Jump to content

News

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

Brookyn Mirage Drops Funny Self-Deprecating Video

The Brooklyn Mirage’s PR team is stepping it up this year. They took to social media to drop a funny and honest self-deprecating promo video for the new renovations. The Mirage has seen lots of criticism over the last few years for various reasons. One of the most popular is the overcrowding of shows. Rather than avoiding the topic, Avant Gardner went right into it.
The video shows various attendees answering the famous question, “What Could The Brooklyn Mirage improve ahead of opening?” Every answer is spot on with what New York ravers are feeling. The first answer was about overcrowding, the second was about using wristbands to buy drinks, and the next was about dedicated Uber pickup/drop-off zones.
Other criticisms included needing more bathrooms, table service where you couldn’t see the stage, and the sound CAN BE BETTER. The Mirage is looking to address all of these concerns this weekend, when the brand new Mirage opens. If it is anything like the renderings, it is going to be a very special place.
Sara Landry will open Mirage 4.0 on May 1st and 2nd. CITYFOX Regenerate will follow her on May 3rd.
The post Brookyn Mirage Drops Funny Self-Deprecating Video appeared first on EDMTunes.
Ravebot
Ravebot

Don Diablo Releases ‘Freek Like Me’

Don Diablo kicks off a new era for his record label HEXAGON with the release of ‘Freek Like Me‘. This track marks the beginning of HEXAGON 2.0, a fresh chapter for the label as it celebrates its monumental 10-year anniversary. Popular for his futuristic blend of house, techno, and sound design, Don Diablo continues to innovate dance music with ‘Freek Like Me’.
Song Breakdown: ‘Freek Like Me’ – A Perfect Fusion of Old-School and Futuristic Sounds
‘Freek Like Me’ kicks off with a male vocal chanting “Freek like me,” setting a late-night and all-or-nothing vibe. The lyrics describe how there’s no other freak like him, especially not at 3 am, adding another sense of nocturnal adventure. The energy of the track pays homage to old-school house music, while Don Diablo’s signature futuristic and rhythmic style shines through. The vocal is expertly chopped by Don Diablo himself, building up the anticipation before the first drop hits.
This is where Don adds one of his signature synths. He creates that stutter-type feeling that makes everyone move on the dancefloor. The breakdown takes a different turn as a vocoder takes over the vocals. This adds padding to the track with a stylist pallet cleanser. The next buildup leads to a second drop where it hits hard with a super rhythmic chorus that keeps the energy high. Altogether, ‘Freek Like Me’ showcases the perfect blend of house nostalgia with a modern, energetic twist.
Don Diablo and HEXAGON: Anti-algorithm and quality over quantity
Don Diablo’s impact on the electronic music scene is undeniable. Popular for his chart-topping hits like ‘On My Mind’ and ‘Cutting Shapes,’ Don has been a key figure in the evolution of house and future house music. As the founder of HEXAGON, he has cultivated a label that has become a hub for fresh talent. Over the past decade, HEXAGON has not only released chart-topping hits but also evolved into a global movement.
From collaborating with legends like Major Lazer, Robbie Williams, and Galantis to reaching over one billion streams with his music. Don Diablo has solidified his place at the top of the electronic music world. Now, The launch of HEXAGON 2.0 represents the next step in his journey, where he plans to keep a “quality over quantity” focus by having fewer releases with more impact. Also, at the same time ignoring the social algorithms that everyone raves about.
Don Diablo’s Upcoming Shows and the Future of HEXAGON
With ‘Freek Like Me’, Don Diablo will continue his reign as one of the most innovative figures in electronic music. Fans can look forward to more innovative tracks and experiences from Don. He will be roaming around different countries for most of 2025. Keep an eye out for his upcoming tour dates and live performances as he continues to redefine the boundaries of dance music.

The post Don Diablo Releases ‘Freek Like Me’ appeared first on EDMTunes.
Ravebot
Ravebot

Armin van Buuren Finally Delivers the Long-Awaited ‘Dream A Little Dream’

After more than two years of building anticipation, Armin van Buuren has finally answered the call of fans across the globe with the release of ‘Dream A Little Dream’, a soaring collaboration with multi-platinum singer-songwriter Sam Gray. First premiered during his Ultra Music Festival 2023 set, the track quickly became one of Armin’s most-requested IDs, flooding comment sections and fan pages with pleas for an official release.
Now, that dream has come true—and it’s as powerful as expected.
Blending Armin’s signature euphoric trance production with Gray’s emotive vocal performance, ‘Dream A Little Dream‘ is a heartfelt anthem that walks the line between festival-ready energy and late-night introspection. Lush synths, rolling drums, and a hopeful chord progression carry the track into a celestial drop, making it a perfect crossover for both mainstage moments and personal listening.
Lyrically, the track is steeped in nostalgia and optimism. Gray’s lines—“When the stars don’t show / Don’t go off the edge / When your heart feels broke / Forgive and forget”—invite listeners to reflect, reset, and hold on to hope. The chorus, with its gentle refrain “Dream a little dream with me”, captures the emotional vulnerability that has come to define some of Armin’s most beloved vocal anthems.
Musically, this track feels like a spiritual successor to van Buuren’s past vocal classics, yet updated with a modern pop-trance edge. It’s sentimental without being overly saccharine, cinematic without losing dancefloor drive.
With ‘Dream A Little Dream‘, Armin continues to showcase his ability to evolve while staying true to his roots. It’s a reminder that even in a constantly shifting musical landscape, dreams—and dreamers—still have a place on the dancefloor.
Armin van Buuren & Sam Gray – ‘Dream A Little Dream’
Listen below:
The post Armin van Buuren Finally Delivers the Long-Awaited ‘Dream A Little Dream’ appeared first on EDMTunes.
Ravebot
Ravebot

Armin van Buuren's Ninth Album Will Feature 51 Tracks

When Armin van Buuren inhaled creatively last year, few expected the exhale would produce a tsunami of 51 tracks.
The iconic Dutch DJ and producer today revealed he's set to release the second half of his ninth studio album, Breathe Out. It serves as the companion to last year's Breathe In, delivering a comprehensive work that reflects van Buuren's renewed creative vision and improved mental health, according to a press release. Together, the two-pronged release forms his complete Breathe album, due out on June 27th.
After decades at the forefront of electronic dance music, the project represents a creative renaissance for the influential "A State of Trance" DJ, who has been candid about seeking balance between his meteoric career and personal wellbeing. Finding balance wasn't easy for the trance icon, but the payoff is clear: a massive collection of over 50 songs that showcases a mind finally at peace with itself.
"Breathe Out really shows how far I’ve come, not just as an artist, but as a person," van Buuren said in a statement. "This album is about creative freedom, living fully, and putting everything I’ve learned—especially through my journey with mental health and self-growth—into the music. In many ways, it feels like coming full circle."
The full Breathe album will feature a slew of high-profile collaborations, including music with David Guetta, Pendulum, Hardwell, Moby and EDM.com Class of 2023 artist Indira Paganotto. The expansive tracklist also features the legendary Bon Jovi, with whom van Buuren released the rock-infused rave anthem "Keep The Faith" in February.
Check out the full tracklist of Breathe below and listen to Breathe In, the first part of the upcoming album, here.
Armin van Buuren - Breathe Out Album Tracklist
Breathe Out (Part 2)
Armin van Buuren & Sam Gray - Dream A Little Dream
Armin van Buuren feat. JAI RYU - Let It Be For Love
Armin van Buuren feat. Louis III - Part Of Me
Armin van Buuren & David Guetta feat. Aldae - In The Dark
Rivo vs Armin van Buuren feat. Sharon Den Adel - In And Out Of Love
Armin van Buuren & Norma Jean Martine & LAWRENT (with Alok) - Euphoria
Armin van Buuren & Punctual feat. EVALINA - Angels
Armin van Buuren & John Christian - All Night
Armin van Buuren & Rob Swire - Sound of You
Armin van Buuren - Es Vedrà
Oliver Heldens & Armin van Buuren feat. Sam Harper - Freedom
Armin van Buuren & Chef'Special - Larger Than Life
Armin van Buuren & Bon Jovi - Keep The Faith
Armin van Buuren & Ahmed Helmy - Racing Spirit
Armin van Buuren & Gryffin - What Took You So Long
Armin van Buuren - ALIVE
ARTBAT & Armin van Buuren - Take Off
Armin van Buuren & D.O.D feat. Laura Welsh - By Now
Camisra & Armin van Buuren - Let Me Show You
Armin van Buuren & Omnia - Love
Armin van Buuren & Agents Of Time feat. ORKID - Love Is Eternity
Armin van Buuren & Hardwell - Follow The Light
Armin van Buuren & W&W - Late Checkout
Armin van Buuren & Natalie Gioia - Viva l'Opera
Armin van Buuren & Moby - Extreme Ways
Armin van Buuren feat. Anne Gudrun - High On Love
Armin van Buuren - Pulstar
Armin van Buuren & Natalie Gioia - Freedom's Call
Armin van Buuren feat. Sam Harper - Want Some More
Armin van Buuren & VIZE & Leony - City Lights
Armin van Buuren & Seth Hills feat. Alessia Labate - Gimme The Love
Armin van Buuren & BLR - Bach To The Future
Armin van Buuren feat. Lucky Lou - Sweet Escape
Armin van Buuren & Ben Hemsley feat. Lucy Pullin - Is It Beautiful (A State of Trance
2025 TRANSFORMATION Anthem)
Armin van Buuren & HI-LO - Now Love Will Begin
Armin van Buuren & Vini Vici feat. Anna Timofei - Sarabande
Indira Paganotto & Armin van Buuren - Dragon
Dimitri Vegas & Like Mike, Armin van Buuren, Vini Vici, Push - Universal Nation
Pendulum & Armin van Buuren & Rob Swire - Sound Of You

Breathe In (Part 1)
Armin van Buuren & Goodboys – Forever (Stay Like This)
Armin van Buuren & Xoro feat. Yola Recoba – God Is In The Soundwaves
Armin van Buuren feat. Anne Gudrun – Love Is A Drug
Armin van Buuren – Lose This Feeling
Armin van Buuren – Motive
Armin van Buuren, Ferry Corsten, Rank 1 & Ruben de Ronde – Destination (A State of
Trance 2024 Anthem)
Armin van Buuren feat. GREYLEE – Inevitable
Armin van Buuren & HRRTZ feat. Julia Church – Fire With Fire
Armin van Buuren & Vini Vici feat. ALBA – When We Come Alive
Armin van Buuren feat. Mila Josef – Bed Of Rain
Armin van Buuren & Just_us – Make It Count
Armin van Buuren – Space Case 
Follow Armin van Buuren:
X: x.com/arminvanbuuren
Instagram: instagram.com/arminvanbuuren
TikTok: tiktok.com/@arminvanbuuren
Facebook: facebook.com/arminvanbuuren
Spotify: spoti.fi/2WHsl2t
Ravebot
Ravebot

Beatport Awards 2025: The Tracks, DJs, and Labels Everyone Actually Played This Year

The Beatport Awards were held on April 24 at Atzaró Agroturismo in Ibiza. The event recognized producers, labels, DJs, and festivals based on actual sales data, voting, and expert decisions. These aren’t just names with hype. These are the people behind the tracks that showed up in DJ sets, stayed on the charts, and got played all year.
Best Selling Artist of the Year
This award goes to the artist with the most total track sales across all genres on Beatport. It shows who had consistent demand throughout the year, not just one viral moment. It’s a measure of work rate, reach, and relevance.
Winner: HUGEL
HUGEL’s releases dominated several Beatport charts. His blend of Latin house, vocal-driven cuts, and edits made for dance floors kept his catalog in steady demand. DJs from Ibiza to Tulum played his tracks throughout the year. Songs like “Tamo Loco” and collaborations with BLOND:ISH and Nfasis became crowd favorites. This wasn’t a lucky streak. He stayed present every month.
Best Selling Track of the Year
This is for the one track that sold more than any other on Beatport in the last year. It shows which song stood out enough to be played by DJs across different scenes, whether peak-time or warmup. One track that kept getting picked.
Winner: Adam Port and Stryv – Move (feat. Malachiii)
Move balanced sharp production with a vocal that connected immediately. The drums stayed tight and the groove made it work in a lot of different set styles. It became one of those tracks that kept its spot long after the release buzz faded. DJs stuck with it, and the sales showed that.
Best Selling Remix of the Year
This award goes to the remix that had the most downloads on Beatport. It’s not about who made the original, but who reworked it into something DJs wanted to play. A remix that gave new life to a familiar track.
Winner: FISHER – Jamming (FISHER Rework)
FISHER’s take on Bob Marley and The Wailers’ Jamming brought a classic into club territory. He didn’t overdo it. The groove stayed light but strong, with just enough bounce to keep it moving. The result worked across festivals, clubs, and beach parties. It became one of the most played edits of the year.
Producer of the Year
This award recognizes a producer who consistently put out high-quality music that shaped the sound of the year. It’s not just about volume. It’s about originality, technical skill, and influence across the scene.
Winner: PAWSA
PAWSA kept his sound sharp and reliable. Known for tight, rolling tech-house with a stripped-back edge, he released tracks that worked in clubs without needing big drops or gimmicks. His records landed in the crates of a wide range of DJs, and his approach to production stayed focused on rhythm and function. It was less about flashy edits and more about steady control, which paid off across the year.
Best Live Performer
This award goes to the act whose live shows stood out. Not just for energy but for the way their performance connected with the crowd and built something beyond just playing tracks. It’s about presence, pacing, and how the music hits in real time.
Winner: Chase & Status
Chase & Status have been doing this for years, and in 2024 they returned with a show that reminded everyone why they’re still relevant. Their setup blended drum and bass, grime, and UK rave culture with tight visuals and live vocal features. It wasn’t just loud. It was sharp, deliberate, and designed to hold the crowd from start to finish. Every set felt like a headline moment, no matter where they played.
Hype Label of the Year
This award goes to the label that made the most noise in the scene over the past year. Not just with chart placements but with identity, consistency, and releases that people talked about and played. A label that stayed present without flooding the space.
Winner: Mood Child
Mood Child stood out by delivering tracks that felt intentional. The releases were spaced, not rushed. The label leaned into rich percussion, deep basslines, and an atmosphere that worked across genres. It became a steady name for selectors who wanted something bold but playable. People paid attention because the quality held up all year.
One to Watch
This category is about new energy. It highlights an artist who isn’t everywhere yet but is clearly building something. A sound, a reputation, a path that people in the scene are starting to notice.
Winner: Rosey Gold
Rosey Gold kept showing up in the right spaces. Her productions carried a mix of emotional depth and rhythmic structure, while her DJ sets showed a good ear for flow and tension. Nothing felt rushed or copy-pasted. She’s building her sound slowly and people are starting to follow along.
Social Impact Award
This award is for someone who used their presence in the scene to help others, push conversations forward, and create space where it didn’t exist before. It’s about contributions outside the charts.
Winner: Bradley Zero
Bradley Zero has been working for years to bring inclusivity and balance into dance music. Through his label, radio shows, and event programming, he continues to support new voices and create platforms for people who have been overlooked. His work doesn’t rely on trends. It stays consistent and rooted in the community.
That’s the full breakdown from this year’s Beatport Awards. Every category was based on real plays, real purchases, and real support. Some of the winners have been steady names in the scene. Others are just starting to cut through. But none of them followed hype. They made music that stuck, that got played, and that mattered to people who actually listen. If you already know these names, this just confirms it. If not, now’s your chance to catch up.
Ravebot
Ravebot

Seamless Transitions and Built-In Effects Make the DDJ-FLX2 a Graduation Gift With Staying Power

For the grad with dreams of spinning at EDC—or at least the next house party—consider the AlphaTheta's DDJ-FLX2 DJ controller.
In a world where TikTok DJs are multiplying like bunnies, the DDJ-FLX2 is a cultural fit, empowering entry-level DJs to craft sets or just vibe with friends. In our attention economy, the ability to captivate a room through musical curation is increasingly valuable currency. Today's bedroom DJ experimenting with the DDJ-FLX2 might be tomorrow's festival headliner.
This compact, featherweight device blends beginner-friendly features with pro-grade tricks to offer the perfect send-off for an aspiring DJ. Priced for the post-grad budget, the DDJ-FLX2 pairs with free apps like Serato DJ Lite or Algoriddim’s djay, letting users dive into Apple Music's 100-million-track library without owning a single MP3.
AlphaTheta
Weighing less than a textbook, the unit connects via USB-C to a tablet or laptop. It also offers Bluetooth connectivity to your cellphone, allowing DJs to download the rekordbox app and link to various music libraries, including SoundCloud and Beatport.
In terms of the tech specs, the Smart CFX and Smart Fader features deserve special mention. They essentially function as training wheels for the sonically adventurous, automating tempo transitions and multiple effects with a twist of a knob.
Elsewhere, the Performance Pads let you trigger Hot Cues or Pad FX for button-mashing flair. And headphone cueing adds a pro touch, perfect for practicing without waking parents of grads who find themselves back at home.
The AlphaTheta DDJ-FLX2 is available now for $179 USD.
Ravebot
Ravebot

April Round Up

Well well well, what another month it’s been for bass music. For a start, we launched our brand new event series, UKF Invites. And boy did it go off. Flava D was joined by Taiki Nulight and Casey Club for a night of dubstep deliciousness which culminated in a special half-hour b2b2b that had the whole room in a wobble-induced frenzy. You lot showed up early, stayed late, and brought the energy we love to see. Big up everyone who made it down!
Meanwhile, over in the Balearics, the International Music Summit Ibiza spotlighted jungle and drum & bass for the very first time. Not one, not two, not even three, but four full panels were dedicated to our beloved genre. From its socio-political roots to its global takeover, the discussions were packed with insight, passion, and plenty of bassline appreciation. Jungle and D&B have officially been welcomed to the high tables- about time too.
April also saw some absolutely huge show announcements. Wilkinson is levelling up with the announcement of his biggest-ever solo show at Alexandra Palace, massive scenes incoming. Chase & Status are turning up the heat at All Points East with their RTRN II DANCE takeover, and they’ve just dropped a seriously stacked second wave of artists. Alix Perez is also in full swing, bringing the 1985 Music showcase back to Camden’s legendary Roundhouse. 
Modern-day legend Nia Archives unveiled the first release on her new label Up Your Archives, and no surprise, it’s a smasher. Nia’s golden touch continues, and the new imprint promises to be a vital home for the next wave of jungle-rooted innovation.
Elsewhere in the digital world, SoundCloud quietly rolled out a new look. Chances are you clocked it already- whether from the updated UI or the subtle panic when you couldn’t find your favourite bootleg. Still, fresh features, slicker navigation, and better tools for creators can only be a good thing. We’re betting that more than a few of your new favourite mixes will land there in the coming months.
That’s your April in bass. We’ll see you next month, same time, same place. Don’t forget your earplugs!
Mixes
Bakey @ Kindred x Warehouse Project Records
Ant Mullholland 
The ever-evolving Bakey greets us with an hour of 140 bpm goodness weaving through dubstep, grime, and bass. This young DJ and producer consistently has a refreshing take on underground styles and this set at Kindred in West London displays this yet again. This pop-up brought together a small group of his fans, celebrating his new track released earlier in the month on Warehouse Project Records ‘Backrooms’. 
Ivy Lab x Kasra 
Sagar Deshmukh
For over two decades, Coachella has subtly woven drum & bass and jungle into its sonic tapestry, featuring acts in various capacities since the early 2000s. However, in recent years, the festival has significantly amplified its commitment to the genre, showcasing a surge in high-profile bass music artists.
Coachella’s 2024 lineup solidifies this evolution, spotlighting two of the most forward-thinking forces in the bass music realm—Ivy Lab and Kasra—at the legendary Do LaB stage. Ivy Lab, renowned for their genre-defying, glitchy bass experiments, are set to deliver their signature twisted sonics, while Kasra, the driving force behind Critical Music, will channel the raw, underground spirit of drum & bass that he’s championed with unwavering dedication for decades. 
In anticipation of their Coachella takeover,, Ivy Lab and Kasra have teamed up to drop a blistering 39-minute mini-mix — a sonic snapshot of what fans can expect both at the festival and on the road. The mix showcases the full breadth of Kasra’s love for the deep, gritty, and underground, woven seamlessly with Ivy Lab’s flair for all things off-kilter and wonky in the realm of bass music.
But this mix isn’t just a festival teaser—it’s also the official prelude to their upcoming USA tour, which includes stops in Washington DC, Miami, Portland, Seattle, San Francisco, and, of course, a highly anticipated set at Coachella.
Tracks
 Nia Archives x Cheetah – ‘Get Loose’  released on Up Ya Archives
Ant Mullholland
This soca inspired jungle rhythm is due to be exactly what this summer needed. With the sunshine starting to make an appearance, we have an anthem here that’ll cause mayhem throughout festival season. It’s catchy lyricism from Nia along with Cheetah & Nia’s notable drum stamps, this first ever release on Up Ya Archives has all the ingredients to get you moving as we head towards another summer of jungle. 
Doechii – Nissan Altima (Taiki Nulight Edit)
Amanda Ross
The self-confessed cheeky bugger Taiki Nulight does not miss! He’s concocted a searing new 140 edit of Doechii’s fierce “Nissan Altima” and in fine form, this heavyweight edit is a real bassbin stressor. Known for dynamic production skills, Taiki has gone all in on the Tampa rapper’s vocals, showcasing Doechii’s sick flow paired with a funky bassline, making this one extremely addictive and danceable. Best part is, he’s letting this one go for free — get involved here.
Royalston – Bridget Riley
Sagar Deshmukh
For someone who’s kept a relatively low profile in the wider drum & bass landscape, Royalston has quietly — yet confidently — carved out a space that champions quality, emotion, and razor-sharp precision.
Hailing from Sydney, Royalston has spent over a decade dishing out his signature sound—a seamless fusion of razor-sharp drum & bass precision and the bold, experimental edge of his Australian heritage. The result? A body of work that stands as a masterclass in sound design and storytelling, with four studio albums under his belt, the latest of which dropped on his own imprint, Midnight Zone.
This label has become something of a canvas for Royalston’s deeper, more personal expressions — and his recent release, ‘Bridget Riley,’ is a shining example of that. Named, perhaps metaphorically, after the British artist known for her optical illusions and shifting patterns, the tune feels like one of the most accomplished and emotionally rich pieces Royalston has ever released.
Forget the technical aspects for a moment (though they’re undoubtedly there in full force); just listen – and through the 5 minutes and 25 seconds of its playtime, and you’ll be taken through what feels like three to four distinct emotional landscapes, all intricately woven together.
What makes ‘Bridget Riley’ so remarkable is its ability to shift effortlessly between moods while maintaining a cohesive vision. It’s not just a dancefloor weapon—though it certainly can be—but a piece of music that demands immersion. Royalston doesn’t just make drum & bass; he crafts sonic experiences, and this track is proof of his artistry.
What’s remarkable about ‘Bridget Riley’ is how fluidly Royalston weaves through these movements without ever losing cohesion. It’s cinematic yet intimate, technically meticulous yet emotionally raw. In doing so, Royalston reminds us why he continues to be one of the most compelling and revered names in drum & bass today.
Albums
DJ Hype Return of the Dubplate Killa Volume 1 
Amanda Ross
Now that the new era of Playaz Recordings has been established, it’s time to set everything aside and give the new EP a whirl. DJ Hype has reintroduced himself with “Return of the Dubplate Killa” in collaboration with Heist, with MC Daddy Earl providing nothing less than a timeless future classic. Capturing that pure Playaz magic, Return of the Dubplate Killa Volume 1 gives us a fresh new collection of tracks from legacy artists like Hazard, Tyke, and Crystal Clear. Enter DJ Hazard’s cinematic smasher “End Game”, capturing his trademark style and heaviness.Tyke and Prestige team up on “They’re Watching Us”, which swings out the gate with an ideal sound palette of bass, intricate drums and a jazzy character. Long-time label alum Crystal Clear rounds out the EP with a stunning VIP of his chart-topping “The Code”, injecting new flavours into an already solid roller. The comeback vibes are real over at Playaz HQ, with DJ Hype sharing with UKF, “Feels great to be producing and releasing music again”.
Ravebot
Ravebot

It’s Official: Armin van Buuren Will Release A New Album in June 2025

Armin van Buuren has officially confirmed the release of his new ninth studio album, Breathe Out, arriving on June 27, 2025, via Armada Music. This announcement completes the story that began with Breathe In, the introspective first half released in 2024. That project was focused on reconnection—with fans, with music, and with himself. Breathe Out now continues that journey outward, channeling creative freedom and growth into a massive 39-track release. The announcement follows the release of one of Armin’s most anticipated tracks, ‘Dream A Little Dream’ with Sam Gray, which finally dropped on April 25. Originally premiered at Ultra 2023, the track quickly caught fire across socials and became a staple in Armin’s live sets.
Creativity Through Freedom
More than just a musical sequel, Breathe Out shows Armin stepping into a phase of renewed energy and purpose. It’s a showcase of bold choices, refined songwriting, and sonic fusion across genres. “‘Breathe Out’ really shows how far I’ve come, not just as an artist, but as a person,” Armin shared. “This album is about creative freedom, living fully, and putting everything I’ve learned—especially through my journey with mental health and self-growth—into the music.” That growth is felt across the album, which presents a confident, expansive sound—without sacrificing the emotional depth that longtime fans appreciate.
Armin van Buuren’s New Album Breathe Is A Massive Body of Work
Together, Breathe In and Breathe Out make up a 51-track experience under the name Breathe. It’s a complete artistic expression built over two parts, each complementing the other. Breathe In delivered 12 tracks. Breathe Out delivers 39. This includes new songs like ‘Let It Be For Love’ featuring JAI RYU and ‘Gimme The Love’ with Seth Hills and Alessia Labate, alongside a powerhouse roster of collaborators. Artists like David Guetta, Bon Jovi, Moby, Pendulum, and Gryffin appear across the tracklist. Even longtime collaborators like W&W, Hardwell, and Vini Vici return to explore new sonic territory.
Some pairings stand out instantly. Bon Jovi joins Armin for ‘Keep The Faith’, bridging classic rock and dance with unexpected chemistry. Pendulum and Rob Swire reunite for a crossover with Armin on ‘Sound of You’, merging drum and bass roots with trance euphoria. Festival-focused anthems like ‘Take Off’ with ARTBAT and ‘Late Checkout’ with W&W ensure the album carries Armin’s signature peak-time energy. But quieter moments also shine. Tracks like ‘Es Vedrà’ and ‘Alive’ explore atmospheric soundscapes and personal emotion.
Coming Full Circle
What began with the inward reflection of Breathe In now unfolds into the outward momentum of Breathe Out. Armin’s musical identity feels more cohesive than ever. This isn’t just a DJ compiling tracks—it’s an artist presenting a vision, shaped by experience and transformation. “In many ways, it feels like coming full circle,” Armin says. That statement frames the project perfectly. Breathe Out is the culmination of a process—not just of music-making, but of becoming. And with June 27 on the horizon, fans now wait to witness the closing chapter of Armin’s most personal album to date.
Pre-save Armin van Buuren’s new album “Breathe Out” now.
The post It’s Official: Armin van Buuren Will Release A New Album in June 2025 appeared first on EDMNOMAD.
View the full article
Ravebot
Ravebot

Ron Morven Takes Us On A Journey Of Emtion, Night, And Identity In New Single ‘The Family Man’

Ron Morven’s latest release, ‘The Family Man’, is more than just a progressive house track, it’s an emotional journey. The song tells the story of a life transitioning from nights filled with freedom to a new existence centered around love, fatherhood, and quiet strength. With layered synths, acoustic nuances, and emotionally charged drops, the song explores new territory, speaking simultaneously to the body and the soul.
Known for blending electronic music with deep storytelling, Ron Morven draws on his background as a writer and his experiences across the globe, from the U.S. to South Korea, to craft music that resonates beyond the dancefloor. His use of folktronica and EDM elements creates a unique voice in the genre, one that speaks to both the heart and the feet.
‘The Family Man’ is just the beginning of that. As part of a larger musical project distributed by THE GVLE World Records, Ron Morven promises more emotionally rich singles in the coming months. This release marks a new chapter in his artistic evolution—one where life’s quieter moments take center stage without losing their pulse.
Ravebot
Ravebot

Flume and JPEGMAFIA Share Tracklist of New Collaborative EP, "We Live In A Society"

After sharing the first of several collaborations from a new project last week, Flume and JPEGMAFIA have revealed the final details for their forthcoming EP, We Live In A Society.
The influential Australian electronic music producer and experimental hip-hop star will release the EP May 2nd. Its first single, "Track 1," dropped Friday via an absurd animated video that highlights Flume and Peggy's contrarian approach. Combined with the fact that the EP shares a name with the Joker-inspired meme, we can safely assume the duo is prepared to launch self-aware chaos.
We Live In A Society will feature four tracks, the second of which, "Is It Real," features Ravyn Lenae as its lone feature. Check out the tracklist below.
Flume and JPEGMAFIA have a storied history together despite making a name for themselves in different genres. In 2019, the former featured the latter on "How to Build a Relationship" from the Hi This Is Flume mixtape. Flume would return the favor last year with production credits on "New Black History" and "Cult Status" from JPEGMAFIA's album, I LAY DOWN MY LIFE FOR YOU and its Director's Cut edition.
You can pre-save We Live In A Society here.
Follow Flume:
X: x.com/flumemusic
Instagram: instagram.com/flumemusic
TikTok: tiktok.com/@flume
Facebook: facebook.com/flumemusic
Spotify: spoti.fi/2VJhtRc
Follow JPEGMAFIA:
X: x.com/jpegmafia
Instagram: instagram.com/jpegmafia
Facebook: facebook.com/jpegmafia
Spotify: spoti.fi/3XXXbBi
Ravebot
Ravebot

How a Young Girl's Rave Obsession Evolved Into Jessica Audiffred's Breakout Debut Album

The first time Jessica Audiffred experienced a proper rave, she didn't know she was peering directly into her future. She only knew she'd never be the same again.
The Mexico City-born DJ and producer today dropped her long-awaited debut album, RAVE NEW WORLD, which functions as a sonic autobiography tracing her evolution from wide-eyed raver to genre-defying artist.
From an early age, the EDM.com Class of 2025 star says she immersed herself in rave culture alongside her brother, forming a deep, almost spiritual connection to the scene long before dreams of DJing ever surfaced. What began as a pure obsession with trance music evolved into a boundless love of other sub-genres like techno and dubstep, shaping the artist Audiffred would become.
"My love for music grew so much that I wanted to be part of it, though it never crossed my mind that I could become a DJ and tour the world because of it," Audiffred recalls. "This album is an ode to those early rave experiences and everything good they’ve brought to my life. Raving is like a comfort zone for me, and I know it’s the same for many ravers around the world—a place to escape."
RAVE NEW WORLD opens with "Keloke," a collaboration with fellow Mexican producer urboi. that immediately establishes Audiffred's cultural roots. The sound of Mexico City's underground bubbles up through the cracks of a filthy bass track as Spanish-language vocals weave through acid-tinged synths.
"Rave On" emerges as one of the album's emotional highs, a euphoric freefall where chae's wistful lyrics ("My sweetest escape, take me back to the day when the journey began") shimmer under crystalline synthscapes before Audiffred detonates a thunderous dubstep drop. The track is nostalgia at full speed, conveying the spiritual experience of her formative rave days.
What makes RAVE NEW WORLD particularly compelling is Audiffred's willingness to venture beyond her comfort zone. "Goes Like" and her collaboration with Nostalgix on "Afterparty" see her pivoting toward bass house and techno with remarkable dexterity. These aren't dilettantish experiments but confident expansions of her sonic palette, suggesting a producer more interested in artistic growth than entrenchment.
The most revelatory moment comes with "I Wanna Be Free," a liquid drum & bass track where she trades brute force for raw vulnerability. Leah Culver's aching vocals capture the desperation of self-reclamation as Audiffred delivers the album's heaviest track, not by weight, but by heart.
The rest of RAVE NEW WORLD is vintage Audiffred: unfiltered bangers that make you want to run through a wall, like "Unleashed" (with JEANIE and Dani King) and "Destiny" (with AlienPark). To that end, the album reminds us of the unifying power of a well-crafted drop and the enduring appeal of dance music that makes you feel something visceral.
You can listen to the new album below and find it on streaming platforms here.
Follow Jessica Audiffred:
X: x.com/jessicaaudifred
Instagram: instagram.com/jessica_audiffred
TikTok: tiktok.com/@imjessicaaudiffred
Facebook: facebook.com/jessicaaudiffred
Spotify: spoti.fi/3FEpy0B
Ravebot
Ravebot

Friendship’s Gary Richards Offers Free Cabins In Exchange for Fyre Fest Horror Stories

Gary Richards, the renowned promoter behind Electric Daisy Carnival (EDC) and HARD, is calling out Fyre Festival’s failure. Richards is offering 10 cabins on his FriendShip 2026 cruise to fans with the wildest Fyre Festival stories. This giveaway highlights Richards’ contrast in approach, having built a legacy of successful events while Fyre Festival failed spectacularly.
Gary Richards’ Take on Fyre Festival’s Failures
In an interview with TMZ, Richards expressed his frustration with the Fyre Festival saga, noting that as a festival producer, reputation and trust are paramount. “All your fans have is your word and your track record,” Richards said. He emphasized that seeing the chaos and harm caused to festival-goers by the mismanagement of Fyre Festival was unacceptable. Along with [PLEASE LINK OTHER ARTICLE WRITTEN TODAY TO THIS NAME PLEASE]Oren Aks, Richards also criticized the media’s fascination with such failures, especially when experienced promoters like himself have been organizing successful events for years. His message was clear: he wanted to show the world how a festival should truly be done.
The FriendShip 2026 Giveaway
In response to the Fyre Festival debacle, Richards is offering fans a chance to experience a well-organized event. Fans can submit their wildest Fyre Fest stories to [email protected] for a chance to win a spot on the FriendShip 2026 cruise. The winners will experience how Richards and his team execute a flawless event, providing a stark contrast to Fyre Festival.
Conclusion: A Message from Richards
Gary Richards’ offer is more than a giveaway; it carries professionalism in the festival world. By inviting burned Fyre Festival fans, Richards wants to show what a real, well-executed event looks like. The FriendShip 2026 cruise will offer a unique, well-curated experience, demonstrating the true meaning of quality and care in event production.

The post Friendship’s Gary Richards Offers Free Cabins In Exchange for Fyre Fest Horror Stories appeared first on EDMTunes.
Ravebot
Ravebot

Bastl Instruments’ Kastle 2 Wave Bard is a “semi-autonomous” patchable sample player for discovering new rhythms and riffs 

Bastl Instruments has launched a new “experimental”, patchable sample player, inspired by its popular Kastle Drum synth launched in 2020.
The new Kastle 2 Wave Bard brings the Kastle range “to the next level”, according to the brand, with user-uploadable samples, stereo, effects, plus better sync and patch capabilities. It’s compact and runs on 3 AA batteries or USB-C, and it “loves to jam” with other portable gear thanks to sync in/out ports and an audio input.
READ MORE: Splice’s final instalment of Oliver’s “Power Tools Decades” sample pack series is inspired by hit producers of the noughties The Wave Bard is described as a semi-autonomous companion that continually delivers its fresh ideas to its user. The launch marks the second firmware release for the Kastle 2 platform, which already hosts the FX Wizard effects processor, and is cross-compatible between both devices, meaning the Wave Bard can be loaded onto the FX Wizard, or the other way around.
Samples are organised in banks, which can be selected and sequenced using knobs or CVs from a built-in pattern generator and LFO. You can also reverse your sounds with a ‘length’ knob and a unique reversing envelope, and in addition to your own samples, rhythms and scales can be loaded on to the Bard with the accompanying web-based app/editor. You can also play melodic samples in quantized scales, and experiment with a built-in filter, plus delay or chorus/flanger effects.
Take a closer look below:

The Kastle 2 Wave Bard is available now for €190. Both Kastle 2 instruments – the Wave Bard along the FX Wizard – will be presented at Superbooth 2025 at booth #0385. Find out more via Bastl Instruments. 
The post Bastl Instruments’ Kastle 2 Wave Bard is a “semi-autonomous” patchable sample player for discovering new rhythms and riffs  appeared first on MusicTech.
View the full article
Ravebot
Ravebot

Superpoze celebrates 10 Years of Opening with special reissue & Rival Consoles remix

Ten years after its original release, French composer and producer Superpoze celebrates the legacy of his breakthrough debut ‘Opening’ with a special anniversary reissue, available now on digital and limited-edition vinyl. He also announces a headline show at Paris’ Salle Pleyel, set for March 21, 2026.
Originally released in 2015, ‘Opening’ marked a defining moment for Superpoze (Gabriel Legeleux), his first full-length statement and a turning point in his artistic journey. Rooted in minimalism and emotion, it introduced his signature blend of “chamber electronic music,” crafted with intention, patience, and raw sincerity.
Now, a decade later, ‘Opening’ is being revisited in both physical and digital formats, featuring new material and rare archival tracks.
The 10th Anniversary Reissue Includes:
• Limited vinyl edition (300 copies only), featuring:
• Dream Koala’s rework of ‘Opening’ (on vinyl for the first time)
• An unreleased track from the original sessions: ‘Wait (2015 Archive)’
• Expanded digital version, including all of the above plus a brand-new remix of ‘Unlive’ by acclaimed UK producer Rival Consoles
“This album changed everything for me,” says Superpoze. “It was the first time I slowed down, gave music the space it needed, and created something with deep intent. Even in its fragility, it’s the foundation of everything I’ve done since—albums, scores, collaborations. I’m reissuing it to honor that beginning and to thank it.”
Since ‘Opening’, Superpoze has become one of France’s most visionary electronic artists. His follow-up albums (For We the Living, Nova Cardinale) earned praise from critics including Télérama, and he’s played sold-out shows across Europe and the U.S., including a standout performance at Paris’ Le Trianon.
As a composer, his work spans film (Frères ennemis, A voix haute), theatre (Hunter, Théâtre National de Chaillot), and sound installations for major cultural institutions like the Grand Palais and Louvre. He has collaborated with artists across the spectrum—from Jacques, Stwo, and DJ Pone to French chart-toppers like Lomepal, Nekfeu, and Eddy de Pretto. In 2023, he joined the experimental collective Ensemble Solaris (with Canblaster, Yndi, and Variéras), performing improvised, site-specific pieces across Europe.
With a new album set for fall 2025, this reissue is more than a celebration; it’s a bridge between past and future, offering a powerful reminder of how it all began. Stream / Download here
Tickets for Salle Pleyel, 21st March 2026 – HERE. 
The post Superpoze celebrates 10 Years of Opening with special reissue & Rival Consoles remix appeared first on Decoded Magazine.
Ravebot
Ravebot

T78 Returns With Powerful New Track ‘Self Control’

T78 has been tearing up the techno scene with a tirade of bangers that have earnt him millions of streams and a reputation as a powerful force in techno. Continuing this insane run of massive hits he’s dropped ‘Self Control’ on Filth On Acid which further cements his status as a titan of techno.
‘Self Control’ is a fantastic blend of techno with elements of trance and acid sprinkled in which all adds up to make an undeniable dancefloor demon. From start to finish the track is packed with energy from the array of well-crafted synths, heart thumping kick, and relentless rumbling bass. ‘Self Control’ is yet another example of T78’s hypnotic, entrancing rhythms and mastery of low-end power that rocks every venue he goes to. He’s already had great success on Reinier Zonneveld’s label Filth On Acid and this track is sure to add to that success.
T78 otherwise known as Manuele Tessarollo is a regular on Beatport’s Techno Peak Time and Hard Techno Top 100 charts with his killer tracks. At the age of 12 he fell in love with techno as well as vinyl’s which he continues to collect and now has a collection of over 11,000 of them. He’s collaborated with some of the biggest names in the industry like Reinier Zonneveld, HI-LO and Space 92 as well as founding his own label Autektone Records.
T78 is continuing to tour around the world bringing his techno marvels to the masses. ‘Self Control’ is a display of why he is so highly revered in the techno scene and is going to blow the roof off of anywhere it’s played.
To follow T78 on Instagram click the button below:
T78 INSTAGRAM
Ravebot
Ravebot

JOE T VANNELLI makes waves with remix of Eartha Kitt’s “Where Is My Man”

Internationally acclaimed DJ and House Music maestro Joe T Vannelli is set to release a stunning 2025 remix of Eartha Kitt’s iconic 1983 single, “Where Is My Man”, on April 25, 2025. A high-energy reimagining of a classic, the remix promises to ignite dance floors around the world while honoring the timeless glamour and theatricality of the original.
Originally penned by Bruce Vilanch, Jacques Morali, and Fred Zarr, “Where Is My Man” marked Eartha Kitt’s triumphant return to the charts after a 14-year hiatus. With its bold lyrics, Euro-disco flair, and Kitt’s inimitable voice, the song reached No. 7 on the U.S. Billboard Dance Chart and became a cult favorite across international club scenes, particularly among LGBTQ+ audiences.

Joe T Vannelli, one of the foremost figures in global House Music, brings his signature sound and masterful production to this fresh remix. With over twenty gold and platinum records to his name—including hits like “Children” by Robert Miles and “Groovejet” by Spiller—Vannelli’s remix delivers a pulsating, stylish tribute that bridges generations of club culture.
Having headlined legendary venues such as Pacha and Amnesia in Ibiza, Cavo Paradiso in Mykonos, and Marquee in New York, Joe T Vannelli is no stranger to global audiences. His work has defined eras of dance music, and his creative vision continues through Supalova, the groundbreaking event brand he founded, and Sound Faktory, his artistic hub in Milan.
The remix of “Where Is My Man” is more than just a nostalgic nod—it’s a celebration of bold individuality, timeless glamour, and the enduring connection between House Music and self-expression.
The post JOE T VANNELLI makes waves with remix of Eartha Kitt’s “Where Is My Man” appeared first on Electric Mode.
Ravebot
Ravebot

Decoded Magazine Mix of the Month Returns — And This Time, We’re Raising the Bar

After a little bit of a hiatus, we’re bringing back one of our most loved (and yes, hotly debated) features — the Decoded Magazine Mix of the Month. But this time, we’re doing it differently. We have enlisted our former Mix of the Month winner, Ben Clifford, to adjudicate and we are opening up more genres to submit.
We’re here for the DJs who dig deep. No EDM. No chart-toppers. No chasing plays. We want substance, not popularity contests. This isn’t about who can rack up the most streams or drop the latest Beatport Top 10. We’re looking for DJs who push boundaries. Those who explore sound, not trends. Those who understand that DJing is a craft, about storytelling, technical precision, selection, and soul.
As our Editor, Damion Pell, puts it:
Our new Mix Director – Ben Clifford, explains
So what genres are we looking for?
Genres Accepted
Drum & Bass
Breaks
House
Techno
Deep House
Ambient
Chill Out
Trip Hip
Electro
Techno
Dub Techno
Minimal
Progressive House
Melodic Techno
No EDM (Trap, Dubstep, Commercial, Big Room, Trance — none of it)
Full details of how to enter, rules, and prizes will be released on Monday, May 5th, so stay tuned!

The post Decoded Magazine Mix of the Month Returns — And This Time, We’re Raising the Bar appeared first on Decoded Magazine.
Ravebot
Ravebot

Catching Up With Mandidextrous

In a world where things sometimes seem to go backwards, Mandidextrous keeps moving forwards. They recently launched a new label, Speedbass Recording, where they showcase their signature sound, full of 4×4, bassline, jungle, and tek flavours. The first official release, ‘Needed You’, has been doing bits. Inviting BEANIE, Gea, and Samurai Breaks to the label, the next few releases are looking promising too. 
Mandidextrous truly is a versatile artist. They found their roots in free parties, built the label AMEN4TEKNO up to the leading UK label for raggatek, hardtek, and jungletek. Now they’re well on their way to truly making a mark in the scene with Speedbass Recordings, a venture where they can, in their own words, “truly be themselves”. 
We had a chat with Mandidextrous and talked all about the new label, the 15th anniversary of AMEN4TEKNO, and the very last edition of Balter festival.
You recently launched your Speedbass Recordings label, after a soft launch a few years back. 
When I started the Speedbass project, I was in a bit of a limbo scenario. I’ve been running my other label AMEN4TEKNO Records for 15 years now and did a soft launch with Speedbass Records in 2022. I did it on Bandcamp and that’s where I uploaded a big body of work as well. But then I got really busy, the bookings started to go crazy, and I lost my trajectory with Speedbass Recordings. I also felt that I needed more help to build the label, so I just let things sit there on Bandcamp for a while. Towards the end of last year, I decided that I really needed to refocus on the speed bass sound. This came from a number of different feelings and places but I reached out to the guys at Cygnus and they’ve been really good. They’re a distribution platform and they have decided to try and help me out with the Speedbass label. I’m going to do a release every month, and I’ve had some really cool submissions already. I’ve also started to make a lot more noise about it. 
What’s been bubbling behind the scenes for you?
I love drum & bass, it’s in my heart, and it’s what I was djing when I first started music, djing at free parties. I found the drum & bass scene is quite intense, the levels of production in drum & bass are through the roof, and I’m a bit of an old school head now. My vision of drum & bass is a bit different to what it is now, as much as I love the scene. The thing that I love to do the most is play my speed bass stuff, because that is inherently what I am all about. D&B is one thing, but the speed bass sound… I love creating it! I have endless inspiration for it, and it’s completely my sound and my style. In recent months I’ve decided that I didn’t want to continue battling in the way that I was within the drum & bass scene. There is so much competition, and rightly so, the levels of productions and everything that people put out now is through the roof, but I didn’t want to compete with that. I’d rather cut my own lane and this sound and style take from loads of different pockets. It’s all me. I still love D&B, I still love playing parties, but if I get the chance to just do me and be on a multi-genre lineup and do my speed bass sound, it pops off every time and I love it. 
Another thing is, I’ve been running a label called AMEN4TEKNO Records for 15 years now. We release a mix of jungle drum & bass and fast-paced techno inspired by the European hard tech scene. For a long long time, I used to struggle with that sound because I would play a lot in Europe and it would either be too UK for Europe or too European for the UK. There was no real middle ground for me to sit within. I still love that music but I fell out of love with making it and I hit a bit of a rut, so I decided to try and reinvent my wheel. Around that time I was living with my best friend SHOSH, she’s a big garage girl and she’s now come into her own and started her dubstep project which is unreal. I’m so proud of her. She was a big inspiration for me back when we were living together, I really took a lot of inspiration from her trajectory and the way that she worked. It made me think a lot, and I fell in love with bass house and bass line. I’ve always loved that sound, and I fell in love with mixing it. SHOSH and I ended up mixing it at home and all of those different sounds of garage, dubstep, bassline… came together. I wanted to try and recreate those moments into this new sound, which I called speed bass, which is taken from bassline, bass music, drum & bass, and then putting it together but all with a fast 4-4 tempo. That’s how I reinvented myself. The moment I did that, doors started opening. I was bringing a new sound to the table that was inherently my own sound, that was fresh and it had new energy. It revitalized me as an artist and since then I’ve been in love with making music again. 
Inventing your own genre! This is a moment people will speak about years and years from now. 
I started making music because I couldn’t find the music I wanted to hear anywhere. That was the jungletek sound, so what I used to do was record famous jungle and drum & bass tunes into Ableton, put a 4-4 kick drum under the whole thing, EQ out all of the bass tunes, and make a kick bass for it. Then I would burn it to a cd and play it in my sets. That was my sound of jungletek, that was me mixing jungle drum & bass with techno, but in a production  way. When the jungletek scene exploded I started signing artists to my labels that were making that same sound. Alongside that we had Vandal really pushing his raggatek sound, which is world famous. He’s the king of that sound. I for a little while was also named as the queen of raggatek, and the queen of jungletek. I wouldn’t say I invented jungletek, but I instigated it. But with the speed bass sound, that was me not wanting to conform to any genre and just do my own thing. I find it hard to find music that sits with me and that I want to play in my shows. So I just make it myself, and then I invent a name for it.
That’s also a way of describing your whole persona. You can’t fit you in a box.
A big part of my journey in music is blurring the lines. I blur lines between gender and expression as well, and I’m very open and vocal about it. I wear my heart on my sleeve with my music and who I am as a person. By doing that, I’m showing people that if you’re a bit different, you can still cut through. Being different is sometimes a benefit, it can really set you apart from everyone trying to make it.
How did you find your strength in that?
It can be really hard. There’s a lot of copycatting going on at the moment, and there’s a lot of people that compare themselves to other artists and other journeys. What we see online is all smoke and mirrors. You might see a really happy video from an artist but they might be going through hell in their life, but it’s just the way that we have to be. I’ve sometimes felt like the industry has been against me because I am trans, I’m non-binary, and I’ve been very feminine but also very masculine. My music is individual to a certain extent. I sent a lot of my music to labels and it got to a point where the amount of rejection really started eating away at me. When you get music rejected it might not necessarily be for the fact that your music’s bad or not well made, but all of that eats you alive. Finding middle ground has been very hard over the years and I think that my journey has taken quite a slow trajectory, but as long as you stick at it and you keep going eventually things will come up roses. I’m gassed to be here at 41 years old, still doing this. 
Let’s go back to Speedbass Recordings. You told me that there are going to be monthly releases… Can you tell us a bit more about that already?
The first release, ‘Needed You’, did really, really well. The response on that tune has been unreal. The next one is coming up on April 25. The track is called ‘The Signs’ and it’s with an amazing vocalist called BEANIE who’s just coming through. It’s got hyper pop vibes to it and it’s got a big cheesy full forward section and then switches into jungly drum & bass. It’s really high energy, I love it. After that I’m working with an artist called Gea. She’s killing it in the Spanish scene and is now moving over into the French scene a bit. She does singing, she’s a lyricist, she’s a producer, she’s a DJ, she’s a content creator. Everything all in one. We did a track together called ‘The Beat’, and that’s going to be the third release on the label. I’ve also got a really cool collaboration with Samurai Breaks coming up. I absolutely love that guy, he’s a mad inspiration. His music really sits with mine, and his label Super Sonic Booty Bangers is one of my favorite labels. A lot of the music that sits there makes its way into my sets. We’ve got two tracks together, one of which features vocals from Leanne Louise. 
Another thing you’ve mentioned was your AMEN4TEKNO label. You’ve been running this for 15 years this year! Anything planned for that?  
I haven’t thought about that, to be honest. I’m so proud of the guys on my label and the core collective, T-Menace, Matt Scratch, Slinks, Roland.K. When I started getting really busy within the drum and bass community just after covid, things all kicked off for me. Playing Let It Roll really launched me into the D&B scene and at that point I wasn’t really writing music for the label anymore. I was ready to close the doors on it, I’d run out of steam for it, but the boys really stepped up and they told me, let us run the label for you, and they’ve done exactly that. They’ve absolutely smashed it and I’m so proud of them. For the last couple of years, AMEN4TEKNO has been putting out around three tracks every month from new artists all over Europe and the UK, and we’re still the UK’s number one jungletek, raggatek, and hardtek label. In Europe we’ve also been hitting the top of the charts on the main distro. It’s been an amazing thing to see. So yes, we probably should be celebrating those 15 years, because it’s quite a milestone! 
It’s good to have people that you can really trust and to have people that have the same vision as you. That’s actually something that daunts me a little bit now with Speedbass Recordings. I am starting to get submissions, which is amazing. Other artists are starting to really tap into this little niche bubble that I’m trying to build, and in time that’s going to need more attention. I’m going to want to nurture those artists some more and in a way I might be putting myself back on the chopping board for solely running another label but it’s fine. I’m hoping it will be just as well, if not better than anything I’ve done before.
In one of the interviews I read, you talked about how you were involved at Balter. How is it to have been involved from the first till the last edition?
I’ve been playing Balter since day dot. I was at the first one and I’m playing the very last one. I lived with the organiser, E-Coli, for a number of years and I would often get very involved in the build-up and the breakdown of the festival. I ended up running one of the stages for him, the Jigsaw, and being a stage manager there. I’ve had quite a lot of involvement. The last few years I’ve stepped back from all of that because I’ve been so busy as an artist myself, but I’m part of the furniture there, just like with Boomtown. I love the UK festivals a lot with Balter as one of my favourites. It’s going to be an emotional party to say the least. I’m actually closing a stage and I’m probably going to end up crying at that one. The first ever time I played my speed bass sound was at Balter, some of the biggest jungletek and raggatek shows I’ve ever done have been at Balter. One of the best memories I have is when my good friend Vandal and I struggled to get to the end of a set when we played back to back. People would go so crazy for it, we’d have to shut the venue. It was just too over capacity. We finally managed to get to the end of a show at the recent Balter festival pre-party at Motion, the first time me and Vandal had finished the B2B together at a Balter party! It’s going to be super special closing the festival and this coming festival will be the last one in the series. So much love for Balter, it’s a shame to see it go. 
It’ll be special for sure! Any last thoughts? 
A big part of why I’m doing this now and why I’m really pushing it, is to be able to help cut my own lane within the music industry, and not worry so much about rejection from labels. I find that getting rejected for my music can be quite sobering, but like I said earlier, there are always reasons behind it. It’s not that my music’s bad, it’s just not quite right for that moment in time. To find a place and a voice for trans people and non-binary people within the music industry and show people that we can do it, we can be relevant, we can be out here and cut in our own lanes, that’s the goal.
Ravebot
Ravebot

Epidemic Sound Launches New AI-Powered Music Recognition Service with Latest Acquisition

Photo Credit: Song Sleuth
Epidemic Sound acquires music recognition tech company Song Sleuth to help revolutionize music monetization in user generated content.
The world’s leading soundtracking platform, Epidemic Sound, has announced the acquisition of Song Sleuth, the music recognition technology company specializing in identifying and monetizing music used in user-generated content (UGC). The deal marks the launch of Aentidote, a new service under the Epidemic Sound Group, designed to help platforms pay out more accurately to artists and rights holders globally for the use of their music across online platforms.
This marks Epidemic Sound’s third major acquisition in as many years, after AP Records (now Overtone Studios) in 2022, and Soundly in 2023. All three strategic moves further solidify the company’s foothold in music licensing and the creator economy.
Aentidote combines Song Sleuth’s AI technology with Epidemic Sound’s industry expertise to identify music usage that traditional detection systems struggle to find—including remixes, covers, and live recordings. Offering a reported identification success rate of up to 95%, Aentidote is poised as the most comprehensive UGC music usage tracking and monetization service available.
“From day one, our mission has been to create a win-win situation for everyone involved in this rapidly evolving creator economy,” said Oscar Höglund, CEO and Co-Founder of Epidemic Sound. “We’ve built a platform that helps artists thrive, generating over three billion daily plays across platforms like TikTok and YouTube. With Aentidote, we’re pairing that expertise with Song Sleuth’s cutting-edge technology to bring even greater value to the broader creator industry—giving music rights holders powerful tools to track usage and ensure they get paid, while supporting both creators and platforms with scalable, accurate identification solutions.”
Song Sleuth’s technology has already helped its clients achieve a significant uplift in content identification, highlighting existing challenges for rights holders to track and monetize their work online. With creation and consumption of UGC expected to surge (Goldman Sachs predicts the total addressable market of the creator economy will approach half-a-trillion dollars by 2027), the future holds increasing opportunities for rights holders, the industry, and artists to capture the full value of their work.
“The complexity of music use across a plethora of digital platforms both officially distributed and user-generated requires a different approach,” said Jordan Gross, CEO of Song Sleuth. “By joining forces with Epidemic Sound, we’re scaling our vision to offer unprecedented clarity and control across the entire music ecosystem, providing platforms with ever more accurate identification systems, while giving artists, labels, and publishers confidence that their work is being both found and rewarded.”
After strong financial results in 2024, Epidemic Sound is doubling down on its commitment to innovation in music monetization. The company is building on initiatives like its soundtrack bonus, 50/50 streaming royalty split, and now, offering a new level of transparency and fairness in UGC monetization with Aentidote.
View the full article
Ravebot
Ravebot

Apple Music Names Ex-TikToker Ole Obermann & Rachel Newman As Co-Presidents

Photo Credit: rishi
Apple Music has appointed industry veterans Ole Obermann and Rachel Newman as Co-Presidents to steer the streaming service. The dual leadership structure will report to Apple Vice President Oliver Shusser. The structure merges external innovation with internal institutional knowledge as Apple fights for market share against industry behemoth Spotify.
Ole Obermann joins the organization from TikTok, where he served as the Global Head of Music Business Development from 2019 to 2025. During his tenure there, he negotiated landmark licensing deals, including the return of Universal Music Group’s catalog after the high-profile dispute in 2024. Obermann’s expertise with viral music marketing and AI-related licensing negotiations could prove critical for Apple as music streaming competes with video streaming head-to-head.
Meanwhile, Rachel Newman is a 16-year Apple veteran who has risen through the ranks. She started as a manager for iTunes in Australia & New Zealand’s music division before becoming the head of global content strategy. Her understanding of Apple’s ecosystem and editorial curation processes position her to maintain the services’ premium branding while adapting to emerging market demands. Newman’s expertise in balancing regional content strategies with global initiatives could see Apple Music refine localization efforts as it aims to take on Spotify.
Apple Music has continued to leverage high-profile sponsorships, such as the Super Bowl Halftime Show partnership—which achieved record viewership in 2025. With Ole Obermann’s expertise in viral music marketing and the AI-driven content challenges faced by streaming platforms, the dual leadership structure aims to capitalize on social media’s growing virality factor for streaming economics in an era of the music industry that is practically driven by online influencers—be that people, games, movies, or TV.
The restructure also coincides with Apple’s effort to navigate the complex geopolitical landscape currently changing day-to-day. The company recently resolved a sales blockade in Indonesia by localizing AirPods Max production in Indonesia as required by law. Indonesia blocked sales of iPhone devices after Apple failed to comply with the country’s Domestic Component Level policy, requiring 40% of electronic components to be domestically produced.
Part of that resolution was to include a $10 million facility for accessory manufacturing and a $100 million proposal to assemble AirPods Max components in the country. The AirPods Max component production is only a partial solution to an issue Apple faces when balancing global supply chains with governmental policies. Apple says its Asia and Europe teams will be on the same reporting level as US governmetn affairs, which is run by Tim Powderly.
View the full article
Ravebot
Ravebot

Anaheim’s Honda Center is Getting a $1 Billion Renovation, Complete with ‘Opera Box Seats’ and Ultra-Luxe Accommodations

Photo Credit: Rendering of Honda Center Encore
Anaheim’s Honda Center announces a $1 billion privately funded renovation to reimagine the arena, spearheaded by longtime stewards, the Samueli Family.
OC Sports & Entertainment (OCSE) made the announcement of the multi-year investment led by the owners of the Anaheim Ducks. The comprehensive renovations will reimagine nearly every aspect of the venue. The project launched last fall and plans to run through the end of 2027. Importantly, Honda Center will remain open during all project phases.
“This is more than just an investment in a venue—it’s an investment in Anaheim and the future of Orange County as a global destination for live entertainment,” said Bill Foltz, Chief Executive Officer of OC Sports & Entertainment. “Honda Center Encore reflects our commitment to delivering a world-class experience for every guest, every visit—all made possible through the vision and generosity of the Samueli Family.”
Among the highlights of the Honda Center Encore transformation include a new five-story South Entrance with a “grand arrival experience,” and future plans for a high-impact digital display to host outdoor viewing parties and community events.
New escalators will improve vertical circulation and enhance guest flow through the arena; a complete refresh of the food and beverage spaces—including ten new concepts and the use of self-service technology—will elevate speed and convenience for guests. The debut of new opera box suites and a full renovation of all 68 existing luxury suites, plus an all-inclusive club with upscale experiences for premium guests, will offer unmatched views and hospitality.
Finally, the arena will see three new parking garages, increasing available parking by nearly 60%, alongside four new entry plazas with a distinct social aesthetic. The two general parking garages will begin serving guests as early as October 2025, streamlining entry with an all-inclusive model, and the first of its kind at a US arena—eliminating parking passes and enabling seamless entry and exit for ticketholders.
“As our partnership approaches two decades, we are proud to be a part of this reimagining of the Honda Center into a world-class facility where dreams come true,” said Jennifer Symington, Assistant Vice President of Marketing, American Honda Motor Co., Inc. “This renewed commitment to the community and visitors will make Orange County and the Honda Center a premier destination for sports and entertainment.”
View the full article
Ravebot
Ravebot

Music Industry Bodies React to U.S. House Passage of TICKET Act

Photo Credit: Alexander Abero
With the TICKET Act’s passage in the U.S. House, several music industry organizations have released full statements in support of the action. Now the law must pass through the Senate.
Several music industry organizations released statements about the passage of the TICKET Act. Some of those statements praise the move, but also call attention to carve outs that may weaken the law as it is written. Here’s a peek at where many industry bodies stand on the passage.
National Independent Venue Association (NIVA)
“The speculative ticketing ban in the TICKET Act is an important step toward restoring trust in the ticketing market,” begins Stephen Parker, Executive Director of NIVA. “Artists, independent venues, and promoters fought tirelessly over the last two years to secure this critical protection. Any ticketing law must truly ban speculative tickets without exception.”
“Unfortunately the inclusion of a ‘concierge service’ carve-out, as written in the TICKET Act, would undermine the speculative ticket ban. Concierge services should not be a loophole for companies like Vivid Seats to claim they are offering a service while selling ‘tickets’ they don’t possess to unsuspecting fans. States across the country have proven that strong, loophole-free ticketing consumer protections work, and Congress should build on that momentum.”
“The White House Executive Order on Combating Unfair Practices in the Live Entertainment Market also made clear that deceptive practices must be fixed, not re-branded. We urge Congress to amend language to make certain that ‘concierge services’ do not empower multi-billion dollar resale platforms over consumers.”
“Further, we support strengthening the law with enhanced penalties and enforcement authority for state attorneys general to deter bad actors and help ensure the law is being followed. Illegal bot use runs rampant in the ticketing industry because the FTC has only brought one enforcement action since the use of bots was banned in 2016. We hope Congress does not miss the opportunity to ensure these laws are actually enforced in the future.”
“We look forward to working with the Senate to ensure that fans, venues, and artists are prioritized in the final version of the TICKET Act.”
National Independent Talent Organization (NITO)
“The TICKET Act that just passed the house does not do nearly enough to protect fans and consumers against bad actors,” NITO said in a joint statement of members. “Vivid Seats spec ticket ‘seat saver’ program is still 100% legal. All-in pricing without itemization means fans won’t know the price the artist sets. Bots will continue to run rampant without stronger enforcement mechanisms.”
“NITO urges the Senate to strengthen this bill prior to passage and we will continue to advocate for stronger protections for our community.”
Recording Academy
“Today’s passage of the TICKET Act by the House of Representatives marks a significant step forward toward improving the concert ticket marketplace,” shares Harvey Mason Jr., CEO of the Recording Academy. “The TICKET Act was a key focus of Grammys on the Hill and the Recording Academy thanks our Congressional leaders for bringing the bill to a vote shortly after meeting with Academy members. We now urge the Senate to act quickly to incorporate the strong provisions contained in the Fans First Act and move a comprehensive ticket reform package that will provide transparency and protect artists and their fans.”
Live Nation
“We’re grateful to Reps. Gus Bilirakis, Jan Schakowsky, Chairman Brett Guthrie and Ranking Member Pallone for re-introducing the TICKET Act, which includes an all-in pricing mandate and bans speculative ticketing—a deceptive scheme that targets concert-going fans. Live Nation has long advocated for such reforms, and we’re hopeful Congress could soon pass these important changes into law to make the concert industry better for fans and artists.”
The Coalition for Ticket Fairness (CTF)
“The Coalition for Ticket Fairness (CTF) applauds the House on the passage of the TICKET Act,” says the organization’s statement. “Introduced by Subcommittee on Innovation, Data, and Commerce Chair Gus Bilirakis and Ranking Member Jan Schakowsky, the TICKET Act represents common sense reforms that will bring much needed transparency into the ticket buying process and give consumers more information as they make purchasing decisions. By empowering consumers, this bill will help lead to a better ticket buying experience and a healthier marketplace.”
Fix the Tix Coalition
“The Fix the Tix Coalition, representing every major constituency of the music and live events industry, applauds the passage of the TICKET Act, as an important step towards restoring trust in the ticketing ecosystem,” the statement reads. “The bill provides transparency with all-in pricing, and takes important steps to combat speculative tickets and deceptive websites.”
“The live entertainment ecosystem is counting on Congress to act in the best interests of fans to restore transparency and trust to our country’s broken ticketing system.”
View the full article
Ravebot
Ravebot

Rinaly & Julie Thompson Join Forces for Uplifting Progressive Trance Anthem ‘Running’

The reigning #1 Trance DJ in Asia, Rinaly, has teamed up with the legendary vocalist Julie Thompson to deliver a breathtaking progressive trance anthem, ‘Running.’ This highly anticipated track is out now via Black Hole Recordings, and it’s an instant must-hear for any trance fan.
‘Running’ wastes no time in captivating listeners. It explodes with a pulsating, techno-inspired rhythm, laying down a hypnotic and relentlessly driving beat that immediately commands attention. Just as you’re locked into the groove, the track seamlessly unfolds into a lush and atmospheric soundscape, providing the perfect canvas for Julie Thompson’s iconic, ethereal vocals to shine. Her unmistakable voice, both powerful and hauntingly beautiful, takes center stage, weaving a captivating melody above the track’s insistent bassline. As her echoing vocals rise and soar, the energy builds, culminating in a truly euphoric progressive trance drop.
Hailing from Japan, Rinaly is an internationally acclaimed DJ with over a decade of experience captivating audiences worldwide. Renowned for her exceptional versatility, she seamlessly blends multiple genres to deliver electrifying performances tailored to any setting. Whether commanding the main stage at world-class music festivals or creating an unforgettable atmosphere at exclusive corporate events, Rinaly consistently demonstrates her professionalism, artistry, and ability to connect with diverse audiences. Her dynamic energy and refined musical expertise make her a sought-after performer on the global stage.
Career highlights include sets at the Electric Daisy Carnival in Japan, Mexico, and China, Dreamstate and Beyond Wonderland in the USA, Ultra Japan, Lanna Sky Festival in Thailand, AVA Night in Jakarta and Zurich, and the In Trance We Trust ADE Festival. This is on top of Transmission Tours and sets worldwide in Australasia, Europe, and every corner of Asia, and some of the world’s greatest nightspots.
Currently experimenting with tech-inspired sounds, her productions can be heard in DJ sets worldwide and on labels such as Coldharbour Recordings, Perfecto, FSOE, AVA White, Nocturnal Knights, and Uplift. This includes 4 Beatport Top 10s, including a number 1 with ‘Wave of Affection’ and 56th Top 100 chart for all genres. Her music is supported by Armin van Buuren, Aly & Fila, Paul van Dyk, Andrew Rayel, Markus Schulz, Alex M.O.R.P.H., and numerous other artists.
The post Rinaly & Julie Thompson Join Forces for Uplifting Progressive Trance Anthem ‘Running’ appeared first on EDMTunes.
Ravebot
Ravebot

Universal Music Posts Double-Digit Q1 2025 Subscription Revenue Jump, Addresses Spotify’s Superfan Comments

Universal Music Group CEO Lucian Grainge. Photo Credit: UMG
Is the streaming plateau over? A growth-minded Universal Music Group (UMG) generated $3.30 billion/€2.90 billion during 2025’s first quarter, when subscription revenue grew by 11.5% year over year.
That’s according to the major label’s just-released Q1 earnings breakdown, which points to roughly $2.55 billion/€2.24 billion (up 12.7% YoY) in recorded revenue for the three-month stretch. As usual, the lion’s share of the sum ($1.83 billion/€1.61 billion, up 9.5% YoY) resulted from streaming.
Within that €1.61 billion tranche, ad-supported contributed $402.15 million/€353 million (up 2.9% YoY), compared to $1.42 billion/€1.25 billion for the aforementioned subscription category, UMG relayed.
Against the backdrop of streaming price increases, long-running freemium-monetization woes, and the company’s aggressive acquisitions approach, the figures don’t exactly come as a surprise.
More interestingly, given UMG’s “artist-centric” obsession, the Modern Sky partner acknowledged “double-digit revenue growth from four of our major DSP partners” for the first quarter. (Here, “major” refers to the top 10; chief digital officer Michael Nash elaborated that UMG also enjoyed double-digit Q1 revenue jumps with three of its top-five DSP partners.)
Meanwhile, the A-Sketch owner identified double-digit subscription-revenue spikes in Japan, Germany, China, and Mexico on the quarter.
Each of those nations has found its way into UMG’s top-10 markets by subscription revenue, execs emphasized. Among other things, that raises questions about the precise revenue-growth trajectory of several emerging music sectors. But this discussion is best left for another time.
Rounding out the recorded side, where fitness revenue was “stable,” Universal Music attributed $45.56 million/€40 million (down 13% YoY) in revenue to permanent downloads, $341.77 million/€300 million (up 17.6% YoY) to the sale of vinyl as well as other physical formats, and $337.19 million/€296 million (up 33.3 % YoY) to licensing.
A sync boost and “strong live income in certain markets” fueled the licensing surge, per UMG, which touted as the quarter’s top sellers Kendrick Lamar, Sabrina Carpenter, Lady Gaga, The Weeknd, and Mrs. Green Apple.
(The live-income hike didn’t translate into bolstered merch sales, which came in at $127.56 million/€112 million, down 1.8% YoY, during the quarter.)
Shifting to publishing, the company disclosed revenue of $632.22 million/€555 million (up 11.9% YoY). Every sub-category save performance (which was flat YoY at $129.84 million/€114 million) and digital ($386.11 million/€339 million total, up 19.4% YoY) achieved modest growth.
Overall, UMG posted an 11.8% YoY improvement to adjusted EBITDA ($752.78 million/€661 million) for Q1 2025. During today’s trading, Universal Music stock (UMG on the Euronext Amsterdam) saw its value fall slightly to $28.48/€25.01 per share.
Elsewhere in the earnings report and the corresponding call, UMG didn’t divulge too many significant details. But higher-ups did reiterate plans for another round of “strategic organizational redesign” efforts this year – referring to cuts totaling $142.26 million/€125 million.
Lastly, Universal Music execs opted to focus on Spotify’s positive comments about a Super-Premium tier – not the streaming service’s newfound indifference to the offering.
View the full article
Ravebot
Ravebot

Day Trip & Insomniac Records Drop Hot House Roster For Day Trip In The Park 2025

Day Trip and Insomniac Records have shared the full lineup for their 2025 Day Trip In The Park summer party series.
The brand’s flagship seasonal run will bring Sunday afternoon house music havens back to LA State Historic Park on the Promenade from May to September, featuring a red-hot performance roster of some of the genre’s best selectors.
Day Trip In The Park’s grand opening party kicks off during Labor Day weekend on May 25, with sets from two of Australia’s top house exports, Sonny Fodera and Torren Foot, followed by a takeover from Ranger Trucco’s range. label on June 1, where he’ll be joined by rising London star Luke Dean and Miami veteran Ms. Mada.
The following week, Day Trip will host a live set from Oden & Fatzo, along with DJ sets from fellow groovers Kyle Walker and Ruze on June 8. SIDEPIECE and Jackie Hollander come to town on June 15; before house East Coast house pioneer Kerri Chandler helms a Kaoz Theory label takeover with surging UK trio Mason Collective and Fabric London resident Jaden Thompson on June 29.
Day Trip In the Park’s 2025 bill stays hot all through July, with sets from Latin house stalwarts San Pacho and Andruss, award-winning British future house artists D.O.D. and Aluna, and a trio of next-gen selectors, including LA’s own AYYBO, and international risers Discip and Omri. 
Finally, after a curated show from AMÉMÉ’s One Tribe imprint on August 17, minimal tech is on full display from UK favorite East End Dubs and Dublin duo OBSKÜR on September 7, while legendary producers MK and Martin Ikin will be on hand for Day Trip In The Park’s season finale on September 15. Check out the full lineup below.
All of Day Trip’s summer parties take place from 2PM to 8:30PM at 1279 N. Spring St., Los Angeles. For more information or to purchase tickets, visit daytrip.la.

Featured image courtesy Day Trip. Credit: Troy Avecedo.
The post Day Trip & Insomniac Records Drop Hot House Roster For Day Trip In The Park 2025 appeared first on EDM Maniac.
View the full article
Ravebot
Ravebot

Important Information

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