was central to its evolution.
Her 1980s vocal tracks with Trax—gritty, sexual, unapologetic—helped shift house from a DJ’s playground into a vocalist-led, emotion-forward sound. Rolling Stone later dubbed her the creator of the first vocal house record. But her work didn’t stop at the mic. She brought Chicago’s house ethos to New York, mentored new generations, bridged punk and club scenes, and collaborated with Afrika Bambaataa to forge Hip House—a genre hybrid that briefly ruled MTV and basement clubs alike. Her alliances with Larry Levan, DJ Keoki, and underground queer nightlife gave Trax access to a national subcultural network that would propel it beyond borders, 40 years on.
“We’re not a bottle-service brand. We came from basements and bedrooms—and that’s where the revolution started,” Rachael says.
More Than a Trax Compilation: 40 Years of Sound, Style, and Social Impact
The 40th Anniversary Collection, launching June 20, is more than nostalgia. It’s a living archive of house music’s evolution—and Trax’s role in shaping it. Curated by Jorge, a next-gen artist and provocateur, the compilation is available digitally and in limited-edition vinyl runs. Each drop, pressed by Desslab, will be capped at 150 copies—crafted as collectible art pieces with original designs and liner notes.
The tracklist reads like an oral history of dance music. Legacy acts like Frankie Knuckles, Ron Hardy, Armando, and Paul Johnson appear alongside modern innovators like Analog 87, Yuri Suzuki, and Hiroko Yamamura. From sweaty warehouse anthems to brainwave-generated remixes, the compilation charts a through-line of radical expression across eras. An in-store performance at Reckless Records in Chicago on launch day brings it full circle—featuring Joe Smooth, Ron Carroll, Screamin’ Rachael, LaZara, and Chillsesh on the decks. It’s both a celebration and a reclamation of dance floors as cultural centers.
Rising Again: Youth, Philanthropy, and Forward Momentum
Complementing the compilation is Rising Again (TRX2620), a limited 500-copy vinyl project aimed at intergenerational creativity. Produced by Pi Rho, the release features brainwave-generated soundscapes and tracks by Screamin’ Rachael, Spada, DJ ThadX, and others. It blends old-school analog gear with modern production software—and donates proceeds to SocialWorks, the nonprofit by Chance the Rapper, focusing on youth arts education in Chicago.
This isn’t a vanity project. It’s a manifesto in vinyl. And like every Trax release, it sends a message: community matters, experimentation matters, and the underground still leads.
Fashion, Archives, and the Future of Trax
For the first time ever, Trax is launching a fashion line in collaboration with Chicago-based designer Mario Maldonado. It reinterprets the label’s gritty legacy through graphic streetwear distributed via Juno, HHV, and deejay.de—a symbolic move that fuses club culture with wearable memory. The collection joins a wider Trax archival effort, including a planned documentary series, interactive website, and curated historical retrospectives, ensuring the label’s legacy is preserved for the next 40 years.
Meanwhile, Screamin’ Rachael continues to mentor young producers, partner with LGBTQ+ youth orgs, and tour globally—recently appearing with Trax International Posse at ADE 2024 in Amsterdam. From her Nashville home base, she keeps building bridges between old heads and new scenes.
“We don’t look at follower counts. We care about the music. That’s why Trax still means something,” she says.
A Living Legacy: Why Trax at 40 Matters More
In a world where many legendary imprints fade into footnotes or become commercialized shadows, Trax Records stands firm. It never bowed to radio trends. It never prioritized algorithms over artistry. And it never forgot that the dance floor was, and always will be, a place for the outsiders to feel at home.
40 years after that first press rolled off Larry Sherman’s machine, Trax Records remains as vital as ever—still disrupting, still amplifying marginalized voices, and still jackin’ with no apology. As house music enjoys a mainstream revival, the true heads know where it started. And if Screamin’ Rachael has anything to say about it, Trax won’t be remembered. It’ll be rediscovered, again and again.

The post Trax Records at 40: A Vibrant Legacy of Power, Grit, and Dancefloor Freedom appeared first on EDMNOMAD.
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Fede Spamer Talks New EP, Production Process, Inspiration & More

Fede Spamer is a Producer and DJ steadily carving his own path within the world of Electronic Music.
Based in Buenos Aires, Argentina, Fede Spamer’s journey reflects both passion and commitment, as he continues navigating the genre with intent and an explorative mindset. With a Classical Music background and a sound that blends melodic depth with club energy, his style draws from Tech House, Melodic Techno, and a wide range of emotional influences, aiming to bring a storytelling approach into Electronic Music, both through his studio productions and his work behind the decks.
As he prepares to release his debut EP, we spoke with Fede about his journey into music, the influence of his environment, and where he hopes to take his sound next.
Hi! How are you doing? Thanks for joining us today!
Hi! I’m doing great, thank you for having me.
Let’s start at the beginning – when did you first discover a passion for music, and what role did music play in your life growing up?
Of course. My passion for music began early — I started taking piano lessons as a child, which gave me a strong foundation in Classical Music. That training shaped the way I understand music – not just melody, but also structure, harmony, and emotional expression. While I don’t directly use Classical Music in my tracks, its influence is deeply embedded in how I craft compositions and create emotional journeys through sound.
If there was one thing I looked forward to after school, it was learning new piano pieces, composing, and experimenting with music production software. This early drive to explore and create has been a constant in my musical journey.
I’ve drawn inspiration from many other styles and artists across different genres, but Classical Music remains the main influence that guides my creative process.
When I discovered Electronic Music and immersed myself in DJ culture, it felt like the perfect space to blend that foundation with fresh sounds and ideas. That’s when my project truly came to life – bringing together the discipline of classical training with the energy and freedom of Electronic Music to create something meaningful and impactful.
Being based in Buenos Aires, how has your environment influenced your musical journey and helped shape your identity as an artist?
My first real approach to the Electronic Music scene came through nightclubs, where Tech House dominates. Naturally, when I first started my project, my sets and tracks were heavily Tech House-oriented – it was what surrounded me, and it felt like the right entry point.
At the same time, going out in Argentina means being immersed in genres like cachengue (a local subgenre of cumbia), reggaeton, and Latin trap. These sounds are everywhere, and it’s impossible not to absorb them.
Even though my style has evolved, those influences have definitely left a mark on my sound. They’ve helped shape a more diverse, rhythmic, and culturally rooted identity in my music.
What first drew you to Electronic Music? Was there a particular track, artist, or moment that inspired your interest in the scene?
I think hearing Eric Prydz’s ‘Opus’ was a turning point in my life. The way he builds emotion throughout the track – how he carries a feeling and lets it slowly evolve – gave me goosebumps. I can honestly say it’s one of the tracks that most inspired my musical project. It made me reaffirm that Electronic Music could go far beyond the dancefloor. It could tell a story, create tension, and move people deeply without a single word. From that moment on, I knew I wanted to explore the more emotional and melodic side of Electronic Music – to build something that not only makes people dance but also makes them feel something.
Of course, ‘Opus’ was just one of many moments that drew me in. There have been countless tracks, artists, and live sets over the years that pulled me deeper into the scene, each one shaping my taste, perspective, and inspiration in a different way.
Even before that, I’ve always been curious about what lies beneath a song. When I listened to pop records, I would often search for the instrumentals and play them without the vocals, just to see if the music alone could move me. If it did, I knew there was something powerful there. That instinct – to feel music beyond the lyrics – has always guided me, and it’s something I still carry into my work today.
How would you personally describe your sound to someone hearing it for the first time?
I’d describe my sound as emotional, melodic Electronic Music with a cinematic edge. It’s rooted in storytelling – I always try to take the listener on a journey, whether it’s through subtle builds, evolving harmonies, or unexpected turns in the arrangement. The foundation often comes from my classical background, especially in how I approach melody and structure, but the sound itself is modern and atmospheric.
There’s a strong focus on feeling – sometimes introspective, sometimes uplifting – but always with intention. I want people to connect with it on an emotional level, not just rhythmically. Whether they’re listening on headphones or in a club, the goal is to create an experience that resonates beyond the moment.
From a creative and career perspective, who are the artists you most admire? Are there any whose approach to music and the scene continues to impact your own journey?
I really admire artists like Eric Prydz, Anyma, James Hype, Monolink, Zedd, CamelPhat, and KREAM. Eric Prydz has been a major influence – his ability to build emotional, melodic tracks that go far beyond the dancefloor completely changed how I think about music. Anyma inspires me not only with his use of visuals, but also with how he keeps pushing the sound of Melodic Techno in new and creative directions.
James Hype brings incredible energy to his sets, and his mixing skills show how important it is to connect with the crowd in the moment. Monolink’s fusion of vocals and electronic elements feels very personal and expressive, something I try to bring into my own work. Zedd’s sense for melody and production detail has always stood out to me. CamelPhat’s deep, atmospheric grooves and KREAM’s polished yet emotional sound also continue to shape the way I produce.
These artists remind me that Electronic Music can be powerful, emotional, and innovative – and that’s exactly what I aim to deliver with my own sound.
Can you talk us through your production process – how do you start creating a track, and what steps do you take to build on your initial ideas?
I’d say my production process starts long before I open any software. I’m constantly listening to music while doing almost anything else. I love discovering new artists, exploring fresh sounds, and hearing what’s evolving on the scene. That steady intake of inspiration fuels my creativity when it’s time to sit down and produce.
When I start working on a track, I usually begin with the basics. I choose a key or scale that resonates with me emotionally in that moment, and I often start by crafting the bassline. It helps set the tone and mood. From there, I’ll build the kick and begin experimenting with melodies and rhythmic patterns – sometimes they just come to me in the moment, other times they’re sparked by something I heard earlier that day, or a certain emotion or memory I’m sitting with. Inspiration can come from anywhere, and I try to stay open to it.
My creative process is very instinctive but also quite self-critical. A single track can take me up to a week because I constantly reflect on whether I still connect with what I’m making. If I lose that connection or don’t feel the track is going anywhere emotionally, I don’t force it. I’ll scrap it and start something new. For me, it’s not just about finishing tracks – it’s about creating something that feels real and honest.
Once the core idea is solid, I move on to layering, transitions, and sound design. I like adding small details and textures to make the track more immersive. And finally, I usually top it off with some vocal elements – something cool and atmospheric that gives it an extra emotional hook without overshadowing the music.
When it comes to DJing, what about performing live do you enjoy most?
What I enjoy most about performing live is the adrenaline – the anticipation of how people are going to react to my track choices. There’s something special about watching the crowd respond in real time, seeing them dance, connect, and completely lose themselves in the moment. That energy is what fills me the most.
For me, DJing follows the same intention as producing: it’s about creating a feeling and guiding people through a journey. I want them to experience Electronic Music’s full emotional and sonic range – the textures, tension, and release. There’s so much creativity and depth within the genre, and sharing that with a crowd, in a way that resonates physically and emotionally, is what makes performing so powerful.
Looking ahead, can you share what creative ambitions you have for the next five years of your journey?
I’m about to release my debut EP, so in many ways, this is just the beginning of my journey. Over the next five years, I want to take my project far beyond just the music. My goal is to create a full sensory experience for the listener, not only through sound, but also through visuals, lights, and the overall atmosphere of my live shows. I see myself getting deeply involved in the creative direction of everything: the stage design, the visuals, the emotional arc of the set. I want each performance to feel immersive and intentional – a 360° experience that stays with people long after the last track ends.
On the musical side, I also hope to collaborate with some of the artists who inspired me to take the leap into this world. Working with them would be both a dream and an opportunity to grow. I know those experiences would challenge me creatively and help shape me into the artist I aspire to become. I’m hopeful and excited about bringing this vision to life.
Finally, where do you see your sound evolving next – are there any new sonic directions or concepts you’re excited to explore?
I’m always looking for what’s new, both as a listener and a creator. I get bored easily when I hear too much of the same, and that drives me to keep evolving. The same applies to my music: if I decide to release something, it’s because I genuinely feel it and enjoy it. That emotional connection is non-negotiable.
Looking ahead, I’m excited to explore new sonic territories while still staying true to the emotional and melodic foundation that defines my sound. I’m curious about blending organic and synthetic elements in new ways – experimenting with textures, rhythms, and even genres that I haven’t touched yet. Maybe bringing in more ambient influences or developing the cinematic aspect further with more atmospheric builds and storytelling structures.
I’m also becoming more interested in how sound and visuals interact – how certain melodies, arrangements, or moments in a track can be paired with lighting or visuals to amplify the emotional impact. So, in a way, the evolution I see isn’t just musical – it’s conceptual too. I want to keep pushing boundaries and finding new ways to make people feel something real.
Speaking with Fede, it is clear that his approach to music is rooted in curiosity, emotion, and a desire to keep evolving. As he stays focused on building something meaningful and connecting with a community that resonates with his work, he continues to shape a promising presence on the scene. So, be sure to keep up with Fede Spamer and his evolving journey by following him across social media for updates on upcoming releases and performances.
 
Follow Fede Spamer:
Soundcloud | Instagram
The post Fede Spamer Talks New EP, Production Process, Inspiration & More appeared first on EDM House Network.
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MORTEN Uncut: From Youth Clubs to Tomorrowland Mainstage

In this candid interview, Danish DJ and producer MORTEN reflects on his journey from spinning vinyl at youth clubs in Denmark to headlining global festivals. He shares how an early DJ class at a youth center sparked his love for electronic music, and how that passion evolved into a career that now includes high-profile performances, chart-topping tracks, and a growing fashion brand, BBA.
MORTEN talks about memorable moments like cutting his hair live on stage at Ultra and his upcoming orchestral show in Copenhagen, where he’ll perform 25 years of music with a 50-piece symphony. He also dives into recent collaborations like “Culture” with ARTBAT, the energy of the Danish rave scene, and the excitement of playing AMF at Johan Cruyff Arena and solo at Tomorrowland’s main stage.

 
What was your earliest electronic music memory? How did you get into electronic music in the first place?
That’s a good question. I grew up here in Denmark, and in Denmark, we have this system where children in their youth, between 12 and 15, can go to a youth school after school so they don’t get in trouble, but they have a place to hang out. I went to a youth school where there were different subjects you could learn about.
You could be a camera guy, you could learn how to cook, you could learn how to draw, you could learn how to play pool and darts, and whatever. And then there was this guy called Kim from New York, and he was DJing. So, this is 30 years ago – DJing was not something very normal. We were DJing on vinyl.
So, I joined this DJ class, which was really cool, because once a month we would host a party in the youth club and 500 kids would come. So as a 13-year-old kid, I would DJ on vinyl in front of 500 other kids, and everyone knew each other.
We have to talk about the haircut song! Tell us about what happened at Ultra, what’s the story there?
Well, for a long time, I’ve been wanting to cut my hair. I told my manager many, many years ago if I played Ultra, I’ll cut my hair on stage. But it was kind of like a little bit of a joke.
I wanted to cut my hair for a long time and we were working with this organization to see if we could make something for charity. I had this idea that if I went live and said, “I’m gonna cut my hair if you guys collect this kind of money,” I would do it live and then I would give the money to charity.
So I talked to different organizations, but we couldn’t really find a solution that really worked. And then we just wanted to make some fun out of it and had to grow some balls and do it on stage. That was a pretty wild moment. And the song I played is “Take Me Home” with Bon that’s gonna be released on Tomorrowland Music on June 20th.

You have a very successful fashion brand, BBA, It sells out. What’s it like running your merchandise? Are you designing all of that, by the way?
No, that’s my manager who does that. We partner up on it. I’m part of the process of like, “What do we think about this? What do we do about that?” But he’s the creative director, if that’s how it sounds in 2025.
It’s cool. It’s just fun. It’s a cool way to engage with the fans. I walked the street here in Copenhagen today and I’ve seen two people wear my gear. It’s just fun. It’s just a different way of expressing yourself. And I always liked fashion and street styles.
Let’s talk about a few major gigs. One of them recently – let’s talk about the Johan Cruyff Arena, and it’s on Saturday, 25th of October. You are on the lineup for AMF. How you feeling about that?
I feel like that is crazy. Amsterdam every year it’s like, “Oh, what party you gonna play? What are you gonna do?” And now it’s just like you’re playing that one, you’re good. It’s just so cool that I’m very excited for it. It’s becoming the mecca of electronic music, that arena is.
Let’s bring it to Tomorrowland main stage. You are on the Saturday 26th – MORTEN solo main stage?
I am solo, and it’s a big set time for me. It’s the latest set time I’ve ever played Tomorrowland main stage. I have an amazing relationship with the people of Tomorrowland. All the fans of Tomorrowland have an amazing relationship with Tomorrowland that’s been building over the years.
I’ve been coming to Tomorrowland as a guest for as long as I can remember. I have videos of me being in the crowd 13 years ago, pointing at the stage, saying, “It’s gonna be me one day.” And it’s just one big family. I think that Tomorrowland… it’s funny because I played EDC Las Vegas three weeks ago, and one guy interviewed me and asked me, “What’s the difference between EDC and Tomorrowland?”
And right away, I was like, “You can’t compare. It’s like two different things.” Tomorrowland is like a fairytale. It’s like you walk into the forest and it’s just a fairytale for adults, and you have the best artists on the planet perform, and everyone brings their A-game. I’m very excited about Tomorrowland this year. Very, very excited.
Speaking of EDC, I wanna talk about your track with ARTBAT called “Culture” that came out on Insomniac Records. Can you tell us a little bit about what the inspiration was behind that track, and what it was like playing that at EDC this year?
It was cool. We’ve been playing it in our sets for a little bit. I had this idea – I wrote a vocal and played it for the boys, and they worked a little bit on the track. We played it in our sets, and it’s just been like a weapon for us. It’s been a super fresh, good energy record.
I’ve been surprised about the support that it’s gotten. Calvin Harris DM’d me last week like, “Hey bro, can I have an instrumental?” Like, Calvin Harris wants that one. So, it’s just been a fun record to release. It’s been a fun record, a cool record to play in our sets. I think it has the right amount of energy, and it sounds fresh with this kind of vintage vocal we have.
I wrote the vocal. It was just an idea that… I don’t know, it’s just… I think it’s a cool track. I think it’s dope.

I’ve never been to Denmark. What’s the electronic music scene like in Denmark? What’s the rave scene like?
It’s growing a lot. They have a big – I wouldn’t say underground, but they have a big techno culture here. The young people like to listen to techno music, different music. Copenhagen is a little bit the Scandinavian Berlin or Amsterdam, if you want. People here like to smoke and wear a black hoodie.
And this is one of the only places in the world where you take a bicycle to the club, and you have 50 euros in your bank account, and you bring home a supermodel, and she knows every underground electronic artist in the world. This is the vibe here. It’s very, very cool.
And the music scene here – I was very, very lucky that EDM exploded when I came up, and I became like the electronic artist of the people. I was the first crossover and played the big festival’s main stage. I would close after the Depeche Mode festivals.
I’m actually doing something extremely cool. The reason I’m here is because on Saturday, I’m doing something with the city. It’s like a celebration of the city where I sold 12,000 tickets in nine minutes. But what’s really interesting and what I’m doing is that I’m playing all the music I have released in the last 25 years with a 50-piece symphony orchestra.
So, I’ve been practicing classical music with them for the last four months. And we are performing that on Saturday and everyone I have ever met in this country is gonna be there. So, it’s nerve-wracking and very exciting for me.
What was the inspiration behind working with an orchestra? Have you done that before?
They brought it to me. They had this concept of making… I did this thing with David Guetta called Future Rave, and they wanted to make something special with me in Denmark that was different than just me coming to Denmark and playing a big festival. Because I used to come in and play one or two times a year.
So, they wanted to make this concept called “Future Meets the Past.”
It’s cool for me to attract a different audience than just the usual young people who go to the club at the festival. Because here, my mom brings 30 of her friends and my dad has half of the people he ever met in his life come because they also want to hear my music played as a classical version. So, it’s exciting.
To check out the full interview:
 


The post MORTEN Uncut: From Youth Clubs to Tomorrowland Mainstage appeared first on EDM House Network.
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NYC Mayor’s Office Announces Music Recording Studio Census to Quantify Their Economic Impact

During a welcome speech at A2IM IndieWeek in New York, Shira Gans, MPP, Senior Executive Director of Policy and Programs for the Mayor’s Office of Media and Entertainment in NYC, announced that the Mayor’s office will soon conduct a census of music recording studios. “If you can’t measure something, then you can’t tell the stories about it.”
Shira Gans says the recording studio network in NYC is rapidly evolving, with many established studios closing and some new ones holding grand openings. To track the changing landscape, the Mayor’s office has created a survey that will be distributed to studio heads and other industry professionals.
“So if you know anyone who has a recording studio or works with recording studios — please send them my way,” she said.
“I’m constantly hearing these two narratives. On the one hand, it’s ‘Oh my god, all the recording studios are closing.’ And on the other hand, it’s, ‘Hey, did you hear about this new cool recording studio that’s just opening?'”
After being approached by someone from Bridge Studio in Williamsburg, Gans decided to look deeper into this dynamic.
The goal is to create an accurate list of current operating studios to understand the New York City landscape and quantify their economic impact.
“[We want to] understand strengths and weaknesses so we can see if there’s a way the city can further support recording studios and also to give the industry itself a tool,” Gans explained.
Gans highlighted an earlier economic impact study, which discovered that New York City’s music industry supported 60,000 jobs, generated $21 billion in economic output, and yielded $5 billion in wages. “The industry used that to advocate for tax credits and to tell the story of how important it is — not just to the culture of New York but also to the economy.”
The results of the confidential survey will be sent directly to the Mayor’s office, providing them with information on how they can better support studios throughout New York City.
“If you can’t measure something, then you can’t tell the stories about it,” said Gans, adding, “And if you can’t tell a story about it, then you can’t advocate for new policy or change or recognition.”
Gans also took a moment to mention the free panels and programs happening throughout the city during New York Music Month in June.
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R. Kelly Says Prison Officials Are Plotting to Kill Him, Seeks Emergency Motion for Release

Photo Credit: United States Bureau of Prisons
R. Kelly’s legal team has filed an emergency motion for his immediate release from federal prison, citing an alleged government-backed plot to have the singer murdered behind bars. The motion alleges that officials at the federal correctional facility in Butner, North Carolina have solicited an inmate to assassinate him.
Court documents reviewed by Variety confirm that Kelly’s attorneys claim to possess explicit evidence of the murder plot. They allege that terminally ill inmate Mikeal Glenn Stine was approached by authorities and offered freedom in his final days in exchange for killing Kelly.
Stine, who is affiliated with the white supremacist neo-Nazi prison gang the Aryan Brotherhood, allegedly arrived in Kelly’s unit in March 2025 to carry out the hit. Instead, he had a change of heart and warned the R&B singer of the plot against him.
In a sworn statement, Stine alleges that officials assured him he would not be prosecuted for the murder, as the evidence would be mishandled. He also alleged that Kelly and his attorneys were targeted in retaliation for plans to expose intercepted attorney-client communications—a breach of legal privilege.
Kelly’s lawyers have argued that the threat to the singer’s life is ongoing on urgent. They report that after Stine’s failure to carry out the hit, several other members of the Aryan Brotherhood have been approached to carry out the hit—with Stine now on the targeted list due to speaking out.
“The threat to Mr. Kelly’s life persists each day that no measures are taken,” the filing states. “More members of the A.B. are gathering at his facility. Several individuals have already been approached regarding the execution of his murder. It is only a matter of time before one of them acts.”
R. Kelly’s legal team is seeking a temporary transfer to home detention, insisting that Kelly’s safety cannot be guaranteed in the current environment. Defense attorney Beau Brindley has also called on President Trump to intervene. “We believe [Trump] is the only one with both the power and the courage to do it,” Brindley said in speaking with the Chicago Sun-Times.
R. Kelly was convicted in September 2021 on multiple counts of sexual exploitation of minors. In June 2022, he was sentenced to prison for 30 years for sex trafficking and racketeering, with 20 years added in February 2023 for child sex offenses.
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Does Music Promotion Require Actual Promoters Anymore? DropTrack’s AI-Based Promotional Platform Is Making the Case for Ditching the Middleman

Once upon a time, it took an army to promote music to the vast reaches of radio, clubs, and streaming platforms. Fast-forward to 2025, and the need for multiple middlemen is quickly becoming a thing of the past. According to DropTrack CEO Paul Loeb, a growing percentage of the promotional workload is now being handled by automation, AI, and a platform-based approach – and more artists and labels are shifting away from hired promoters.
Like many companies, DropTrack was born out of personal frustration. Loeb began his career as a musician but struggled to get his music heard by a larger audience. Determined to take control, he launched his own record label—only to find that working with traditional music promoters brought a whole new set of challenges. “They charged a fortune and claimed to promote your music to their contacts on your behalf,” Loeb told Digital Music News.
“Sometimes they would follow up, and sometimes they wouldn’t. It felt like throwing money down a black hole.”
After struggling with the inefficiencies of conventional promotion, Loeb decided to create his own solution: an AI-powered tool that successfully secured placements for his music—with over 700 placements ultimately scored across film and TV shows. That included spots on heavily watched shows like Jersey Shore, which, incidentally, still deliver ‘mailbox money’ to Loeb today.
The next step was to establish DropTrack and scale his successful concept. Just recently, DropTrack joined forces with DMN to further expand the platform.
There are plenty of ways a song can blow up these days. However, most of the time, when a song gains serious traction, it isn’t by accident.
New music needs to be worked. But are promoters still needed to get the attention of influential tastemakers who can make or break a song?
Back in the day – like, way back in the day – labels employed large promotional departments to push new music to radio stations and clubs (fat stacks of cash and other goodies also came in handy). These days, streaming playlists are the primary target, and numerous companies and promoters specialize in getting songs onto influential playlists.
According to DropTrack’s Loeb, however, the layer of promoter middlemen is ripe for disruption.
Welcome to the quickly changing animal of music promotion. Instead of relying on labels to hire a team of promoters, DropTrack facilitates music promotion to influential tastemakers. “We essentially open doors to contacts most artists and labels don’t have access to,” Loeb said.
At its core, DropTrack serves as a central hub for music promotion, supporting labels and their catalogs. Essentially a home base for controlling promotional activities, the DropTrack platform features a suite of tools to manage music catalogs, promote releases, and secure valuable placements across a vast number of potential targets. That includes streaming platforms like Spotify, Apple Music, Amazon Music, and YouTube Music, as well as a broad network of radio stations, club DJs, bloggers, and even sync opportunities.
The idea is bearing fruit for a huge number of clients, including emerging artists, management agencies, and independent record labels.
Among the many success stories is that of Americana and Blues musician Louisiana Claude, who achieved 19,000 streams on his new song within the first month of its release. Others have also experienced a significant boost.
“DropTrack is our go-to for getting our artists’ music to press and radio. Their professional press kits maximize our campaigns,” said Michael Stover of MTS Management.
“DropTrack has been essential for connecting with the right audience and industry professionals, streamlining our outreach and boosting our growth,” shared Weird.inc’s Nicky Mei.


In terms of who exactly is getting pitched by DropTrack, the company has developed a broad tastemaker directory that includes record labels, playlist curators, bloggers, and DJs, with AI-recommended opportunities designed to maximize uptake and interest.
“Artists can promote their music to DropTrack’s industry contacts or bring their own,” Loeb said, while underscoring the goal of getting music listened to by ‘the right ears’. The platform is designed to be customized to fit each individual artist and label.
There are also several tiers and services available, depending on the level of promotion required. On the higher end, DropTrack offers a high-touch “Done-For-You” consulting service that includes the work of a manager or PR agent, complete with personalized support and guidance.
Other services include an AI press release generator and personalized submission pitches, all based on the company’s data and experience with what works across its network of tastemakers.
DropTrack’s suite of services is resonating with time- and cash-conscious clients, many of whom need direct and automated promotion. Now, the question is whether DropTrack will put the squeeze on platform promoters – and, in the process, dramatically shift music promotion.
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John Summit Heads to O2 London for his Biggest-Ever UK Show

Marking his biggest-ever UK show, John Summit will be hitting London for one night only for a headline set at The O2 that’s not to be missed. Taking place on 13th September 2025, this landmark event will see one of the world’s most in-demand names in dance music headline one of the world’s most iconic venues.
Following two instant sell-out London shows presented by Labyrinth – at O2 Academy Brixton in January 2025, and the Comfort In Chaos album pop-up at Village Underground in July 2024 – this latest show marks Summit’s first arena headline in the UK, and a milestone moment in his meteoric rise.
Fans can expect a stadium-scale spectacle with boundary-breaking production – from mind-bending, immersive visuals and cutting-edge lighting design, to state-of-the-art sound systems that will transform The O2 into an electrifying, full-sensory dance experience. This groundbreaking production combined with Summit’s pioneering, high-octane sets, will be more than just a show – it will be an unforgettable moment in the dance music world.
With over one billion global streams, #1 dance radio hits and a string of sold out shows across BMO Stadium in Los Angeles, Madison Square Garden in New York, and multiple nights at The Kia Forum, John Summit is redefining the realms of dance music in the live space. His recent performances at Coachella 2024 and groundbreaking shows through his label Experts Only, including on the slopes of Vail Mountain and inside the Tennessee Caverns, have cemented his place as a must-see, truly global touring artist.
Tickets for John Summit at The O2, London will be released next week, with the John Summit fan club pre-sale going live on Tuesday 10th June at 10am BST.
Stay tuned for more news!
The post John Summit Heads to O2 London for his Biggest-Ever UK Show appeared first on EDMTunes.
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5 Electronic Artists You Can't Miss at Beyond Wonderland at the Gorge 2025

It’s that time a year again, when Beyond Wonderland returns to the Gorge Amphitheatre and we go down the festival's rabbit hole with breathtaking views that span as far as the eye can see.
One of the best elements about Insomniac's Beyond Wonderland brand is its onsite experience, which goes far beyond its music: the wonder of what you might see that you didn’t expect, what you might hear that sounds new and who you might dance with before becoming friends for life.
As usual, the masters at Insomniac have cooked up another tremendous lineup for Beyond Wonderland 2025 at the Gorge, one that is sure to evoke all the emotions, energy and euphoria that have so many fans annually circling this weekend on their calendars. Read to discover some of the performances that you simply must see.
Beyond Wonderland returns to the Gorge Amphitheater June 21-22, 2025. Tickets can be purchased directly through the festival's website.
Chase & Status
Iconic drum & bass duo Chase & Status will descend upon the scenic Gorge, bringing their frenetic rhythms and basslines with them. The storied "Baddadan" producers have relentlessly reinvented the genre since joining forces over two decades ago, and there’s no question they will shake the entire amphitheater into submission.
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Said The Sky
It wouldn’t be a show at the Gorge without some euphoric, uplifting melodies to match the insane views. This year, Said The Sky will scratch that itch for festival attendees. His latest track "How to say goodbye" brings all the feels, encapsulating his aching, emotionally charged sound that should offer an unforgettable live experience.
Lilly Palmer
Get ready to move and recharge your batteries when Lilly Palmer takes the stage. The German electronic music star has been surging as of late, thanks to her high-energy stage presence, breakneck BPMs and jet fuel-laced techno beats. When you see her live, you can feel her presence and passion through each one of her pulse-pounding drops.
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Walker & Royce
For the last 15 years, house music duo Walker & Royce have been bringing their funky style to the masses. Their technically pristine sound invites you in with open arms, inspiring listeners not only to move, but also to be open to something different—yet something that sticks. Look no further than their latest release "Death By Love," which brings together underground elements and infectious baselines.
DJ Snake
Fresh off his spectacular "The Final Show" in Paris, which featured a record-breaking audience of over 80,000 and a viral "wall of death" in the crowd, DJ Snake is a must-see at Beyond Wonderland. His evolution as an artist and the diversity of genres that he explores during live sets will provide festival-goers with all the high-energy ingredients needed for the perfect mainstage party.
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Follow Beyond Wonderland at the Gorge:
X: x.com/beyondwlandpnw
Instagram: instagram.com/beyondwlandpnw
Facebook: facebook.com/beyondwlandpnw
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Dubstep Artist Olie Bassweight Found Dead in New Zealand

New Zealand DJ and dubstep producer Olie Bassweight was found dead at his residence in Wellington's Newtown neighborhood on Saturday evening, prompting a police investigation into the circumstances surrounding his death.
The body of the artist, whose real name was Oliver Hayes, was discovered after police were called to the scene around 7:15pm, according to Detective Inspector Nick Pritchard. A post-mortem examination is now being conducted, he said.
In a Facebook post, Hayes' sister Louise said "he was unexpectedly found dead" and suggested foul play may have been involved, although authorities have not disclosed whether or not they are treating the death as suspicious.
"There is a police investigation," she wrote. "It seems something terrible might have happened to him. We wait for answers."
Authorities are seeking to speak with anyone who may have encountered Hayes, 40, in the days leading up to his death, particularly residents of the apartment complex where he lived. One neighbor, who lives in a nearby apartment, reported hearing "screaming" between 6pm and 7pm on Saturday but said he was unsure of the source, according to Stuff.
Hayes was a stalwart of Aotearoa's electronic music community prior to his death. His music, according to his Beatport profile, "conjures images of the Aotearoan landscape - a geomusicalogical [sic] symbiosis forged through attending and playing at many outdoor festivals located throughout the beautiful South Island of New Zealand."
We at EDM.com extend our heartfelt support to Oliver Hayes, his family and loved ones during this difficult time.
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Electric Forest Eliminates Renegades For 2025, Final Afterparty Crew Confirms Absence

Electric Forest will be without its famous renegades this year, after EVOL Afters, a sound system crew known for its annual appearance, became the last to confirm it will not be returning to the Michigan festival this month. 
The festival afterparty offshoot of Windy City event promoter and art vendor EVOL Chicago made the announcement on social media today. Following earlier reports from another afterparty crew, DeBussy Bus, that renegades would be barred for 2025, the confirmation marks the final nail in the coffin for the late-night festival tradition.
Widely known as the birthplace of “Subjohnics” (John Summit B2B Subtronics), EVOL Afters orchestrated early morning renegade sets at Electric Forest for the festival’s last eight editions, hosting other notable names such as Big Gigantic, Tape B, SVDDEN DEATH, INZO, Levity, Ranger Trucco, and AYYBO.
“While we won’t be back in the Forest this year, our hearts are overflowing with gratitude for everything we’ve shared with you,” EVOL wrote on Instagram. “The energy, love, and memories created at EVOL AFTERS were nothing short of extraordinary—and that’s all because of you.”
Their statement went on to assure fans that this isn’t the end for EVOL Afters, rather, “it’s just the end of a beautiful chapter.”
At last year’s festival, when weather-related cancellations to main venue programming were announced on Saturday and Sunday, larger-than-anticipated crowds flocked to the renegades, making it difficult for medical teams to access collapsed patrons and leading to the show’s early shutdown in compliance with safety policies.
In March, Electric Forest accordingly announced new extended hours, which will keep the festival’s main venue open until 4AM nightly.
Electric Forest returns to Rothbury, Michigan’s Double JJ Resort this June 19-22, with performances from Justice, Tiësto, Liquid Stranger, Zeds Dead, Sara Landry, Disclosure, Barry Can’t Swim, Louis The Child, and many more.

Featured image courtesy: Electric Forest. Credit: Alive Coverage.
The post Electric Forest Eliminates Renegades For 2025, Final Afterparty Crew Confirms Absence appeared first on EDM Maniac.
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Electric Forest Eliminates Renegades For 2025, Final Afterparty Crew Confirms Absence

Electric Forest will be without its famous renegades this year, after EVOL Afters, a sound system crew known for its annual appearance, became the last to confirm it will not be returning to the Michigan festival this month. 
The festival afterparty offshoot of Windy City event promoter and art vendor EVOL Chicago made the announcement on social media today. Following earlier reports from another afterparty crew, DeBussy Bus, that renegades would be barred for 2025, the confirmation marks the final nail in the coffin for the late-night festival tradition.
Widely known as the birthplace of “Subjohnics” (John Summit B2B Subtronics), EVOL Afters orchestrated early morning renegade sets at Electric Forest for the festival’s last eight editions, hosting other notable names such as Big Gigantic, Tape B, SVDDEN DEATH, INZO, Levity, Ranger Trucco, and AYYBO.
“While we won’t be back in the Forest this year, our hearts are overflowing with gratitude for everything we’ve shared with you,” EVOL wrote on Instagram. “The energy, love, and memories created at EVOL AFTERS were nothing short of extraordinary—and that’s all because of you.”
Their statement went on to assure fans that this isn’t the end for EVOL Afters, rather, “it’s just the end of a beautiful chapter.”
At last year’s festival, when weather-related cancellations to main venue programming were announced on Saturday and Sunday, larger-than-anticipated crowds flocked to the renegades, making it difficult for medical teams to access collapsed patrons and leading to the show’s early shutdown in compliance with safety policies.
In March, Electric Forest accordingly announced new extended hours, which will keep the festival’s main venue open until 4AM nightly.
Electric Forest returns to Rothbury, Michigan’s Double JJ Resort this June 19-22, with performances from Justice, Tiësto, Liquid Stranger, Zeds Dead, Sara Landry, Disclosure, Barry Can’t Swim, Louis The Child, and many more.

Featured image courtesy: Electric Forest. Credit: Alive Coverage.
The post Electric Forest Eliminates Renegades For 2025, Final Afterparty Crew Confirms Absence appeared first on EDM Maniac.
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Secretly Group Execs Acquire 50% of Merge Records from Co-Founder Laura Ballance

(l to r) Secretly Group co-founders Phil Waldorf, Darius Van Arman, Ben Swanson, and Chris Swanson. Photo Credit: Anna Powell Denton
Secretly Group execs have acquired 50% of indie label Merge Records, from which co-founder and co-president Laura Ballance is stepping away.
Bloomington-based Secretly announced the investment and the related executive departure today. Beginning with the former, Secretly’s formal release indicates that the aforementioned execs and co-founders (Ben and Chris Swanson, Darius Van Arman, and Phil Waldorf), not the label group itself, took the Merge stake.
Also as laid out by Secretly, this stake represents one component of “a new partnership” with 36-year-old Merge, which has been utilizing Secretly Distribution outside North America for about 13 years.
Besides parting with a 50% Merge interest and stepping down from the label, Ballance is exiting the music business itself.
“It was never my goal to start a record label when I was 21 and run it for the rest of my life,” the Superchunk founding member elaborated of the decision. “I have been doing this for 36 years now. Life is short. There are other things I have always wanted to do: make more art, travel for fun, volunteer more, write a book and lots of other things that being so entrenched in running a business does not allow me to do.
“Merge Records started as a literal bedroom label, in my bedroom, and lived there for a few years before we were able to give it some space of its own. It has always been a labor of love. I am going to miss it and all the people and bands tremendously,” she concluded.
Meanwhile, fellow co-founder and Superchunk member Mac McCaughan is expected to stay aboard as president and A&R head.
So is longtime employee Christina Rentz (albeit as label director), with marketing director Jamie Beck and digital head Wilson Fuller likewise remaining in place.
Bearing those points in mind, Merge – the roster of which features Jade Hairpins, The Mountain Goats, Rosali, and Mary Timony, to name some – is poised to “continue to run as a standalone label out of Durham.”
With that said, Merge is also set to leverage not just Secretly Distribution, but the overarching Secretly’s accounting, royalty, business-affairs, licensing, IT, and HR capabilities, the involved parties communicated. Superchunk’s Songs in the Key of Yikes (teed up to release on August 22nd) will mark “the first new album to be distributed worldwide by Secretly.”
More immediately, the past two days have now delivered three high-profile label deals: Exceleration officially owns Cooking Vinyl, and Prosthetic Records is part of MNRK Music Group.
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Anthem Music Publishing Acquires Song Catalog from Country-Western Legend Marty Robbins

Photo Credit: Marty Robbins for Bishop M. Sykes & Associates
Anthem Music Publishing announces the acquisition of legendary Country and Western singer-songwriter Marty Robbins’ song catalog.
Anthem Music Publishing has acquired the catalog of songs from legendary Country-Western singer-songwriter Marty Robbins. The catalog represents a cornerstone of American music history, marking a powerful addition to Anthem’s growing collection of culturally significant works.
Among the standout titles is “Big Iron,” Marty Robbins’ 1960 classic that reached #5 on the U.S. Country chart and peaked at #26 on the Billboard Hot 100. It was ranked as the 11th greatest Western song of all time by the Western Writers of America. “Big Iron” was also featured in the 2010 video game Fallout: New Vegas, introducing the song to a new generation of fans and adding to its enduring appeal.
Also included is Robbins’ groundbreaking hit, “El Paso,” released by Columbia Records in 1959. The song topped both the Billboard Hot 100 and U.S. Country charts, earning Robbins the 1961 Grammy Award for Best Country & Western Recording. It was also inducted into the Grammy Hall of Fame in 1998. The track’s legacy endures through covers by artists like Keith Urban and The Grateful Dead, who performed the song live over 380 times.
Another highlight of the catalog is “My Woman, My Woman, My Wife,” a deeply personal ballad that reached #1 on the U.S. Country chart and #42 on the Billboard Hot 100. The song earned Robbins his second Grammy Award for Best Country & Western Recording in 1970.
“Marty Robbins is a towering figure in American music—an artist whose storytelling transcended genre and era. His songs are woven into the fabric of country and western music heritage, and continue to influence artists and resonate with fans to this day,” said Jason Klein, CEO of Anthem Music Group.
“We’re honored to see Marty’s music find a new home with Anthem Music Publishing. His songs have stood the test of time, captivating generations with their vivid storytelling and emotional depth. We’re confident that Anthem will not only preserve Marty’s legacy, but elevate it—introducing his work to new audiences while honoring the timeless spirit of the originals,” reads a statement from the Marty Robbins Estate. “Marty’s music has always belonged to the people, and we believe Anthem shares that same dedication to keeping it alive for generations to come.”
With a career spanning nearly four decades, Marty Robbins got started in the late 1940s and continued making music through the early 1980s. A singer, songwriter, multi-instrumentalist, and even a NASCAR driver, he was “a true American original.” Often regarded as an early trailblazer of outlaw country, Robbins fused traditional Western themes with a cinematic songwriting style, setting him apart from his contemporaries.
Over the course of his career, Robbins recorded over 500 songs and released over 72 albums. His accolades include two Grammy Awards and induction into both the Country Music Hall of Fame and the Nashville Songwriters Hall of Fame. He also has the distinction of being the first-ever recipient of the Academy of Country Music’s Artist of the Decade Award, honoring his influence throughout the 1960s.
His songs “El Paso” and “Big Iron” remain cultural touchstones, named among the Top 100 Western Songs of All Time by the Western Writers of America. With this acquisition, Anthem deepens its commitment to preserving and celebrating the work of musical legends, ensuring their timeless songs continue to resonate with audiences worldwide.
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Live Nation Investing $1 Billion to Build 18 New Venues Across the US

Photo Credit: Live Nation
Live Nation has announced it is investing $1 billion to build 18 ‘new and revitalized’ live music venues to bring more shows to smaller cities across the United States.
According to Oxford Economics, this capital investment will spur $2.9 billion in total economic impact, including spending on engineering, development, and construction. That comes along with a $1.4 billion annual economic impact for local communities where the venues will be welcoming music fans.
In the next 18 months, Live Nation Entertainment will open doors or break ground on 18 new venues ranging from intimate clubs to large outdoor amphitheaters. Communities that are getting these new venues include:
Allentown, PA Atlanta, GA Birmingham, AL Denver, CO Indianapolis, IN Memphis, TN Milwaukee, WI Nashville, TN Orlando, FL Portland, ME Portland, OR Pittsburgh, PA Raleigh, NC Richmond, VA Riverside, MO Seattle, WA Shakopee, MN Virginia Beach, VA Live Nation says it has more optimism about the live entertainment industry than ever before, driven by long-overdue ticketing reforms, growing fan demand, and a strong economy. The company has voiced its full support for Trump’s executive order targeting ticket scalpers—aimed at reducing the $10 billion siphoned from consumers each year.
“Our mission is simple: help artists deliver more unforgettable live experiences—and in doing so, create jobs, revive cities, and lift up the communities we touch,” adds Live Nation CEO Michael Rapino. “As an American company, we drive impact here at home while also helping elevate and export the very best of what this nation represents—freedom, creativity, grit, and boundless possibility.”
Live Nation venues have hired 37,000 U.S. workers this year to further expand fan access to the magic of live music. The company is also continuing its efforts to provide over one million tickets to summer shows across the nation for just $30. Live Nation says its portfolio of 150 premier venues in the United States represents roughly 4% of all music venues nationwide.
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Glastonbury Sold Fewer 2025 Tickets To Curb Overcrowding

The legendary Glastonbury Festival—long regarded as one of the most iconic and highly anticipated music events in the world—has consistently drawn massive crowds. Known for its eclectic lineups, free-spirited energy, and cultural significance, the festival consistently ranks among the most entertaining on the planet. But in 2024, its success reached a tipping point.
Over 210,000 music lovers poured into the festival’s 150,000-acre grounds, making Glastonbury the most densely populated place on earth during its five-day run. While such a turnout stands as a glowing testament to its global appeal, it also revealed a serious flaw: there wasn’t enough space.
Overcrowding plagued nearly every corner, from the main stages to walkways and campsites. Attendees, whether hardcore ravers, casual fans, or tech-savvy experience seekers, struggled to navigate the sea of people. The sheer density not only affected mobility but also comfort and safety, sparking widespread criticism.
Festival organizers, however, didn’t turn a blind eye. Listening closely to feedback, they acknowledged the problem and began working on a solution. Their answer? Reduce the number of tickets sold.
A New Strategy: Reducing the Crowds
In an interview with Annie Mac and Nick Grimshaw on their BBC podcast Sidetracked, Emily Eavis, the co-organiser of Glastonbury, revealed that the festival has sold “a few thousand fewer tickets” for the 2025 edition. The aim is to reduce overcrowding and bring back the fun and comfort that should be the heart and soul of such an event. The intention is not to exclude potential festival-goers but to enhance the experience for those who do attend.
This decision might seem drastic, especially for a festival that’s always been known for its grand scale. But it’s a decision born out of necessity. The festival organisers are putting the fans’ comfort and enjoyment above everything else. They’re prioritising quality over quantity, choosing to offer a better experience to fewer people rather than cramming as many people as possible into the festival grounds.
It’s a bold move, but it’s also a smart one. It’s a decision that shows that Glastonbury’s organisers aren’t afraid to make tough decisions if it means improving the festival experience. They’re willing to take a hit on ticket sales if it means the fans will have a better time. And in the end, isn’t that what music festivals are all about?
Change is never easy, but it’s often necessary. And in the case of Glastonbury, it seems like the changes are both necessary and positive. By selling fewer tickets and revamping the festival grounds, the organisers are showing a dedication to improving the festival experience. They’re putting the fans first, and that’s something we can all get behind.
So here’s to Glastonbury 2025. It may have fewer attendees than previous years, but it’s set to be a better experience for everyone involved. Let’s wait and see what the festival has in store for us.
The post Glastonbury Sold Fewer 2025 Tickets To Curb Overcrowding appeared first on EDMTunes.
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Insomniac Drops Full Lineup For Nocturnal Wonderland 2025

Insomniac has unveiled the full lineup for this year’s edition of Nocturnal Wonderland.
The powerhouse promoter’s longest-running festival returns to San Bernardino’s Glen Helen Regional Park for two nights of music and camping this September 13-14. Back for redemption after Nocturnal Wonderland’s scheduled 2024 edition was canceled due to the Southern California wildfires, this year’s event marks 30 years of the foundational SoCal rave.
This year’s lineup is stacked with progressive house titans Eric Prydz and Axwell, and iconic party starters like Benny Benassi, Zedd, Oliver Heldens, and Galantis. Across the house and techno realm, fans can catch legendary veterans MK, Dennis Ferrer, Donald Glaude, Skream, and Harvard Bass, alongside today’s top acts like Waxtroda (Wax Motif B2B Matroda), AC Slater B2B Tchami, Anabel Englund, Kyle Watson, LF SYSTEM, and many more.
There’s plenty for bassheads to get excited about, too. Mind-melting experimental bass performances will come from Liquid Stranger, Ahee, and YDG. The likes of Wooli, HOL!, Cyclops B2B Calcium, and Jessica Audiffred B2B Riot Ten offer a dose of heavy dubstep, while fans can expect a proper drum & bass schooling from Wilkinson, Delta Heavy, Blanke, and U.S. D&B pioneer Dieselboy. Check out the full lineup below.
One of Insomniac’s few camping events, held annually against the backdrop of the region’s San Gabriel and San Bernardino Mountains, Nocturnal Wonderland was launched as the company’s very first massive in 1995—two years before its famous Electric Daisy Carnival (EDC) debuted in Los Angeles.
Tickets for Nocturnal Wonderland 2025 go on sale this Friday, June 13, at 12PM PT. For more information or to purchase tickets, visit nocturnalwonderland.com.

Featured image courtesy: Insomniac Events. Credit: Keiki-Lani Knudsen.
The post Insomniac Drops Full Lineup For Nocturnal Wonderland 2025 appeared first on EDM Maniac.
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Insomniac Drops Full Lineup For Nocturnal Wonderland 2025

Insomniac has unveiled the full lineup for this year’s edition of Nocturnal Wonderland.
The powerhouse promoter’s longest-running festival returns to San Bernardino’s Glen Helen Regional Park for two nights of music and camping this September 13-14. Back for redemption after Nocturnal Wonderland’s scheduled 2024 edition was canceled due to the Southern California wildfires, this year’s event marks 30 years of the foundational SoCal rave.
This year’s lineup is stacked with progressive house titans Eric Prydz and Axwell, and iconic party starters like Benny Benassi, Zedd, Oliver Heldens, and Galantis. Across the house and techno realm, fans can catch legendary veterans MK, Dennis Ferrer, Donald Glaude, Skream, and Harvard Bass, alongside today’s top acts like Waxtroda (Wax Motif B2B Matroda), AC Slater B2B Tchami, Anabel Englund, Kyle Watson, LF SYSTEM, and many more.
There’s plenty for bassheads to get excited about, too. Mind-melting experimental bass performances will come from Liquid Stranger, Ahee, and YDG. The likes of Wooli, HOL!, Cyclops B2B Calcium, and Jessica Audiffred B2B Riot Ten offer a dose of heavy dubstep, while fans can expect a proper drum & bass schooling from Wilkinson, Delta Heavy, Blanke, and U.S. D&B pioneer Dieselboy. Check out the full lineup below.
One of Insomniac’s few camping events, held annually against the backdrop of the region’s San Gabriel and San Bernardino Mountains, Nocturnal Wonderland was launched as the company’s very first massive in 1995—two years before its famous Electric Daisy Carnival (EDC) debuted in Los Angeles.
Tickets for Nocturnal Wonderland 2025 go on sale this Friday, June 13, at 12PM PT. For more information or to purchase tickets, visit nocturnalwonderland.com.

Featured image courtesy: Insomniac Events. Credit: Keiki-Lani Knudsen.
The post Insomniac Drops Full Lineup For Nocturnal Wonderland 2025 appeared first on EDM Maniac.
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BTS Nears the End of Their Military Service, Paving the Way for a Big 2025 Reunion

Photo Credit: RM and V of BTS for MK (Maeil Business Newspaper)
BTS members RM and V have completed their mandatory military service, leaving Jimin, Jungkook, and Suga, who are due to complete theirs this month.
The members of BTS are completing their mandatory military service after 18 months of enlistment, paving the way for the K-pop group to reunite later this year. RM and V completed their service on Tuesday morning, while Jimin and Jungkook are scheduled to complete theirs on Wednesday. Suga, the final member to complete his service, is scheduled to be discharged on June 21.
RM and V emerged in their military uniforms at a sports park in Chuncheon, Gangwon Province, after completing their mandatory 18 months of enlistment. Donning sunglasses, RM appeared playing the soundtrack from the Japanese anime “Detective Conan” on saxophone. V followed with a large bouquet in hand and a broad smile on his face.
The two stood before the press and saluted, shouting “Chungseong!” (loyalty), and “Pilseung!” (victory), marking the end of their military service.
“Honestly, I think we might’ve served one of the shortest military terms in history,” said RM. “The conditions have improved a lot. There were tough and painful moments, of course, but during our service, I came to deeply appreciate the many people who have protected this country.”
“It was a meaningful time where I could grow closer to fellow soldiers who had already completed their service,” he added. “I want to thank Army [BTS fan name] for waiting for us. Now, I’m ready to hit the ground running again as RM of BTS. Thank you to everyone who waited and looked after us.”
“It was a time for me to reset both physically and mentally,” said V. “I really want to run to Army as soon as I can. Thank you for waiting for us during our military service. If you can wait just a little longer, I promise to return with an amazing performance.”
The discharge ceremony was not open to the public for safety reasons, but around 100 fans from Mexico, Brazil, Indonesia, Japan, and other countries gathered at the park to see the stars emerge. In central Seoul, hundreds of BTS Army gathered in front of Hybe’s headquarters to celebrate the members’ return.
Jin and J-Hope were discharged last year in June and October, respectively. Jimin and Jungkook are due to complete their service tomorrow (June 11), while Suga will be discharged on June 21.
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Apple Music Introduces Lyrics Translation & Pronunciation Plus Karaoke Features

Photo Credit: Apple
Apple Music has introduced lyrics translation and enhanced karaoke features in the upcoming iOS 26 update.
Announced at WWDC 2025, these new tools are designed to make music more accessible and engaging for users worldwide by breaking down language barriers. The lyrics translation feature allows Apple Music subscribers to instantly translate song lyrics into their preferred language while listening. Whether exploring K-pop, Latin hits, or French ballads, users can now understand the meaning behind the music in real-time.
According to Apple, this functionality is powered by on-device Apple Intelligence—ensuring all translations are fast and privacy-focused. Lyrics translation supports a wide array of languages at launch including English, French, German, Italian, Portuguese (Brazil), Spanish, Japanese, Korean, and Chinese (Simplified)—with more language support promised by the end of the year. Translations are seamlessly integrated into the Apple Music interface, letting listeners toggle between original lyrics and their translated versions.
Building on Apple Music’s popular Sing feature, iOS 26 also introduces a new Lyrics Pronunciation feature. This tool helps users learn how to pronounce foreign lyrics correctly, making karaoke sessions more inclusive and fun. The pronunciation guide empowers users to sing along confidently regardless of their language skills.
These karaoke enhancements are part of Apple’s broader push to use AI and machine learning to personalize the user experience. The goal with lyrics translation and pronunciation is to make the platform more global and accessible for music fans of global genres. Both of these new features will hit Apple Music when iOS 26 rolls out to users this fall.
Meanwhile with the launch of tvOS 26, Apple Music Sing now allows users to turn their iPhone into a wireless microphone for Apple TV karaoke sessions. This feature is compatible with iPhone 11 or later models paired with a third-generation Apple TV 4K, making it easy for friends to join in on karaoke sessions with their own iPhone. Users can queue songs or send on screen emoji reactions.
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