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For over a decade, Sullivan King has pushed the limits of rock and electronic music. Now, he’s poised to unveil his most ambitious undertaking yet. CHAOS WILL BRING PEACE, a seven-track EP, has just been released today via Monstercat Uncaged.
This landmark release boasts an impressive roster of collaborators, including dubstep luminaries DIESEL (Shaq), NGHTMRE, and Kompany, alongside rocktronic pioneers Grabbitz and Kayzo, and emerging talents Vastive and Emorfik. A genre-bending masterpiece, it seamlessly fuses heavy bass, electrifying guitar riffs, powerful vocals, and captivating narratives.
Keep on reading to find a detailed description and review of each of the tracks making up the EP:
‘CHAOS WILL BRING PEACE’
The album opens with the epic title track, ‘CHAOS WILL BRING PEACE,’ and it wastes no time setting the tone for what’s to come. Starting with a tension-building intro, it erupts into a fierce guitar lead that screams classic Sullivan King. The intensity only grows as the track transitions into a gritty, mechanical drop that’s pure chaos in the best way. The second drop? A wild curveball—a hard techno beat that flips back into relentless dubstep, leaving you breathless. This track is a statement piece, blending genres with raw power and precision. It’s Sullivan King at his most unapologetically heavy, and it’s impossible not to get hyped for the rest of the album.
‘The Beginning’
Sullivan King shows off his versatility in ‘The Beginning,’ delivering a stunning drum and bass anthem. The serene piano opening feels like the calm before the storm, setting an emotional tone that carries throughout the track. His soaring vocal storytelling and masterful guitar work shine, elevating the song into something truly cinematic. When the drop hits, the sharp, textured bass adds an innovative twist to the drum and bass genre, showcasing King’s ability to evolve his sound. That “AAAAAAAA” bass absolutely floored me. It’s a track that feels both introspective and explosive, offering a moment of reflection amidst the album’s heavier hitters. A beautifully crafted song that highlights Sullivan King’s depth as an artist.
Credit: www.OHDAGYOPHOTO.com ‘Slaughter’ (w/ Vastive)
‘Slaughter’ is an absolute bruiser of a track, perfectly combining Sullivan King’s aggressive style with Vastive’s hard-hitting finesse. From the opening guitar chugs, it hooks you in, demanding your full attention. The three distinct drops are masterful in their progression, each offering a different flavor of chaos. The second drop, with its punchy quarter-note rhythm, is especially addictive—a headbanger’s dream. By the time the third drop hits, the energy is through the roof. This track is a nonstop adrenaline rush, a testament to the creative synergy between King and Vastive, and it’s guaranteed to have fans losing their minds in the pit.
‘Crankwork’ (w/ Crankdat)
When Sullivan King and Crankdat team up, you know you’re in for something explosive. ‘Crankwork’ is a mosh-pit anthem through and through, designed to unleash chaos. The buildup is electric, oozing anticipation, and the fake-out drop is genius—a perfectly timed moment of suspense before the full force of the track hits. Crankdat’s signature high-energy style blends seamlessly with Sullivan King’s iconic guitar riffs and raw vocals, resulting in a track that’s both devastatingly heavy and irresistibly fun. It’s the kind of song that’ll have festival crowds going absolutely feral, and I can already picture the circle pits at Lost Lands. A flawless collaboration.
‘Fury’ (w/ Emorfik)
‘Fury’ is raw, unrelenting energy personified. Sullivan King and Emorfik deliver a track that feels primal in its intensity, with a relentless rhythm that grabs you and doesn’t let go. Emorfik’s powerful vocals add a unique layer, amplifying the aggression and giving the song an extra edge. The drop is razor-sharp, cutting through with mechanical precision, while the overall vibe is unfiltered chaos—a true headbanger’s delight. It’s tracks like this that remind me why Sullivan King’s music resonates so deeply: it’s heavy, it’s cathartic, and it absolutely shreds. Here’s hoping for more collaborations between these two.
‘Sweat’ (feat. KAYZO)
With ‘Sweat,’ Sullivan King and KAYZO break the mold, creating the most unique track on the album. This high-energy blend of heavy bass and techno is impossible to ignore—it’s designed to get you moving. The techno influences bring a fresh twist to King’s usual sound, and the vocal line, “Break a Sweat,” is a perfect rallying cry for the dance floor. While it might not appeal to everyone, there’s no denying the infectious energy and creativity on display. The contrast between the mechanical drops and KAYZO’s punchy rhythms makes this a standout. It’s a bold experiment that pays off in spades.
‘Never Come Back’ (w/ Kompany and Diesel)
The album closes with a heavyweight anthem, ‘Never Come Back,’ featuring Kompany and Diesel. From the moment Shaq’s booming vocals hit, the track radiates pure, unfiltered hype. The fake-out drop is executed flawlessly, building tension before delivering an earth-shattering first drop. Kompany’s technical precision is on full display, while Sullivan King’s guitar solo ties everything together with his signature flair. The result is an absolute monster of a track—one that demands to be played at full volume. It’s a grand finale that encapsulates everything this album represents: power, passion, and a relentless drive to push boundaries. Truly an unforgettable way to close out an incredible album.
Closing Thoughts
Sullivan King’s CHAOS WILL BRING PEACE is a masterclass in blending genres and delivering raw emotion through heavy music. Every track offers something unique, from neck-snapping drops to melodic interludes, making this album an unforgettable experience. Each collaboration brings out the best in both King and his featured artists, creating a dynamic, cohesive journey. It’s clear that Sullivan King poured his heart and soul into this project, and as a fan, I couldn’t ask for more. A 10/10 album that reminds me why I fell in love with this music in the first place.
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ANNA views music as a profound force capable of elevating the human experience. With her latest release, ‘Future Hearts,’ she seeks to inspire connection, introspection, and transformation. This work marks a daring milestone in her artistic journey, redefining music’s role in contemporary culture—not merely as entertainment but as a medium for healing and expanding consciousness. ‘Future Hearts’ exemplifies ANNA’s commitment to breaking boundaries, merging her deep passion for mindfulness with her gift for crafting immersive and captivating soundscapes.
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House music currently reigns supreme within this sector, boasting a market value of $3.5 billion. Techno follows closely at $2.5 billion, with trance, drum ‘n’ bass, and dubstep each contributing $2.3 billion and $1.4 billion respectively.
North America currently holds the largest share of the global music market at $3.5 billion and is expected to maintain its dominance, with a projected market share rise to $7.15 billion by 2032. Europe is anticipated to closely follow, with its current $3 billion valuation expected to reach $6.1 billion.
Several factors are driving this explosive growth. The rise of music streaming services like SoundCloud, Apple Music, and Spotify has played a crucial role in exposing dance music to a wider audience than ever before. Furthermore, the integration of electronic music into new media forms, such as video games and virtual reality, has significantly expanded its reach. The report also highlights the impact of advancements in user-friendly production tools, which have led to a surge in the number of electronic music artists. Additionally, the potential of AI to “enhance” music production is seen as a significant growth catalyst for electronic genres.
The post Electronic Music Market Set for Explosive Growth, Reaching $24.5 Billion by 2032 appeared first on EDMTunes.
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‘In Your Eyes’
Jerro’s latest track, ‘In Your Eyes’ promises to take your listening experience to new heights. Fans of his impressive body of work will appreciate the signature vocal-driven style that Jerro masterfully delivers. This time, he partners with the talented FARLEY. Her ethereal vocal performance invites you on a mesmerizing journey to find someone who inspires endlessly. With its lush pads, sweeping strings, powerful kicks, vibrant arpeggios, and warm textures, ‘In Your Eyes’ crafts an enchanting soundscape that beautifully showcases FARLEY’s remarkable tone. This captivating blend elevates the listening experience, making it a must-hear for music lovers.
Jerro
Since the launch of his debut album, Coming Home in October 2021, Jerro has captivated audiences around the globe. He has completed two extensive tours that included numerous sold-out headline shows across the US, Canada, and India. His electrifying performances have graced prestigious festivals such as Electric Forest, and EDC Mexico solidifying his place in the music scene. Over the last two years, Jerro has delivered a series of successful releases and collaborated with renowned artists like Sultan + Shepard, Le Youth, and Shallou, establishing himself as a leading voice in both the This Never Happened and melodic house genres.
Hope you enjoy ‘In Your Eyes’ as much as we do. Stay tuned to EDMTunes for all your latest track reviews.
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The Lineup
With some of trance’s most influential voices on the lineup, Transmission 2025 is shaped to be the best one yet. Ferry Corsten headlines with a milestone 25th-anniversary Gouryella performance, celebrating a quarter-century of pioneering sounds. Trance architect Paul van Dyk, whose anthems helped forge the genre’s golden age, brings his masterful touch to the stage. The sonic narratives of Markus Schulz will unfold across the GelreDome’s massive indoor arena, where his progressive trance flair takes center stage.
Cosmic Gate, virtuosos of evolution while honoring trance’s essence, promise an electrifying set, while the powerful techno-trance fusion of Digital Culture – the collaborative project of genre mainstays Richard Durand and RAM – will command the dancefloor with their distinctive sound. Craig Connelly, whose three #1 selling albums and prolific catalog of Beatport chart-toppers have earned him a place among trance’s elite, will also bring his touch to the GelreDome stage. Rising British talent Daxson represents the genre’s future with his contemporary interpretation of trance sounds. Fresh from his spectacular appearance at Transmission 2024 in Prague, Driftmoon is slated to return with a specially curated “vintage pure trance” set – a nostalgic journey through the genre’s most influential era, promising to showcase an array of the timeless sounds that shaped the genre.
The Festival
Transmission will feature the festival’s signature combination of cutting-edge technology, mind-bending special effects, and meticulously designed scenography. Running from 2 PM to 11 PM, the festival will create a night-time experience during the day, with each artist’s set preceded by specially crafted intros, creating a seamless narrative that unfolds throughout the nine-hour journey. The GelreDome’s state-of-the-art facilities provide the perfect canvas for Transmission’s renowned production team to push the boundaries of what’s possible in an indoor festival setting.
Leading up to the festival, fans can experience Road To Transmission – an exclusive show in Prague taking place in March featuring Daxon, Richard Durand, Orjan Nilson, and more, setting the stage for April’s grand celebration.
As Transmission celebrates its momentous 20th anniversary, the 2025 edition promises to be its most ambitious undertaking yet. Following the footsteps of prior festival themes, such as ‘Behind the Mask,’ ‘Elysium,’ and ‘The Awakening,’ this milestone year will see the award-winning VJ team Vision Impossible pull out all the stops to create and unveil a brand-new mesmerizing show, combined with the spectacular production fans have come to expect from the festival. Transmission continues on its mission to unite trance lovers from across the globe, having drawn visitors from over 80 countries throughout its history of creating these bespoke-themed experiences.
For more information about Transmission Festival 2025, including lineup updates and ticket details, visit their website here
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‘Take It Anywhere’ is a vibrant piano house production that embodies joy and freedom of the unknown, blending uplifting melodies, dreamy breaks, and a beautiful vocal that transports listeners to their perfect destination. With this track, ROLLINDICE sets the tone for their promising artistic vision— celebration of the unknown, friendship, passion, and the beauty of embracing life’s uncertainties.
“After years of late studio nights and countless creative moments, we’re putting our music out there and can’t wait to share it,“, says ROLLINDICE.
Rooted in the duo’s love for electronic music, ‘Take It Anywhere’ is the beginning of a musical journey that aspires to uplift and reach dance music lovers everywhere. With many EPs and releases on the way, ROLLINDICE is a name to keep an eye on.
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A Rising Force in the Techno World
Since breaking onto the international scene in 2018 with his debut EP, Rave Cycle on Lenske, AIROD has consistently impressed with his hard-hitting, yet melodic style. His music has drawn support from techno icons like Dasha Rush, Blawan, and Kobosil. He can transform any space into a high-energy dancing atmosphere. This ability and his unique sound has solidified his place as a major force in techno.
‘Kiss Girl’ – A Track Built for the Dancefloor
‘Kiss Girl’ stands out with its entrancing female vocals layered over a driving, beautiful mixed techno kick. The track evokes the classic techno sound AIROD is known for, with its simple arrangement made up of carefully and perfectly selected sounds. From start to finish, it creates an addicting energy that gives the listener a sense of confidence and style.
Looking Forward: What’s Next for AIROD
With the release of ‘Kiss Girl,’ AIROD continues to prove that his rise in the techno world is just beginning. As he gears up for an even busier touring schedule dates. One is a b2b set with Anxhela at Kappa FuturFestival. There, he will play alongside other techno giants like Charlotte de Witte, Adam Bayer, Anyma, and more. fans can expect more powerful tracks and techno-driven sets from this skilled Parisian producer. With his distinct sound and growing influence in the scene, AIROD is an artist to keep an eye on in 2025 and beyond.
Listen to ‘Kiss Girl’ Here.
The post AIROD Flexes With Latest Techno Banger, ‘Kiss Girl’ appeared first on EDMTunes.
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Designed for professionals who demand accuracy, transparency, and comfort, the ATH-R70xa and ATH-R50x are the next evolution in Audio-Technica’s highly regarded R-series. The ATH-R70xa, Audio-Technica’s flagship model, is an enhanced version of the popular ATH-R70x. It features a fully open-back design that delivers the natural and balanced sound of its predecessor, with refined accuracy and detail for a more immersive listening experience.
By eliminating the reliance on acoustic cavities or resonance, the ATH-R70xa relies solely on the performance of the driver, translating every diaphragm movement directly into sound. This results in minimal distortion and a more authentic open-back experience. The ATH-R70xa is handcrafted in Audio-Technica’s Machida facility, where each unit is meticulously assembled from components built in-house and then rigorously tested before leaving the factory.
Launching alongside the ATH-R70xa is the ATH-R50x, which offers a versatile, professional-level performance thanks to its pure open-back design. Made for critical listening, the ATH-R50x delivers a natural, expansive soundstage, surprising bass power, and accurate upper midrange, making it ideal for handling everything from detailed vocals to instrumental clarity.
Built with re-engineered drivers modelled after the original ATH-R70x, the ATH-R50x combines a dynamic audio experience with comfort and durability for long studio sessions. Perfect for mixing, mastering, or creating, both the ATH-R70xa and the ATH-R50x provide precise, reliable reference across stereo, surround, and immersive formats, making them a versatile choice for any professional or home studio.
Features: ATH-R70xa
Professional open-back reference headphones provide the perfect balance of accuracy, transparency and comfort for discerning engineers, producers and musicians. Fully open-back design allows unrestricted airflow to eliminate internal resonance and provide extremely quick transient response. Carbon composite resin improves structural rigidity to provide detailed transient response. Extended frequency response (5 – 40,000 Hz) ensures transparent, detailed reproduction. Japanese craftsmanship: Each pair of headphones is meticulously assembled from components built in-house, then rigorously tested before leaving our Tokyo factory. Featherlight (199g) design with streamlined, metal-reinforced construction, reimagined headband, and replaceable velour earpads deliver unmatched comfort for long working sessions. Unique, dual-sided 3.0 m (9.8′) detachable locking cable is L/R signal independent to ensure proper stereo orientation. Includes a 6.3 mm (1/4″) adapter and a carrying pouch. Features: ATH-R50x
Professional open-back reference headphones with extended bass and accurate midrange provide exceptional all-around performance for demanding audio production Fully open-back design allows unrestricted airflow to eliminate internal resonance and provide extremely quick transient response Wide, realistic soundstage provides an immersive listening experience Durable, lightweight (207g) construction and a new headband design ensure long-lasting comfort Comes with two detachable cables (3.0 m (9.8′) and 1.2 m (3.9′)) each with a 2.5 mm twist-lock connector at the left earcup and a 3.5 (1/8″) gold-plated stereo mini-plug Includes a 6.3 mm (1/4″) adapter and a carrying pouch Availability
The Audio-Technica ATH-R70xa headphone will be available from 23rd January 2025. The ATH-R50x will be available shortly after. Both models will be exclusively available at Thomann for launch. ATH-R70xa will retail for £299 / €349, and ATH-R50x will retail for £139 / €169. Find out more at www.thomann.co.uk.
The post Audio-Technica unveils new professional open-back headphones appeared first on Decoded Magazine.
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‘Brand New Day’ offers stirring afro tech vibes evoking feelings of hope through Coco’s angelic vocals and delicate piano flourishes. Her soulful voice floats effortlessly as Nico crafts emotion with every note. The track beautifully follows October’s ‘Sun Sun Sun’, another vibrant celebration of light, warmth, and positivity.
‘Brand New Day’ follows a pivotal year for Morano. Tracks like ‘JUNO LOVE’ & Gorje Hewek‘s remix of his track ‘EVERYTHING I OWN’ received regular support from leading trio Keinemusik (Rampa, Adam Port, &ME). In July, Nico performed some of his unreleased tracks in front of 15,000 ravers at Tomorrowland.
Nico Morano has been a fixture in the melodic house scene for over two decades, known for his signature sound that fuses harmonic melodies with organic, progressive tones, enriched by touches of Italo and deep house influences. He’s a regular at festivals like Tomorrowland and Paradise City, where he hosts his ‘Nico Morano & Friends’ stage. In 2018 & 2019, he achieved his first big international successes with ‘Desire’ & ‘Solaris’ on Eelke Kleijn’s label, amassing millions of streams. His 2023 debut album, Opposite Minds received critical acclaim and was performed in a hybrid live show featuring live instrumentation and vocalist and regular collaborator Mewhy.
In 2020, Nico Morano created Ontourage out of a profound need for authenticity—a space where he could showcase 100% of his musical style, without compromise. The label is more than a personal outlet; it’s a community, a movement. “I wanted to create a home for my music,” says Morano, “but also a platform to nurture and elevate artists who resonate with the same passion and quality I aim for.” Like for example the latest release of Fabio Aurea ‘Hiva’, which was tested widely in 2024 in clubs & at festivals! But now it is time to kick off 2025 again with a Morano production.
‘Brand New Day’ by Nico Morano and Coco marks a positive step into a new year and a new chapter for the much-loved Belgian producer. With remixes by Dorian Craft and Kalyma to follow, the story of this single is just beginning, as it seeks to make an impact on global afrohouse and afrotech scene.
The post ‘Brand New Day’ – Nico Morano & Coco Deliver Soulful Afro Tech Anthem On Ontourage Music appeared first on EDMTunes.
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Now available on the CONTROVERSIA record label (which has ALOK himself as the label head), this release marks a thrilling start for SOMETHING ELSE. Over the last decade, ALOK has become a global sensation, topping pop charts and performing at massive festivals with hits that include collaborations with John Legend, Tove Lo, Anitta, and Dua Lipa. Click ‘Play’ on the Spotify link below to stream ‘ from ALOK, his new project SOMETHING ELSE, Stephan Jolk, and Kawz, featuring BaianaSystem. Also, check out the visualizer for the track, it’ll transport the listener to a wonderful and colorful musical world.
ALOK brings SOMETHING ELSE into the forefront of the experimental underground scene
His unique style, blending house, deep house, and Brazilian influences, has earned him international acclaim for his high-energy performances. SOMETHING ELSE represents ALOK’s shift towards a more experimental sound that allows him to connect with audiences on a personal level. The project debuted at the Universo Paralello Music Festival in Bahia, Brazil and continued with a standout performance at the Zamna Tulum Festival in January 2024.
In a recent interview with Billboard, ALOK shared how this new identity enables him to embrace his roots without the immense production associated with his ALOK brand. Teaming up with Stephan Jolk, who has made his mark on the electronic scene, they remixed ‘Miçanga’ while celebrating BaianaSystem’s vibrant sound with a sultry afro house twist. The track gradually builds energy, layering rhythm and percussion while staying true to its passionate origins. Additionally, ALOK collaborated with emerging artist Kawz on the final version, adding depth and ensuring this debut release resonates on the dance floor. With SOMETHING ELSE already making waves, fans can expect more sun-soaked tunes from ALOK soon!
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Audien’s ‘Bittersweet’ is an introspective track that showcases the artist’s signature blend of melodic house and emotive soundscapes. Featuring the ethereal vocals of Rosie Darling and the atmospheric production of Shallou, the song delves into the complexities of love, loss, and the bittersweet memories that linger long after a relationship has ended. The track opens with a delicate piano melody that sets a melancholic tone, perfectly complementing Rosie Darling’s soulful vocals. Her voice, filled with both vulnerability and strength, narrates a story of a love that has faded, leaving behind a bittersweet mix of longing and acceptance. As the track unfolds, the production intensifies, blending progressive house with soaring trance elements. This creates a euphoric contrast with the melancholic lyrics.
Here’s what Audien had to say about the track.
The post Audien Unveils First Single of 2025 ‘Bittersweet’ with Shallou & Rosie Darling appeared first on EDMTunes.
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For decades, he’s been more than just a DJ; he’s become an institution, a force of nature behind the decks. I’ve seen it myself, the way he commands a crowd, a symbiotic relationship built on a shared passion for hard-hitting techno rhythms and an infectious energy that’s palpable. It’s more than just mixing tracks; it’s a performance, a masterclass in the art of DJing. You’ve probably felt it too, that surge of energy that only a true master can evoke. It’s not just about the music, but the experience, the feeling of being part of something larger than yourself.
His journey, starting from the early days of the UK rave scene, showcases his unwavering commitment to the craft. Carl Cox has not just ridden the waves of evolving trends; he’s often been the one creating them, setting the benchmarks for others to follow. He’s been described as a pioneer, yes, but that’s almost an understatement. He’s a constant innovator, always pushing boundaries, refusing to be confined by genre limitations, and meticulously crafting his signature sound. Think pulsating basslines, intricate percussion patterns, and a relentless drive that keeps the dance floor in perpetual motion. You could say, he’s a sonic architect, not just a DJ.
Now, we focus on a new chapter in Carl Cox’s illustrious career: the announcement of his Ibiza residency at UNVRS in 2025. This isn’t just another club gig; it signifies a strategic move, a new canvas for the master to paint his musical masterpieces. UNVRS itself is a significant development on the Ibiza landscape. It’s not another megaclub trying to mimic the past. From what I understand, it’s aiming for something different, more intimate, while still delivering that high-octane experience that Ibiza is known for. It’s a space designed for immersion, where the sound system isn’t just playing music; it’s enveloping the listener, creating a multi-sensory journey. I feel that this ambition aligns perfectly with Cox‘s own philosophy – always striving to offer something unique and unforgettable. I imagine you craving that kind of experience, the feeling of being completely lost in the music.
The very idea of Carl Cox at this particular venue feels like a perfect match. UNVRS is positioning itself as a forward-thinking, innovative space, a sanctuary for those who are genuinely passionate about the music. It seems to be the antithesis of the sometimes-formulaic Ibiza experience. Instead of just catering to the masses, UNVRS seems to value the artistic integrity of the music, creating an environment that fosters a genuine connection between the DJ and the audience. It’s a space that encourages discovery, pushing the boundaries of what we expect from a night out. We’re talking about a true underground spirit, albeit within a beautiful, contemporary space, and Cox is, without a doubt, the ideal ambassador for this kind of movement. The idea isn’t to simply have a party, but to have an experience, a musical rite of passage.
I can tell you, his residencies have always been more than just sets; they’re cultural moments, and this new one at UNVRS is likely to be no different. Think about the sheer weight of his previous iconic residencies. They leave a legacy, a standard for those who follow that often feels unattainable. Now, he enters a new phase, taking his experience and vision to this space and it feels significant. The implications for the island are powerful, potentially reshaping the landscape of what clubbing on the white isle looks like.
I believe the significance lies not just in the music itself, but in the statement it makes. Carl Cox choosing UNVRS isn’t a random decision; it signals a shift, a preference for a more curated experience, an emphasis on the music itself, rather than just the spectacle. It demonstrates his commitment to providing a truly authentic connection, one that goes beyond the typical surface-level interaction. It’s about creating an experience that resonates long after the last beat has faded, a memory that becomes ingrained in your psyche.
I’ve heard talk that the music policy will be as uncompromising as Cox‘s dedication, which is something that should truly resonate with those who seek genuine music excellence. This isn’t about following trends, but setting them. You will likely hear the deep, driving techno that has become synonymous with Carl Cox‘s sets, but you could also expect to be taken on a more expansive musical journey, possibly exploring the edges of the genre, taking risks and showcasing his vast understanding of electronic music. The possibilities feel endless, and that is truly what makes this collaboration so very exciting.
So, whether you’re a seasoned veteran of the dance floor or someone just discovering the power of proper techno, this residency is something you don’t want to miss. It’s not just about seeing a DJ, it’s about witnessing a master at work, in a space designed to elevate the experience. It’s a collision of two forces – the enduring talent of Carl Cox and the ambitious vision of UNVRS – which promises to be nothing short of spectacular.
This is more than a party; it’s a statement, and I, for one, am eagerly anticipating being a part of it. You should be too..
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Beatport Next, which debuted in 2021, has evolved into a pillar of the company’s efforts at artist development. The program highlights the voices of new musicians by means of carefully selected playlists, exclusive Beatportal features, live broadcasts, and dynamic social media campaigns, therefore tying them with a worldwide audience of music lovers and producers. Twelve trailblazing artists whose work embodied the creative energy of the program made up the Beatport Next Class of 2024: Ahadadream, Aida Arko, Anaïs, Baalti, Bianca Oblivion, Charisse C, KILIMANJARO, Maruwa, Nala, Olive F, Sinego, and Stones Taro.
Beatport’s Next Class of 2025:
Azzecca (Chicago) merges techno, house, and cosmic energy with her breakout hit Other Side and COSIMEA event series; DJ Fucci (Mexico) defies boundaries via genre-blurring live sets and WAVA WAVA collective; Grace Dahl (Amsterdam) reinvents techno with hypnotic grooves rooted in Budapest’s rave legacy, now channeled through her SDT Recordings; IN2STELLAR (Melbourne) captivates with bass-driven euphoria and their Neurotiq Erotiq parties; LUXE (London) weaves harp and strings into nostalgic electronica; Ma Sha (NYC) fuels experimental club sounds via Kindergarten Records; P-rallel (London) reshapes UK club culture with viral anthems like It’s a Lundun Thing; SICARIA (London) ignites dubstep with SWANA-inspired bass; Slim Soledad (Paris/São Paulo) fuses baile funk and techno while championing trans-led spaces; St. David (Italy) revives ’90s house warmth through Theory of Swing Records; Tailor Jae (East London) thrills with bass-heavy experimentation and her HOTB collective; Thakzin (South Africa) pioneers 3Step, blending Amapiano and Afro-house into global anthems like The Magnificent Dance. The post Beatport Unveils the Beatport Next Class of 2025 appeared first on The Groove Cartel.
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His output is huge, with constant remixes and releases across the most highly renowned labels: CIA, Sofa Sound, Integral, Metalheadz, and of course The North Quarter, where he’s particularly associated.
In The North Quarter’s annual NQ State of Mind series, 2024 was the year he and fellow Irishman Steo got the call up. While he’s not a label owner like others of his ilk, we got a taste of his A&R chops as he and Lenzman selected ten previously unreleased tracks to showcase what the label is about. From ‘Certified’, the banger by Kublai, to ‘Bittersweet’, an emotional one by Wagz – the breadth of TNQ is exhibited entirely.
But it’s not just the Zero T alias keeping him active. Cian’s love for broken beat started around the same time as he began releasing drum & bass – and in the last five years he decided to start seriously contributing to the resurging genre under the alias of Bruk Rogers. Having a full career behind him on his first alias, navigating it a second time seems to have expedited things. As Bruk Rogers he’s quickly been picked up by the beloved, eclectic label Tru Thoughts – releasing his first album Loopholes in 2024, and being asked to remix one of his all time favourite group of artists, Catpack.
And if that wasn’t enough, Cian’s now on his way to social media stardom. His increasingly popular series ‘Gettin’ Diggy With It’ sees him taking on the challenge of creating a track entirely from a random record draw – and the collection is insane. From Teenage Mutant Ninja Turtles: The Soundtrack to Cheech & Chong’s Wedding Album the source material is deep cut, but often hilariously difficult to re-imagine. Still, Cian always manages to flip it into something that viewers beg to be released by the end.
On his lunch break from his day job as a video editor (yes, he has a full time job on top of all this), UKF sat down with the man of many hats to chat through all his projects, and a few thoughts on the state of electronic music in 2025.
What’s been up today?
I’m just working, I work full time as a video editor these days.
I had no idea you worked full time too. You have so many music projects …
Yeah so about 11 years ago I went back to a normal job. I ended up in this video world, and I love it. I actually prefer not being a full time music person because it can change your relationship with making music from just a pleasure thing, into a pressure thing.
I was a full-time producer all through my twenties, and that’s fine when you’re a young single person, but then when all the other parts of life start kicking in, it sapped all the fun out of it for me.
Having fun while doing it has got to correlate to better music too. On that note, how was the process for putting together NQ State of Mind?
It was a combined effort with Teije [Lenzman]. We had a chat about it first, discussing which artists we rate who haven’t been on The North Quarter, who we really like that we could grab. I brought on Minor Forms, Kublai, and Wagz, and there were a couple of other near-misses too. We had a tune from The Sauce, but unfortunately we couldn’t make it work. Teije brought in Xeonz and Azotix. And as for the rest, it was filled out with the usual suspects on The North Quarter.
So that was the first part – getting the ten tunes and clearing all the samples and things – and the last bit was me putting it into a mix to be hosted by Steo. I had to take my favourite NQ back-catalogue stuff, but also select no tunes that have already been used on previous three NQ State of Mind mixes. Teije didn’t strictly impose this rule, but I was just thinking as a punter: If I want to listen to all the mixes in a row, I don’t really want to keep hearing the same tunes. The North Quarter has a lot of music, there’s hundreds of songs to pick from.
Once I had the tracks picked it was time to craft something special with Steo. Obviously he features on a lot of the NQ back catalogue and giving him a canvas to show both his singing and spitting talents was the main focus for me.
Do you have any stand-outs from the compilation?
‘Certified’ is a banger and has been heavily supported – Kublai smashed that one. And the one I’ve played the most since I got it is the Azotix track ‘Reflections’. I’ve literally played it in every single set for the past 18 months. It’s musical, but it’s got a little something else: What I call an ‘inbetweener’. It’s not purely liquid and musical, it’s not dark and heavy, but it can get you from one to the other. A great transitional tune for me, and those are really important in my set.
I’ve just been listening to your Bruk Rogers stuff – can you tell me a little more about how that project kicked off?
So that style of music – broken beat – was something that popped off in the late 90s or early 00s, right as I was first getting tunes signed by UK labels. It really appealed to me. It allows for more musical scope than I’m comfortable with in drum & bass. With drum & bass, even if it’s musical, it has to be quite restrained and contained, otherwise it can get cheesy pretty quickly for me. This genre is more about musicality. You can have a two minute saxophone solo in the middle of a broken beat tune, and that’s fine. In a drum & bass tune, for me, that would be very questionable!
The influences on broken beat are similar to what’s in jungle or older drum & bass, but just interpreted differently in a way. A lot of the originators were jungle producers like 4hero, or Bugz In The Attic, who were the big supergroup back in the day – and a bunch of those guys were Reinforced Records jungle producers. Drum & bass had changed from music about drums and drum patterns, to the drums being repetitive and simple with everything else changing around them. So I think a lot of those guys moved away from it when the rhythmic, musicality of jungle dissipated.
What happened to broken beat?
Well, it seemed to die off around the mid-2000s, and never really stuck as a permanent UK-based music genre like lots of others did. There was about a 5-7 year period where it was a hot thing, getting lots of press, Amy Winehouse was getting remixed by Bugz in the Attic. It looked like it was going to mirror what happened to drum & bass in the mid-90s, where the mainstream cottoned-on to it and made it popular. It felt like that would happen, but it didn’t.
And now you’re trying to bring it back?
I would say I’ve joined a new wave of interest in the genre, and hopefully my contribution is helping build it back up.
During lockdown, I played a virtual version of Giles Peterson’s We Out Here festival hosted by Hit+Run. I wasn’t aware of this broken beat resurgence at the time, but I just thought: I like it, and I’ve got a lot of it. So I filled the first hour of my set with it before getting into the drum & bass. One of the crew, MAKO MCR, came up to me afterward and said he loved broken beat, he’d just discovered it and started trying to make it. It was all just very inspiring.
I went home and made a tune, then Bugz In The Attic ended up signing it and releasing it. I followed up with an EP for their label, and then for Tru Thoughts – who I consider the modern day Talking Loud. So when they came in and offered me a multi-album deal, I bit their hand off!
My first album Loopholes came out in May 2024, and I’ve been DJing at festivals and clubs with this sound, easing into it, so yeah, it’s been amazing.
I’ve also gotten to work with artists who I’m a big fan of: Moonchild would be the best example of that – a modern neo-soul band from LA. The singer (Amber Navran) from that band just started another trio called Cat Pack who are also signed to Tru Thoughts. They picked me to do a remix of a track off their first album. That’s my highlight of the year! It’s a musical act that I really rate and listen to all the time, so for them to like my sound enough to select me, it means a lot.
Did Kilburn Park come before Bruk Rogers? It sounds similar.
I met Onj in September of 2021, and I think Bruk Rogers actually preceded that. I would say what led into this was the Searchlight project, which was myself and Beta 2, and was a Metalheadz-related thing. Goldie asked us to put together an album using live musicians and gave us total freedom. We ended up not including any drum and bass and it was all neo-soul and nu jazz influenced stuff.
With me and Andre [Onj], – the Kilburn album – none of it was planned at all. There was no pre-meditation about it. We met through happenstance, and we literally ended up puking out all these tunes in quick succession. We both work insanely fast, we met in September and I think we gave Teije [Lenzman] the album by Christmas.
So there’s no real direct connection conceptually between the Kilburn LP and Bruk Rogers. That literally just birthed itself – I don’t think either of us were really in control of that to be honest. The music gods playing puppetry.
Well it’s no secret your work-rate is pretty insane. We get a bit of an insight on your ‘Gettin’ Diggy With It’ series. What inspired this?
Well it’s a couple of things. Firstly is that my day job is video production – I felt a little bit like I wasn’t really maximising my skills. So much of what’s important now with being an artist is your presence on social media, and how popular you are on there is what seems to decide whether you get bookings or not. I don’t even want to get into whether that’s a good or bad thing, but it’s a bit like a black cab driver in London – they spend two years studying every street in London, and then Google Maps comes along. You can get pissy about it, or you can try to continue to fight for your spot.
It took me a while to come up with an idea. I wanted it to be completely self-sufficient, so I’m the cameraman, editor, colour grader, audio, I’m making the tune obviously.
I’ve got this big record collection that’s full of random stuff from charity shops, inherited collections from old neighbours. The point of the series is to show that there’s something useful in every single piece of recorded sound in history. There is no bad source material.
The next challenge was how to show the whole process in 90 seconds. People say I make it look easy, but it’s the editing that makes it look easy. If there was a live stream of me doing it, it would be a loong video.
People seem to be loving it.
Definitely. It’s getting love from a lot of non-drum & bass and non-production people too. I knew drum & bass nerds were going to like it, seeing a bit behind the curtain. But I wanted it to also be something for someone with no interest in production or drum & bass – the average joe sitting on the toilet scrolling. I think all human beings enjoy watching someone make something good from scratch.
The next step for it was an elongated version – which was picked up by Deutsche Telekom Electronic Beats TV. A ten minute video where you get to see a little more about the process and how the track actually gets made. It’s not a Patreon-style tutorial, but there’s enough there to satisfy both the drum & bass heads, as well as keep the lay-person interested. Hopefully that continues to bring in a bigger audience.
How do we get the tracks?
Everyone keeps asking! So I’ll do a poll on social media after episode 26 asking people to vote for their favourite ones. I’ll finish the five most popular, and give them away free on Bandcamp as Gettin’ Diggy With It Volume One.
Twice a year I’ll run the vote. If your favourite didn’t make volume one, it can still make it onto volume two. I think it will be fun and get people involved and engaged. I’m also going to encourage as much voter-fraud and electioneering as possible: Make 12 accounts to vote for your favourite, use your dog’s account, get Putin involved. Whatever it takes to get your favourite tune released!
I’m setting up the bots as we speak. Anything else to shout out coming up in 2025?
I’ve got a bunch of remixes coming: Closer by Klinical and Rizzle has just dropped on Overview. There’s a remix of a Trail tune for Flexout, not sure when that’s coming out. There’s also two jungle drum & bass remixes from my Bruk Rogers album – one by myself and one by En:vy. Two tracks are coming from the Metalheadz 30 album this year and I’m also currently writing new releases for Sofa Sound, The North Quarter, Carbon, and CIA, so there will be a very regular flow of releases in 2025.
I’m DJing at Phonox at the end of the month with The North Quarter too, which I’m really excited about because we’ve got Fabio down there. He’s one of my earliest supporters and backers, and then I played at his nights for years and years. So that will be a sick night. You can also catch me in Manchester for Planet Hz on February 8, and Brighton for Essence of Chi February 14.
NQ at Phonox
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New single ‘Red Dove’ is melancholic but aerial, recalling an “Armageddon dream” of Penelope’s that ended with the vivid image of a boy holding a red dove. She tells us; “I felt like this dream was about humanity becoming numb, stripped of emotion, and completely lost in their pain. Sleepwalking. Swallowing the Bitter Pill. The general acceptance of destructive, violent and toxic social norms. The Red dove being a conduit of the world’s negativity, yet held peacefully in the hands of an innocent child”.
The track’s accompanying video by Agnes Haus was inspired by Werner Herzog’s 1993 documentary, ‘Bells from the Deep: Faith and Superstition in Russia’. Penelope says; “A distinct feeling about the fraught existential enigma of the human experience was hanging in the desolated air. For the music, I wanted ultra-soft vocals to say harsh things like a kind of beautiful decay. Months later, I was digging through old Werner Herzog documentaries and came across ‘Bells from the Deep’. In one of the chapters, Yuri Tarassov, a travelling sorcerer and exorcist, absolutely entranced me into the world of cult leader behaviour and I really wanted Agnes Haus and I to create a visual around the aura of 90s evangelical superstars. I was fascinated by the intensity of Yuri’s followers’ hysterical reactions – and I think there are correlations to modern politics in 2025. The followers have complete faith that Yuri can relieve their emotional and psychological distress. The collective power of persuasion, no matter how outlandish, feeds the hunger for a sense of belonging… which leads to the potential for power-hungry personalities to convince others to gather under the damaged wings of the world – A violent hope”.
Agnes Haus, fresh from directing Mogwai’s ‘Fanzine Made Of Flesh’ which also guest starred Penelope, adds; “Penelope showed me the Herzog documentary, and we had this idea that Penelope would play the cult leader of a sect called Red Dove. We filmed the cult footage in a bizarre old Glasgow lawn bowls club, and then bought an old VCR /TV and filtered video through it, recorded footage to videocassette and re-filmed the TV. It was a longer process than anticipated, but well worth it to really try to send Penelope back through time as an evangelical leader filled with regret over a dark event.”
Penelope has also announced further EU and UK live dates including an appearance at Roadburn Festival.
‘A Requiem’ is a musical service in honour of the dead, a sanctuary Trappes built for herself to explore familial chaos and history. “I was looking for an equilibrium between a ‘heaven’ and a ‘hell’” she explains, “screaming out to the wisdom of our foremothers – surfacing and leading me into true strength and beauty. I listened to the sorrow closely. Death is a part of our reality. Inevitable. Omnipresent. But nightmares can be beautiful”.
Seeking solitude for what she knew would be an intense and cathartic writing experience, Trappes travelled to Scotland and isolated completely. Amidst meditative and psychedelic states, she channeled demons and accessed parts of herself she’d long desired to cleanse. During candle-lit recording sessions she found herself drawn to cello, an instrument she has no formal training in, she explains, “I always felt an affinity toward the cello, I embraced it, held it, and became one with it as a way to accompany my voice. The nerve-like strings of the cello became external chords of my vocal folds… I scratched on them, leaned into them, and conjured all of the textures I could muster”.
‘A Requiem’ is a raw, spiritual journey. Astonishingly vulnerable, and a compelling examination of loss – the threat of it, the meaning of it, the coming to terms with it. Across an album of breathtaking compositions, we are asked to bear witness to a sacred personal experience like no other.
Despite formal vocal training in opera and jazz when she was younger, it wasn’t until after her daughter was born that Penelope began writing her own music. She says coming into music later has been eye opening, and she laments the fact that women past 30 are too often discarded by the music industry; “Creativity doesn’t go away when you get older, it flourishes, changes, grows like all of life,” she says, “it amazes me that this is still something for society to wrap their heads around.”
Penelope released her acclaimed trilogy, ‘Penelope One’, ‘Two’ and ‘Three’, on Fabric’s Houndstooth label. In between instalments of her ambitious trilogy, Penelope released a clutch of both experimental and more dreampop-oriented EPs. She demonstrated her versatility in the extended 25-minute deep-listening composition ‘Gnostic State’, and the arpeggiated electronics and minimalist songwriting on the ‘Eel Drip’ EP, which was accompanied by image and film inspired by Francesca Woodman’s 1970s series of nude self-portraits with eels. She also released an album of reworks, ‘Penelope Redeux’, with contributions by Cosey Fanni Tutti, Mogwai, and Nik Colk Void, and the cassette, ‘Mother’s Blood,’ a vocal-free meditative reinterpretation of ‘Penelope Three’ concluding with the live-scoring of a 1-hour film at Sonica Festival.
Penelope’s fourth album, ‘Heavenly Spheres’, was released in 2023 on her own Nite Hive imprint, was composed using just piano, voice and an old reel-to-reel tape deck during a two-week artist residency for Britten Pears Arts at the house where the composer, teacher and musicologist Imogen Holst lived in Aldeburgh, Suffolk. Most recently, 2024’s ‘Hommelen’, the austere and beautifully severe result of her Halldorophone residency at EMS Stockholm was released on Paralaxe Editions.
In the live realm, Penelope’s music expands into tidal waves and surges of tension with hypnotising gothic live visuals by Agnes Haus. Select shows are accompanied by a live band, and other times, she performs solo, she has shared the stage with the likes of William Basinski, Mary Lattimore, and NYX drone choir, and she has extensively toured the UK, Australia, and Europe over the last five years, including a pivotal live performance with the London Contemporary Orchestra at Southbank Centre.
Stream / Download here
The post Penelope Trappes releases new single ‘Red Dove’ appeared first on Decoded Magazine.
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Listen here
https://steelcitydancediscs.lnk.to/Overbit
Overbit’ lands as the debut single and first taster of the forthcoming Mela EP spanning four dynamic club tracks that draw a direct line between Indian sound clashes and the forward-thinking pulse of UK club culture. Mela (translating to festival/gathering) sees the Indian-born, Brooklyn-based duo dive into the riotous sound clash traditions of West Bengal and Maharashtra, where towering, DIY sound systems rigged up by local crews transform the streets into electric battlegrounds of bass, rhythm, and sound.
Overbit plunges the listener headfirst into the mela with its engulfing bass dives, crowd noise and head-spinning percussion workouts.
“We grew up witnessing processions like these in Bombay and Delhi, but only later drew parallels to UK bass and sound system culture as we began producing music,” explain Jaiveer and Mihir. “We saw these two worlds that were both thriving in isolation from each other, and the idea of bridging those worlds really excited us.”
Mela marks a fresh tonal shift as their most immersive EP yet both sonically and in its writing process. What started as a casual discovery of popular West Bengal box competition videos quickly spiraled into a creative whirlwind. Jaiveer and Mihir dove deep, producing fast, aggressive Maharashtra dhol tasha rhythms and rowdy “humming” basslines, layered with dubby textures and jittery rave-tinged melodic flourishes that culminated in the high-intensity Mela EP.
The single marks a welcomed return of Baalti who made huge strides with their sophomore release, Better Together, garnering widespread acclaim with Mixmag naming them “Breakthrough DJs of 2023” and featuring one of the EPs tracks “Spilling” as one of the “Best Tracks of 2023.”
Artist links: Instagram | Spotify | Bandcamp | Soundcloud
Label links: Instagram | Spotify | Bandcamp | Soundcloud
The post Indian duo Baalti drop debut single on Steel City Dance Discs appeared first on Electric Mode.
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The forward-thinking line ups blend heady tastemakers and international stars
London’s iconic Ministry of Sound continues to lead from the front with the arrival of URGE, a brand new and underground celebration of gritty, on-the-edge tech house. The party launches on Saturday 1st February with David Squillace, Cuartero, Rennie Peters, Jan, Sanne Dammers, Travis Casa, Metronomy’s Olugbenga and Batida Perfeita.
Designed for the hedonistic and music-obsessed late night dancer, URGE strips away the unnecessary and hones in on the essence of tech house, a genre born in the clubs of London back in the 90s. Parties will feature raw, gritty beats from the underground and a minimalist, low-lit and hazy yet immersive production aesthetic which allows the music to take centre stage and for meaningful connections to be made between DJs and dancers.
The first event kicks off in style with tech house titan and Italian tastemaker Davide Squillace who heads up the This And That label. He is joined by fellow underground favourite and Spanish mainstay Cuartero who has long been at the sharp edge of the scene. Also playing are Rennie Peters who is a key member of the INLV crew, DJ and Metronomy bassist Olugbenga, Dutch selector Sanne Dammers with a seductive take on tech house, plus EDD, Travis Casa and Batida Perfeita.
This pure celebration of tech house, house and techno excellence from across the ages will take place across all five rooms of Ministry of Sound. Recent refurbishments include a new lighting rig in The 103, and an all-year-round canopy in the courtyard while The Box, The Baby Box and The Loft all continue to lead from the front with their own unique atmospheres, immersive audio-visuals and punchy sound systems.
Travis Derrick, Head of Promotions & Talent at Ministry of Sound “Shining a light on the headsier side of tech house, house and techno with elite headliners thrown in for good measure. We wanted to refocus a tech house brand on underground talent: raw, garish, daring, with minimal yet impactful branding that provokes something in you so the senses will tune in.”
URGE is an unmissable addition to the offerings from Ministry of Sound which continues to innovate…. It’s time to feel the Urge.
The post Ministry of Sound kicks off 2025 with launch of heady new tech house night URGE appeared first on Electric Mode.
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The new single has been sizzling under the radar as one of the most coveted techno IDs in recent memory, especially after its buzzworthy appearance during John Summit's Experts Only showcase at Art Basel Miami. It's now officially dropped on Summit's imprint, which was named the best record label of 2024 on EDM.com's list of the year's top electronic music industry leaders.
Giordani's star has been steadily rising through a series of acclaimed releases on labels like Afterlife and Drumcode, and he's once again proven his uncanny ability to blend minimalist techno with stadium-filling energy. Equal parts introspective and explosive, "Act of God" is a slow-burning storm of ominous synth swells and bellowing basslines enhanced by haunting songwriting.
Meanwhile, Linney and de Warren emerge as a powerhouse pair, their combined artistry elevating the track to transcendent heights. Linney, whose unforgettable contributions to songs like Nicky Romero's “Desire” and Dyro’s “Obsession” have already made her a favorite among top-tier producers, raises the bar yet again. And de Warren—equally renowned for her work on high-profile collaborations with Hardwell and Eli Brown, among many others—brings her own approach to the track. Creating a stunning interplay, their contributions flow seamlessly into the framework of Giordani’s hypnotic production.
Listen to "Act of God" below and find the new single on streaming services here.
Follow Layton Giordani:
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Out now on Embassy One, "Mesmerized" is a poetic track with a magnetic pull, inviting us to surrender to its haunting soundscapes. Entwine vulnerable depths with soulful grooves, the song acts as the perfect backdrop for moments of reflection, either alone or on the dancefloor.
"'Mesmerized' is a song about the gravity of human connection," Monolink explained in a press release. "It's about vulnerability, surrender, and the fear of stepping into the unknown. It was the first song I wrote when we started working on my new album and it somehow turned into the sonic journey that it is now."
In the song's striking music video, directed by Nicola von Leffern and starring Jana McKinnon and Simon Frühwirth, we watch a couple's passionate relationship become fractured by a fear of abandonment. Filmed on a volcanic island in Italy called Stromboli, the video expertly pairs with Monolink's powerful storytelling.
Watch the official music video for "Mesmerized" below and stream the track here.
Follow Monolink:
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Spotify: spoti.fi/3i7ZkVy
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