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Arturia owners – you can now integrate Native Instruments’ NKS plugins into your Arturia hardware

Arturia and Native Instruments (NI) have confirmed a new product partnership under the ongoing NKS Hardware Partner Program, making it easier to use NKS plugins with Arturia hardware.
From here on out, the mainstay NI integration technology, Native Kontrol Standard (NKS), will be integrated into Arturia hardware. So far, Arturia has confirmed that three machines will be part of the initial rollout: KeyLab MK3, KeyLab Essential MK3, and MiniLab.
READ MORE: Arturia V Collection 11: New plugins, price, V Collection Intro, and everything else you need to know
This means that users of those controllers won’t need to create custom MIDI maps to get the most out of NKS software; it’s all pre-mapped and ready to go as soon as you hook up the controller.
“Arturia is committed to designing universal MIDI controllers, built to inspire creativity without limits,” says Martin Dutasta, Director of Product at Arturia. “We’re thrilled to partner with Native Instruments on NKS integration. This initiative brings greater connectivity and a more fluid workflow, benefiting creators who rely on both ecosystems.”
“This reinforces our commitment to an open and connected music industry,” continues Simon Cross, Chief Product Officer at Native Instruments. “We’re giving musicians the freedom to explore sound without workflow limitations.”
To celebrate this burgeoning relationship, new purchasers of the three Arturia controllers listed in the partnership will receive a free copy of Komplete 15 Select. Regularly, the suite of virtual instruments and production bundles is valued at $99/€99.
This partnership is part of the ongoing series of integrations stemming from the NKS Hardware Partner Program. NI first announced the program at NAMM 2025, and now Arturia joins Akai Professional, Korg, Novation, Nektar, and M-Audio in the ability to implement NI software.
Both NI and Arturia will have displays at Superbooth 2025, taking place May 8-10 at FEZ in Berlin. Head to Arturia at booth W200 or NI at booth H130 see how NKS is works in Arturia hardware.
The post Arturia owners – you can now integrate Native Instruments’ NKS plugins into your Arturia hardware appeared first on MusicTech.
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DJ Duo's Musical Scavenger Hunt Hides Custom Easy-Bake Ovens for Fans Across Denver

Bass music duo EAZYBAKED took their name literally this week, blending nostalgia, art and community engagement through a series of Easy-Bake Ovens.
It started when fans discovered a series of GPS coordinates posted to the duo’s social media. Each pin led to a familiar Denver location that holds meaning in EAZYBAKED’s performance history, including Red Rocks Amphitheatre, Cervantes and The Black Box.
However, what fans found when they arrived at each location was anything but expected: customized Easy-Bake Ovens containing recipe cards with clues.
c/o Press
c/o Press
When pieced together, the cards revealed details of a new headline show. Each oven was uniquely hand-painted by artists such as Aaron Brooks, RUKU and Rumtum, among others others, giving the entire experience a one-of-a-kind artistic edge.
The campaign led up to the announcement of a milestone performance, EAZYBAKED's upcoming headline of Mission Ballroom, which they ultimately announced as their "biggest show to date." The lineup includes parkbreezy, Torcha, Cambot, jordnmoody b2b Snuffy and an opening set from The Bakers, a side project that longtime fans will recognize.
Tickets for the show on September 5th are on sale here.
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Follow EAZYBAKED:
X: x.com/eazybaked
TikTok: tiktok.com/@eazybaked
Instagram: instagram.com/eazybaked
Facebook: facebook.com/eazybaked
Spotify: spoti.fi/3U94C7B
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Novation just launched a slew of new products at Superbooth, including a limited-edition Bass Station II with artwork from an acclaimed graphic designer

Novation has unveiled a series of new products in time for this year’s Superbooth, which is currently being hosted in Berlin. The new offerings include the Launch Control XL 3 MIDI control surface, two white Launchkey MK4 keyboard controllers – in 49-key and 37-minikey formats – and a limited-edition Bass Station II designed in partnership with famed British graphic designer Ian “Swifty” Swift.
READ MORE: Moog Messenger: Everything you need to know on features, pricing, and availability
Launch Control XL 3
Building on Novation’s popular series of DAW controllers, the Launch Control XL 3 offers “hands-on performance, production and mixing workflows” with Ableton Live, Logic Pro, FL Studio, Cubase and more via eight faders, 24 endless encoders and 16 programmable buttons, each with dedicated transport controls.
Theres also a new built-in OLED display to keep the parameters front and centre while users are engaging with their chosen DAW in real-time.
Launchkey MK4
The Launchkey MK4 White is the same product as it was upon its widely-lauded release in 2024, except in a sleek new white and grey colour scheme for both the 49-key and 37-minikey versions. Users can expect all the same software additions, such as instruments and effects from Klevgrand, GForce, Orchestral Tools, Native Instruments, and Ableton Live Lite. Cubase LE is a recent addition as well.
Bass Station II Swifty Edition
And finally, the Bass Station II Swifty Edition is another aesthetic variation on a standard Novation product. Ian “Swifty” Swift has designed visuals for notable record labels like Mo’ Wax and Talkin’ Loud as well as The Face magazine. On top of this new look, the paraphonic analogue synth includes new patches from prominent artists like Legowelt, Pecq, and Maria Chiara Argirò.
Pricing and availability
In terms of pricing, the Launch Control XL 3 clocks in at £189.99, the 49-key and 37-minikey Launchkey MK4s in white are priced at £229.99 and £139.99, respectively, and the Bass Station II Swifty Edition comes in at £449.99. You can learn more and order over at Novation’s website.
Superbooth attendees can also get their hands on each new product at Novation’s booth (#0285).
The post Novation just launched a slew of new products at Superbooth, including a limited-edition Bass Station II with artwork from an acclaimed graphic designer appeared first on MusicTech.
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DJ Snake Presents Iconic “The Final Show” In Stade De France In Paris With Special Guests Tiësto & Madeon

In a groundbreaking move, DJ Snake defines the “Year of the Snake” with the largest solo show of his career— The Final Show — a monumental and final hometown performance at the iconic Stade de France in Paris on May 10th. Set to be one of the largest solo DJ shows in history, this landmark event is poised to push boundaries with pyrotechnic displays surpassing the Paris Olympics games closing ceremony and special effects beyond the Rammstein Stade of France production. This historic night becomes even more unforgettable with support from electronic music legend Tiësto and a special DJ set by the acclaimed Madeon.
The celebration continues with DJ Snake at the Accor Hotel Arena for an all-night experience featuring after-parties headlined by some of the most dynamic names in electronic music. Boys Noize brings his electro energy; Bellorum delivers dark, immersive bass; Devault captivates with cinematic, genre-blending productions; Dillon Francis brings his trademark moombahton style; Flosstradamus energizes the crowd with their trailblazing trap sound; The Outlaw (DJ Snake’s Heavyweight alias) pushes boundaries with high intensity sets; B2B TRYM keeps the dance floor alive with relentless, hard-hitting techno. DJ Snake will also be reintroducing his signature brand, Pardon My French, with a massive merch pop-up event taking place on Friday, May 9th at Vendredi—serving as an official pre-party to his historic weekend takeover.
DJ Snake continues his history-breaking streak with the biggest DJ solo show of his career, selling out close to 110K tickets between the main event and afterparty in mere seconds. This spectacular performance marks the beginning of his next chapter, with a major announcement anticipated at the stadium At The Final Show, fans will experience exclusive previews of new tracks featuring special guests. Adding to the excitement, DJ Snake plans to orchestrate another viral moment in dance music history, elevating the show into a cultural moment. 
With even more major announcements on the horizon, DJ Snake is gearing up to make 2025 his most impactful and unforgettable year yet.
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REZZ and Chuurch Resurrect Long-Lost Fan-Favorite With Menacing New Single, "Telepathy"

REZZ and Chuurch have released a new collaboration, "Telepathy," a track they started producing nine years ago.
Long teased in REZZ's live sets, the song has finally been completed and released today via her own label, HypnoVizion Records. She most recently rinsed it during the sold-out debut of her "PORTAL" show at San Francisco's Cow Palace, where fans were instantly drawn into its gravitational pull.
"Telepathy" embodies everything that makes REZZ’s sound so distinct, luring us into the sort of menacing midtempo arrangement that has become her signature. Chuurch's dark and experimental approach adds a hypnotic touch, with ominous vocal samples like "open the closet door” lacing through eerie synths that swirl around grimy basslines.
You can listen to "Telepathy" below and find the new single on streaming platforms here.
Follow REZZ:
X: x.com/officialrezz
TikTok: tiktok.com/@officialrezz
Instagram: instagram.com/officialrezz
Facebook: facebook.com/officialrezz
Spotify: spoti.fi/32DV4IY
Follow Chuurch:
X: x.com/chuurchmusic
TikTok: tiktok.com/@chuurchmusic
Instagram: instagram.com/chuurchmusic
Facebook: facebook.com/chuurchmusic
Spotify: tinyurl.com/3b4dsy2e
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Sunlight to Starlight: Armin Van Buuren Will Play A Rare 6-Hour Non-stop Set At Ushuaïa Ibiza

On June 8, Armin van Buuren returns to Ushuaïa Ibiza with a bold and rare six hour non-stop set to mark the opening of his summer residency. This time, he’s doing more than performing. He’s making a statement. Ushuaïa Ibiza, one of the world’s most iconic venues, will give Armin six uninterrupted hours to deliver a rare open-to-close set. There will be no support acts. No distractions. Just Armin from sunlight to starlight, crafting a sonic journey through trance, progressive, and emotional mainstage music.
“I don’t do open-to-close sets often,” Armin shared. “But when I do, it’s because the moment calls for it.” He continued, “Ushuaïa is one of the most iconic venues in the world, and Ibiza holds a special place in my heart. Kicking off the summer with an extended solo set there feels like the perfect way to begin the season.”
It’s not just another date—it’s the first chapter in a nine-week residency. Armin headlines every Sunday from June 8 through July 6, and again from September 7 to 28.
A Residency That Mixes Legends and Future Heroes
While Armin owns the opening night, the rest of the season features a handpicked lineup of collaborators. This is where the residency evolves into a full-scale vision. Longtime friends, festival staples, and breakout stars will take the stage alongside him across both summer chapters. This isn’t a nostalgia act. Armin is building a sonic mosaic that reflects where the scene is headed, not just where it’s been.
Confirmed names include Cosmic Gate, Vini Vici, Oliver Heldens, Massano, Lilly Palmer, and Marlon Hoffstadt. The energy spans genres—techno, trance, mainstage house, and hybrid styles. Armin’s curating a space where legends meet new blood, and fans hear dance music’s full emotional spectrum. There’s festival firepower from D.O.D., Fedde Le Grand, and Seth Hills. Melodic minds like AVIRA, SUPERSTRINGS, and Laura van Dam offer depth and contrast. Then there’s Inafekt, Funk Tribu, and Surf 2 Glory pushing experimental and underground angles. The lineup includes: Avalan Rokston, Ben Gold, Billy Gillies, CIS, Olympe, Ruben de Ronde, and Saidah—each one bringing a distinct perspective.
Ushuaïa Is Still the Benchmark—and Armin’s Raising the Bar
Ibiza changes every summer, but Ushuaïa remains the benchmark for open-air clubbing. Its stage production, atmosphere, and global reach are unmatched. More than music—it’s about storytelling at scale. And Armin knows exactly how to deliver that story. Choosing Ushuaïa for a six-hour set is strategy and brilliance rolled into one. It’s the only place that can handle this level of vision and execution.
From dusk until nightfall, Armin will build a narrative no playlist can replicate. Ibiza’s dominance may be challenged by new destinations, but this residency shows it’s still the spiritual capital of dance music. Tickets for all nine shows are on sale now via theushuaiaexperience.com.
With a season this ambitious, demand will be fierce. Fans worldwide are already eyeing the opener as a summer-defining moment. Armin van Buuren’s Ushuaïa 2025 residency isn’t about fitting into trends—it’s about setting them. The message is clear: Ibiza’s magic still exists. You just need an artist brave enough to lead.
The post Sunlight to Starlight: Armin Van Buuren Will Play A Rare 6-Hour Non-stop Set At Ushuaïa Ibiza appeared first on EDMNOMAD.
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BEONIX Festival Reveals Full Lineup for 2025 – Armin van Buuren, Boris Brejcha, Dubfire, Len Faki, Maceo Plex, Roger Sanchez and more

BEONIX, Cyprus’s premier electronic music festival, will take place on the sun-soaked shores of Limassol from September 19 to 21, 2025, bringing together a genre-spanning lineup of legendary names and rising talents. Held once again at the ETKO venue, the three-day celebration promises an unforgettable sonic journey across four immersive stages: Main Stage, Hangar Stage, Organic Stage, and Garden Stage.
Headlining the 2025 edition are some of the most influential names in the global electronic scene, including Adriatique, Armin van Buuren, Boris Brejcha, Dubfire, Len Faki, Maceo Plex, and Roger Sanchez. From progressive and melodic techno to house, trance, and live electronica, BEONIX curates a multifaceted musical experience for both dedicated ravers and curious newcomers.

The full lineup for BEONIX 2025 features over 50 international and regional artists:
Adriatique, Anfisa Letyago, Armin van Buuren, Boris Brejcha, Dubfire, Kevin Saunderson, Len Faki, Maceo Plex, Roger Sanchez, Shimza, ANII b2b Olympe, AS IDE, AVALAN ROCKSTON, AVANT b2b Solique, Avision, Axel Haube b2b Ross Quinn, BADBOX, Carlo Lio, Casey Spillman b2b Seb Zito, David Moreno, Deepesh Sharma b2b Romeo Ji, Henri Bergmann b2b Kadosh, Highjacks, Human Rias, James Zabiela, Jordan Masters b2b Smythy, Julian Prince b2b Kosta Kritikos, Juliet Fox, Just Jam b2b Wodda, Kole Audro, Lehar, LNTX, Markus Klee, Marlie, Octave One (live), Saraga, Spartaque, Tania Vulcano, The Advocate, The Element, Wax Material, Xavi Emparan, Yulia Niko, Zakes Bantwini.
Each of BEONIX’s four stages will offer its own soundscape and atmosphere, carefully curated to blend cutting-edge music with immersive art and lighting design. Every year, BEONIX invests heavily in the production of the Main Stage, ensuring audiences enjoy world-class sound quality and breathtaking visual experiences.

The festival takes place at ETKO, a historic former winery in Cyprus that has been carefully restored. The venue is home to art installations and murals created by talented artists, highlighting that BEONIX is not only about music, but also about celebrating art in all its forms.
Since its debut, BEONIX has established itself not just as a festival, but as a cultural movement celebrating creativity, diversity, and high-end production values in Cyprus. With its 2025 edition, BEONIX continues to push boundaries, turning the island into a global hub for electronic music enthusiasts.
Tickets are now available via the official BEONIX website: https://beonix.art/tickets
The post BEONIX Festival Reveals Full Lineup for 2025 – Armin van Buuren, Boris Brejcha, Dubfire, Len Faki, Maceo Plex, Roger Sanchez and more appeared first on Electric Mode.
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Foehn & Jerome Take Listeners Off the Beaten Path with Their New EP ‘Off-Road Dreams’

Gabu Records welcomes Berlin-based Austrian duo Foehn & Jerome with their latest EP, ‘Off-Road Dreams’. A deep dive into deep house, the four-track release captures their signature blend of groove, nostalgia, and modern club energy, cementing their place in the underground electronic scene.
Opening with ‘Emser,’ it sets an uplifting tone, layering hypnotic 80s funk-inspired grooves with shimmering piano, melodic drums, and ethereal vocals that float effortlessly above the arrangement. The track’s evolving structure builds into an intricate mosaic before seamlessly transitioning into ‘Golden Egg,’ a 90s-infused slow-burning groove rich in movement and steeped in deep, late-night atmospheres. Warm basslines and flowing melodies create an immersive experience that lingers before ‘Dirtbike’ shifts the energy into darker, grittier territory. Infused with old-school garage elements, its raw, driving bassline forms a dense, pulsing backbone, while atmospheric synths cut through with an intergalactic edge, adding contrast and tension. The EP closes with ‘Phassou,’ a bouncy, high-energy track packed with nostalgic synths cascading around the mind. Jumping between different moods, it rounds out the release with a seamless, transportive experience that ties together the EP’s diverse influences into a cohesive, evolving journey.

Since their arrival in Berlin in 2011, Foehn & Jerome have built a reputation as key figures in the city’s underground electronic music landscape. Their ‘Perfumed Freedom’ events at Club der Visionaere have cultivated a dedicated community, and now, as they prepare to expand their artistic vision with an upcoming record label, ‘Off-Road Dreams’ marks a pivotal moment in their journey.
Released on Gabu Records, a label known for pushing forward-thinking electronic sounds, the EP finds its home among a roster dedicated to cutting-edge house and deep. With a commitment to fostering innovative talent, Gabu Records continues to be a platform for artists shaping the next wave of underground club music.
‘Off-Road Dreams’ is out now on all streaming platforms via Gabu Records.
Listen Here
The post Foehn & Jerome Take Listeners Off the Beaten Path with Their New EP ‘Off-Road Dreams’ appeared first on Electric Mode.
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Thomann just launched its Synth Days sale – and you can get up to 80% off synths, drum machines, and plugins

Thomann has officially kicked off its Synth Days sale, offering up to 80 percent off a wide selection of synthesizers, grooveboxes, drum machines, and plugins.
Running from 8 May through 18 May, the sale coincides with Berlin’s Superbooth 2025 and features over 100 deals aimed at synth enthusiasts, sound designers, and producers.
READ MORE: Plugin Boutique is hosting a massive Excite Audio sale – including all 10 Bloom plugins for just £149 Here at MusicTech, we’ve sifted through the full range of deals on offer and picked out a few of the best:
25% off Polyend Play+

Kicking things off, we’ve got the Polyend Play+, now available for £518 – a solid 25 percent discount from its usual £689 price tag. The updated groovebox expands on 2022’s original Play, boasting four synth engines (two monophonic analogue emulations, one virtual analogue polysynth, and one FM algorithm with wavetable operators), plus a 64-step sequencer with 128 patterns.
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£40 off Novation Launchkey 61 MK4
Another standout deal is the Novation Launchkey 61 MK4, reduced from £295 to £255. Key features include 16 velocity-sensitive drum pads with polyphonic aftertouch, nine faders, eight encoders for controlling plugin parameters, a generative arpeggiator, an input for connecting a sustain pedal, pitchbend and modulation wheels as well as an OLED display.
[deals ids=”2pxJm8R6EVOgSU5Mbp1FRL”]
Save £250 on the SOMA Pulsar-23
For those seeking a serious analogue percussion solution, the SOMA Pulsar-23 is now down to £1,499 from its usual £1,750 – a sizeable drop for one of the most expressive and experimental drum machines on the market.
[deals ids=”3FMXLwNun20YsFwHCwX29V”]
29% off Cherry Audio Elka-X – plugin emulation of a classic Italian analogue polysynth

On the software side, Cherry Audio’s Elka-X has its price reduced to £29 from £41. This plugin emulates the rare ELKA Synthex, an ‘80s Italian analogue polysynth used by the likes of Stevie Wonder, Keith Emerson, and Jean-Michel Jarre (who used it for his signature Laser Harp sound).
In our review, in which the synth was given an Editor’s Choice award, we said: “The Elka-X’s sonic capabilities are a bag of surprises. While it clearly has an ’80s feel, it’s definitely different from the sound of Oberheim synths and Sequential’s Prophet series from the same era.”
[deals ids=”4rs64ENP3Ate8r1ARS02wr”]
Another excellent deal is the Ninja Tune x Erica Synths Zen Delay VST, which has been slashed from £67 to just £33. For the uninitiated, this plugin is a faithful reproduction of the analogue Zen delay hardware by Erica Synths, with additional bells and whistles. In our review, where the plugin scored a high 9/10, we praised the Zen Delay VST for its superb sound and the way it “expands on the hardware in meaningful and useful ways that maximise its sound design credentials.”
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The Thomann Synth Days event wraps up on 18 May at 11:59 PM CET. Deals are available while stocks last.
Check out the full range of deals over at Thomann.
The post Thomann just launched its Synth Days sale – and you can get up to 80% off synths, drum machines, and plugins appeared first on MusicTech.
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Kel P: “I love producing Afrobeat so much. I guess it was unique enough that when the world heard it, they loved it too”

Grammy-winning Nigerian producer, Udoma Peter Kelvin Amba, otherwise known as Kel-P to Afrobeats fans, is shifting from behind the desk to the front of the stage. The producer has worked with the likes of Burna Boy to Wizkid, generating billions of streams, and is now making a name for himself as a solo artist.
READ MORE: Clive From Accounts: “Give me a phone and I’ll happily make you tunes all day” His latest record, Best of Both Worlds, which was released in collaboration with fellow Afrobeats bigwig Wande Coal, is hoped to make a change in which collaboration becomes more commonplace in the genre.
He talks to MusicTech about how his producing background has shaped his approach to vocal work, and his remote studio that allows him to write, record and produce beats while on the go.
You’ve recently stepped into the spotlight as a solo artist, building your career as a producer. How has your time behind the desk informed your approach to being in front of the microphone, and vice versa?
Being a solo artist is great. However, I find it a little bit hard to do certain things in terms of creating content, but when it comes to making the music as an artist, that is always amazing – I love the process way more than making the music as a producer.
Being a producer from the beginning helped me in shaping my sound — it allowed me to develop my music, taught me and gave me direction on how to actually make my own music. So I’m loving it, loving how I approach it, and finally being in front of the mic while also still producing.
You’ve said in previous interviews that becoming a producer was a happenstance. What was the process of learning how to become a producer? How long did it take to develop your signature style?
The process was an interesting one. I was inside of the studio for two years just making beats nonstop, trying new things and creating new beats every day. Doing that just helped me become better, faster and quicker. Right now, I could make a beat in ten minutes because I’ve been doing this for a long time.
I put in the work, and I found my own sound because I love producing Afrobeat so much and as such, I decided to stick to that and develop that as a producer for myself. I guess it was different and unique enough that when the world heard it, they loved it too.
Tell us a bit about your studio.
I just have a mobile setup at the moment. I travel around the world, and so I set up anywhere I am in the world. I don’t have to be in a proper recording studio to actually make music – that’s how I work. However, when I want to have the vocals cut properly, I go to a proper studio.
What’s your latest gear or plugin purchase?
The last thing I purchased was the new FL Studio plugins. It’s crazy, you could just throw in a song, and it pulls out the stems for you to use. I also bought the Waves V9 plugins, which are very good for vocals. It is super worth the mone,y and I love using them.
What’s the best free plugin you own?
I don’t think I own any free plug-ins currently; however, at the early stage of my career, I used to use Purity, Nexus and some of the internal VST plug-ins that come with FL Studio, such as GMA, FL Keys, to create beats. I also used to use the Internal and vocal plug-ins that come with Cubase, such as compressors, the de-esser, and EQ.
What’s been the biggest investment in your career/studio? Was it worth it? Why?
The biggest investment in my career is actually investing in myself as an artist and investing in myself to become a super-producer!
You seem to be constantly on the move, producing in different cities and locations all around the world. What does your setup look like when you’re away from home?
I travel a lot so I just have this mobile studio, which are my LAN monitors, a laptop, an SSL2+ interface and a Neumann mic. It’s nothing crazy and it means I can set up anywhere.
Sometimes I actually go to a proper recording studio and record things properly, but 80% of the time it’s just this mobile studio setup.

One of your biggest hits, One More Night, uses a sample from Dilemma, by Nelly and Kelly Rowland. Where do you find sampling inspiration? How do you make them fit into your style of music?
I grew up listening to early 2000s RnB, so I told myself that I’m going to sample pretty much every one of my favourite songs. Hopefully I get to clear everything – sometimes clearing is so difficult – but I really love that record so much.
How do you see your sound and studio evolving in the next two years?
My sound has already evolved so much over the last few years, and I can’t even explain this until my unreleased music comes out!
When it comes to studios, I’m not too crazy about building one because I’m in different countries, in different places, so I have my mobile equipment and wherever I am. I could always work in any studio in any country, so I’m not worried about building a studio.
However, I may want to change my gear soon, such as a new interface, a new microphone, buy new VST plug-ins, get new programmes, even.
What is one of the biggest lessons you’ve learnt from your career?
One of the biggest things I’ve learnt in life is you’ve got to grow. You can’t stay in one place — growth is necessary. It’s compulsory.
Another lesson is that you gotta put in the work, and once you’re successful, stay humble but don’t be stupid. And also, sometimes you gotta say ‘No’! You don’t have to say ‘Yes’ to everything.
The post Kel P: “I love producing Afrobeat so much. I guess it was unique enough that when the world heard it, they loved it too” appeared first on MusicTech.
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Moog Messenger: Everything you need to know on features, pricing, and availability

Moog has launched a new compact and “performance-ready” synth that promises to “deliver the iconic Moog sound through a modern lens”.
The new product, which is called Messenger, is a monophonic analogue synth suited to both beginners and seasoned pros. It mixes analogue warmth with innovative functionality, and it has an intuitive hands-on interface suited to players of all levels. The synth was shortly teased by the brand earlier this month (6 May), with more details landing just in time for Superbooth.
READ MORE: The Bob Moog Foundation is hosting a raffle for a Geddy Lee Minimoog Model D – here’s how to enter According to Moog, Messenger seamlessly integrates into any studio, live performance setup, or modular rig. On the whole, it seems the iconic brand is keen to push that this new launch represents a “significant evolution” in its synth lineage, introducing “new sonic possibilities and enhanced playability”  so, let’s get into some of the features that make this possible.
Key features
Messenger has the DNA of other iconic Moog monosynths, such as the Minimoog Model D, Voyager, Grandmother, and Subsequent 37. It has two continuously variable-shape voltage-controlled oscillators (VCOs) with unique hybrid wavefolders, sync, and frequency modulation capabilities. There’s also a sub-oscillator with a continuously variable waveshape to further add “deep, powerful low-end”.
The famed Moog transistor ladder filter has also been reimagined for the Messenger, with a unique pole-mixing design offering four-pole low-pass, two-pole low-pass, band-pass, and high-pass responses. A resonance bass compensation (RES BASS) switch is also on board to preserve low-end power at high resonance settings. The classic response is also available.
Further features include:
32 semi-weighted, full-size keys with expressive control, plus 256 presets Knob-per-function control scheme 64-step sequencer with probability-based generative behaviour and parameter recording “Versatile” arpeggiator offering multiple pattern modes and rhythmic programming Two loopable ADSR envelopes with velocity responsiveness and multi-trigger capabilities, along with two LFOs (one variable shape with sync and reset, and one triangle-wave tied to the modulation wheel) to provide “extensive modulation options for creative sound design” Six analogue control voltage (CV) patch points, an external audio input to the filter, expression and sustain pedal inputs, and MIDI In/Out via both five-pin DIN and USB-C, ensuring compatibility with DAWs, modular systems, and other hardware synths
Pricing and availability
Messenger will be available at select retailers globally from 2 June 2025, and will be priced at $799 USD. If you’re heading to Superbooth this May, you can find Moog at booth 0245 to catch an early glimpse.
What does Moog have to say?
“With Messenger, we aim to honour Moog’s rich heritage while embracing the future of analogue synthesis,” says Joe Richardson, Moog Music President and inMusic EVP, Chief Commercial Officer. “This instrument is crafted for musicians and producers seeking a portable, powerful monosynth that delivers the iconic Moog sound, enhanced with modern features and intuitive controls.”
Erik Norlander, Director of Keyboard Product Development at inMusic, adds: “Messenger embodies our commitment to advancing analogue synthesis while staying true to the Moog legacy and innovative spirit of Dr. Robert Moog. Our goal was to create a synthesiser that invites immediate exploration – welcoming first-time Moog players and offering the depth and expressiveness that experienced musicians expect. With wavefolding oscillators, a dynamic shape sub-oscillator, a next-generation ladder filter, and comprehensive connectivity options, Messenger is as inspiring as it is accessible.”
Head over to Moog to find out more about Messenger, or view the full list of exhibitors at this year’s Superbooth event.
The post Moog Messenger: Everything you need to know on features, pricing, and availability appeared first on MusicTech.
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Apple Asks the Court to Halt App Store Overhaul Amid Successful Epic Games Appeal

Photo Credit: James Yarema
Apple has requested the US District Court in Northern California pause enforcement of the new App Store rules after its recent loss to Epic Games.
Apple has asked for a stay on the court’s injunction, in an emergency motion filed on Wednesday. That injunction requires the company to allow developers to link to alternative payments methods in their apps. The court’s decision and Apple’s subsequent request are the latest in an ongoing legal battle between the tech giant and Epic Games, stemming from the Fortnite developer challenging the App Store business model alongside Spotify.
Notably, the court sided with Apple on a number of issues, but it ruled that the company’s “anti-steering provisions” violate California’s Unfair Competition Law. Those provisions prevent developers from directing users to alternate, cheaper methods of payment outside the App Store.
Apple said it would comply with injunction, but would still appeal the decision; that appeal was filed earlier in the week. Should the court agree to stay the injunction, Apple would be permitted to maintain the current App Store policy until the court rules on the company’s appeal. Notably, both Epic Games and Spotify have prepped app updates to take advantage of this court ruling.
The company is specifically looking to delay two key mandates: a ban on charging commissions for purchases made through links to external payment methods, and a ban on setting conditions for the style, language, or placement of those links within apps. Ideally for Apple, third-party payment links would be well-hidden over its App Store payments method.
Apple argues these provisions are “punitive,” opening a new legal can of worms and would cause “irreparable” damage by costing the company “hundreds of millions to billions” of dollars annually. Further, Apple claims the district court did not follow due process, improperly engaging in price-setting, in violation of both California law and the US Constitution.
Apple believes it will succeed on appeal and that a stay is necessary to prevent any damage to its business model.
Meanwhile, Epic Games called the motion to stay “a last ditch effort to block competition and extract massive junk fees at the expense of consumers and developers.” The gaming company adds it is “full speed ahead” to bring Fortnite to iPhones and iPads in the US this week.
Other companies to have already adapted their apps to take advantage of the ability to link to out-of-app payment methods since the court’s ruling include Kindle, Patreon, and Spotify.
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Kyiv’s ∄ (K41) Welcomes Alinka as its first International Club Resident

Standard Deviation · MARCH SPECIALS ④ ALINKA Alinka, the Kyiv-born Ukrainian-American DJ and label head of Twirl Recordings, with Chicago Smartbar resident Shaun J. Wright, has been announced as the first international resident of ∄.
The Berlin-based artist, who also DJs frequently at Berghain/Panorama Bar, has played at the club since its opening in 2019 and has notably returned to play regularly since the Russian full-scale invasion in February 2022. Her maiden appearance back in 2019 marked the first time she’d returned to her birthplace of Kyiv, after her family fled the Soviet Union in the late ‘80s as Jewish refugees to settle in Chicago, USA.
“It was a monumental and life-changing moment for me because it was my first time back in Kyiv since I was eight years old. It felt like finding the missing piece to my story. I didn’t know what to expect, but when I experienced it for the first time, I knew this would be one of the greatest clubs in the world, and I fell in love with Kyiv and ∄. I came to play regularly after that and watched the club grow, and grew with it through many special sets. With each visit, I have continued to feel more and more connected to Kyiv and ∄. From the first visit onwards, it’s felt like home and the most special place in the world for me,” Alinka shares.
Founded in 2019, ∄ (also known as K41) is a leading cultural institution in Kyiv. The space includes the internationally renowned K41 nightclub, a K41 Community Fund, a Concert Hall, and a Community Centre. While the club currently operates under martial law restrictions (closing at 22:45), it remains a vital force in Ukraine’s music and cultural landscape. Every Saturday, K41 Club hosts events where all proceeds from the door go directly to the K41 Community Fund, supporting the Ukrainian Armed Forces, local volunteer initiatives, and team members who have joined the military. The Concert Hall presents a wide-ranging public program—from concerts and exhibitions to screenings, theatre, and lectures. The Community Centre serves as a hub for grassroots initiatives, including a dance studio and the headquarters of the NGO LGBT Military.
The DJ/producer joins a local line-up that includes Recid, Nastya Vogan, Serge Jazzmate, and Vitalii Shevchenko. The club is committed to supporting artists whose sound shapes the scene and whose presence extends beyond the dancefloor. Residents are supported with resources that foster their creative work—from studio access to curatorial opportunities. In March, ∄ launched Curated By, a new event series that gives residents full creative control over line-ups and event concepts.
Deepening her long-standing connection with the club, Alinka will play a minimum of six times per year, inclusive of one curated event for ∄.
“This summer is the 25-year anniversary of when I started DJing. Coming back to Kyiv – especially since Russia’s full-scale invasion – to be able to give people a glimmer of hope and joy during of the most difficult times, and to celebrate the Ukrainian people’s resilience, has been the most meaningful and proud experience of my life. I’m in awe of what the club and the team continue to achieve and forever inspired by them. This residency truly means the world to me and is the greatest honour. I look forward to the future and what we will continue to build together.” – Alinka
“Welcoming Alinka as a resident feels completely natural to us. She’s been a consistent supporter of what we do for years, both as an artist and a friend. Beyond that, we hold a deep appreciation for her music, rooted in the legacy of Chicago house, it carries a raw, driving energy and emotional weight that resonates deeply with us. Her sound creates space for joy, defiance, connection, and change. It doesn’t just align with our agenda — it elevates and expands it. That same spirit runs through her relationship with us. Since the start of the full-scale invasion, her commitment has only deepened. She continues to return, play, and stay closely connected with our community, even in these extremely difficult and challenging times. This residency is our way of showing up for her, just as she’s always shown up for us.” – K41
The post Kyiv’s ∄ (K41) Welcomes Alinka as its first International Club Resident appeared first on Decoded Magazine.
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Bakar’s Viral ‘Hell N Back’ Crashes Into Copyright Suit — Plaintiff Alleges ‘False Claim of Ownership’ on Sampled Track

A live performance from Bakar, whose viral ‘Hell N Back’ is at the center of a new copyright infringement lawsuit. Photo Credit: Tackofall099
Bakar’s viral “Hell N Back” has crashed into a massive copyright infringement lawsuit for allegedly sampling a decades-old track without proper authorization.
New York City-based Tuff City Records fired off the multifaceted complaint yesterday, naming as defendants not only Bakar, but Resnik Music Group, Sony Music UK, its Black Butter Records imprint, and others yet.
As some already know, the nearly six-year-old “Hell N Back” is still riding a wave of commercial momentum – including on TikTok, where it’s featured in millions of clips. Beyond the short-form app, the track (which Summer Walker remixed in 2023) is said to have appeared in a trailer for Disney’s Elemental and on American Idol.
Putting those pertinent details on the backburner for a moment, plaintiff Tuff City Records currently specializes in “rescuing thousands of blues, jazz, funk, soul and R&B treasures from obscurity,” its website shows.
Overall, the company owns and administers “tens of thousands of musical recordings and compositions,” per the suit. And as the filing party tells the story, that pile of IP includes a 1967 song entitled (ironically enough) “I Caught You in a Lie.”
As laid out in the action, multiple years and agreements later, full ownership of the recording (released by Robert Parker) and the composition (penned by Lee Diamond) ultimately wound up with Tuff City.
That’s a decidedly important point for the plaintiff, which believes that “Hell N Back” and its remix sample “the entire rhythm track (including all of the bass and drum sounds)” from “I Caught You in a Lie.” It probably doesn’t need saying given the suit, but the alleged usages “were not authorized by” Tuff City.
How, then, did an allegedly infringing track release via a major label imprint and rack up 900 million Spotify streams (while recording several different consumption feats to boot) before this complaint’s submission?
On the compositional side, Tuff City is placing the blame squarely on the shoulders of the aforesaid Resnik Music Group and its alleged “false claim of ownership” over “I Caught You in a Lie.”
Long story short, Resnik Music allegedly maintains that it’s the actual owner based on a series of rights transfers stemming from the above-noted Lee Diamond.
On top of allegedly securing royalties to which it’s not entitled, Resnik Music has allegedly denied the plaintiff its “opportunity to license” the composition.
“Based on their claimed ownership of the Composition,” the suit reads in part, “Defendants [Robert] Resnik and Resnik Music and their counsel have demanded that Plaintiff abandon its ownership claims.”
DMN reached out to Resnik Music for comment but didn’t immediately receive a response. However, “I Caught You in a Lie” seemingly remained available to license via Resnik Music’s website at the time of writing.
And when it comes to the relevant recordings, Tuff City (which says it “repeatedly notified” the defendants of its concerns) is pointing to alleged false representations from one Maple Gaines to Sony Music UK.
Gaines is said to have inked a related licensing deal with Sony Music UK in October 2019 – despite not owning the master, according to the suit. Consequently, “she was not authorized to enter into the agreement, and as she lacked the rights, the agreement was a nullity,” per the legal text.
Sony Music UK may not have known “that Gaines’s representations and warranties were false,” but “declined to distribute royalties [to Tuff City]…amounting to at least $47,500 as of 2023,” the suit states.
All told, Tuff City is suing Bakar, Sony Music UK, Black Butter, and Summer Walker publisher LVRN for copyright infringement, besides seeking an injunction as well as a declaratory judgement confirming that it’s “the owner of all rights in and to the” composition and the recording.
The plaintiff is also pursuing fraud claims against Resnik Music, its owner, and Gaines.
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DJ Snake presents “The Final Show” at Stade de France in Paris

In a groundbreaking move, DJ Snake defines the “Year of the Snake” with the largest solo show of his career— The Final Show — a monumental and final hometown performance at the iconic Stade de France in Paris on May 10th. Set to be one of the largest solo DJ shows in history, this landmark event is poised to push boundaries with pyrotechnic displays surpassing the Paris Olympics games closing ceremony and special effects beyond the Rammstein Stade of France production. This historic night becomes even more unforgettable with support from electronic music legend Tiësto and a special DJ set by the acclaimed Madeon.
The celebration continues with DJ Snake at the Accor Hotel Arena for an all-night experience featuring after-parties headlined by some of the most dynamic names in electronic music. Boys Noize brings his electro energy; Bellorum delivers dark, immersive bass; Devault captivates with cinematic, genre-blending productions; Dillon Francis brings his trademark moombahton style; Flosstradamus energizes the crowd with their trailblazing trap sound; The Outlaw (DJ Snake’s Heavyweight alias) pushes boundaries with high intensity sets; B2B TRYM keeps the dance floor alive with relentless, hard-hitting techno. DJ Snake will also be reintroducing his signature brand, Pardon My French, with a massive merch pop-up event taking place on Friday, May 9th at Vendredi—serving as an official pre-party to his historic weekend takeover.
DJ Snake continues his history-breaking streak with the biggest DJ solo show of his career, selling out close to 110K tickets between the main event and afterparty in mere seconds. This spectacular performance marks the beginning of his next chapter, with a major announcement anticipated at the stadium At The Final Show, fans will experience exclusive previews of new tracks featuring special guests. Adding to the excitement, DJ Snake plans to orchestrate another viral moment in dance music history, elevating the show into a cultural moment. 
With even more major announcements on the horizon, DJ Snake is gearing up to make 2025 his most impactful and unforgettable year yet.
The post DJ Snake presents “The Final Show” at Stade de France in Paris appeared first on EDMNOMAD.
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Court Forces The Game to Sell Calabasas Mansion to Cover $7M Judgement

Photo Credit: Eva Rinaldi / CC by 2.0
Rapper Jayceon Terrell Taylor has been court-ordered to sell his Calabasas Mansion to satisfy a $7 million judgement. The years-long suit was brought by Priscilla Rainey, who says the rapper sexually assaulted her on the set of his VH1 reality TV series, ‘She’s Got Game.’
The Game denied the allegations made against him, but failed to appear in court in 2016 when the case went to trial. He also failed to attend any related hearings—leading to a default judgement against him in 2018. Rainey was awarded $1.13 million in compensatory damages and $6 million in punitive damages. Now nearly ten years later, The Game has failed to make any payments toward the judgement.
A California judge approved Rainey’s request that the rapper be required to sell his house in Calabasas in order to finance the judgement. This attempt is what prompted The Game to respond in court, citing the home as his primary residence.
Under California law, a homestead exemption means primary residences cannot be force-sold to satisfy a legal judgement as long as the home equity is less than or equal to the exemption amount. The maximum protected equity amount is $722,507. The four-bed, five-bath property is valued at $4 million according to its Zillow listing.
The Game’s legal team argued that the property was owned by JTT Holdings, a company in which he has equity. However, the court determined that JTT Holdings is a shell company and that the mansion could be forcibly sold to cover the judgement. Rainey’s legal team argued that the rapper’s transfer of ownership to his manager Cash ‘Wack 100’ Jones was a ‘bona fide gift’ and an attempt to shield the property from seizure—which the court agreed.
The court order finds that the rapper “does not have a qualifying interest in the property that would allow him to claim the homestead exemption,” so the entire balance of the home if sold could be used to satisfy the legal judgment. If the house is sold for its Zillow value, The Game will still be a few million short of satisfying the judgement.
“If the proposed sale of the dwelling is likely to produce a bid high enough to satisfy the homestead exemption and any outstanding liens or encumbrances senior to the judgement creditor’s lien while still leaving ‘some amount available to satisfy even a ‘part’ or the judgment creditor’s lien, then the court must grant the application for sale,” the documents state.
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Chicago’s Michelada Fest Abruptly Calls It Quits As Artist Visa Problems Pile Up

Photo Credit: Miguel Ángel Sanz
Chicago’s Michelada Fest announces the cancellation of the two-day event. It was originally slated for July 19 and 20 at Oakwood Beach.
Michelada Fest 2025 organizers have announced the cancellation of this year’s two-day event, originally scheduled for July 19 and 20 at Chicago’s Oakwood Beach. In a post on the festival’s website, organizers cited concerns about visas for international artists—as well as the “rapidly changing political climate”—among the reasons for the decision.
Full refunds for ticketholders will begin “immediately” to everyone who purchased tickets directly through the festival’s website or Ticketon. Refunds will be issued to the original form of payment, and may take 7-15 business days to process.
“Due to the uncertainty surrounding visas and the rapidly changing political climate, we’re no longer able to guarantee the full experience we had dreamed up for you with all your favorite artists,” said the statement from the Michelada Fest team. “Although we tried to push through, it became clear that we wouldn’t be able to deliver the full lineup as planned.
This year’s Michelada Fest would have been the event’s second year at Oakwood Beach for a celebration of Latin music, art, food, and drink. The 2025 edition would have also included two stages, with one dedicated to showcasing local talent.
“We’ve had seven years of extremely devoted and loyal fans, and we felt that it wouldn’t be responsible […] to continue to push and promote the event,” said festival founder Fernando Nieto in a statement to the Chicago Sun-Times, adding that the absence of Michelada Fest is going to leave “a great cultural hole” in Chicago’s live events and arts scene over the summer.
The US Citizenship and Immigration Services increased visa fees for international musicians last year from $460 to over $1,615 per application. It can cost an artist around $3,000 to have their visa expedited. While some festivals will cover or contribute to visa fees, this increases the risk of financial loss for the event if a visa is revoked or denied.
“I don’t wish this on any other festival,” said Nieto. “I hope that there are no other cancellations, because I know what it feels like on the organizer side to take this big of a hit, especially if you’re an independent organizer.”
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Snapchat Finalizes a Broad Number of Music Publisher Licensing Agreements — Very Much Unlike Twitter/X

Photo Credit: ThoroughlyReviewed / CC by 2.0
Snapchat owner Snap Inc. has finalized a broad number of licensing agreements with major music publishers, according to details tipped to Digital Music News.
The yellow ghost isn’t ghosting music publishers — according to signed agreement details shared with Digital Music News.
Per paperwork that somehow found its way to DMN’s place of business, Snapchat owner Snap Inc. is signing deals with a broad number of music publishers under deal terms structured by the National Music Publishers’ Association (NMPA). And for those that enjoy counting Benjamins, this is a pretty juicy pot of revenue of nearly $15 million over two years.
Even better for the biz: apparently this is simply the latest in a string of licensing agreements from Snap, a move that removes the need for those pesky, multi-year lawsuits. That hasn’t been the case with X, née Twitter, which has refused to pay for music licensing and remains locked in a legal battle with major music publishers led by Concord Music.
NMPA chief David Israelite told Digital Music News that this definitely isn’t the first deal between music publishers and Snap Inc.
Instead, this is simply the latest re-up of a longstanding licensing agreement — meaning the terms have been ironed out years ago and inked multiple times.
Shifting to the dollar amounts involved: overall, the blanket agreement covers a two-year span and a guaranteed pot of $14,660,010. The opt-in agreement window lapsed in March after a 90-day window, and participating publishers will claim their share of the purse based on a marketshare calculation.
For Snap and its collection of properties, this deal looks all-encompassing. Beyond the core Snapchat app, the licensing agreement also covers Bitmoji and Zenly, as well as associated players, pages, apps, websites, tools like Lens Studio, and Messaging products — though it looks like the Snapchat kitchen sink isn’t included.
Ted Suh, Head of Music Partnerships at Snap, appears to have been quarterbacking the deal for the social media platform. Snap declined to offer any comment on the licensing agreement, however. 
According to the contract terms, any NMPA member publisher can jump into the agreement. In terms of who isn’t part of this opt-in deal, the language strongly suggests that the biggies have already structured separate agreements, including Sony Music Publishing, EMI Music Publishing, Kobalt Music Publishing, Universal Music Publishing Group, Warner Chappell Music, and BMG Rights Management.
For everyone else, the deal flexes the muscle of the NMPA, which represents a broad swatch of the global music publishing industry. And what about those who aren’t members of the NMPA? According to more information spilled to DMN, non-NMPA publishers will have to strike their own agreements, though we’ve also learned that Snap isn’t doing deals with them.
The NMPA opt-in itself is global in scope, with Argentina the only exception.
And in case you think we’re making up the whole ‘sign here or we’re going to court’ vibe, it’s actually spelled out in the contract.
Indeed, the agreement acknowledges that while “the parties disagree as to whether or not, under the copyright laws, Snap is required to obtain a license for Snap’s users’ use and/or exploitation of musical compositions and/or lyrics,” the participating music publishers agree “not to sue Snap or its users for the use of musical compositions or lyrics… in order to enter into the License Agreement, Participating Publishers.” 
In other words: ‘we came to an understanding’ — unlike Elon’s X.
 
 
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Chicago’s All Of Us Festival Brings Top DJs To Grant Park For Pride Weekend

Chicago’s new All Of Us festival has locked a red-hot showcase for Pride weekend at Grant Park.
Helmed by Chicago powerhouse Auris Presents, Dreambrite Presents, and LA’s highly touted queer party, A Club Called Rhonda, the two-day event will debut this June 27-28, celebrating dance music’s LGBTQ+ roots with all-day dance party on the shores of Lake Michigan, featuring a genre-spanning roster of clubland’s leading DJs.
Day one culminates in a trio of formidable DJ sets from Grammy-nominated house icons Disclosure, esteemed British producer James Blake, and R&B-dance fusion favorite Channel Tres, along with support from Chicago house legend Derrick Carter and fellow Windy City DJs TRQPiTECA and Rae Chardonnay.
Night two is all about the underground with a headline DJ set from Venezuelan talent and experimental selector ARCA, edgy electro and hyperpop artists COBRAH and Slayyter, and driving techno dynamo Patrick Mason. Opening sets will come from Detroit’s DJ Holographic, drag queen DJ Miss Toto, and Jaxx. Check out the official announcement below.
This summer in the Windy City, Auris Presents has also locked in a slew of shows from Gorgon City, Steve Aoki, and CamelPhat at Navy Pier, and will bring ARC Music Festival back to Union Park this Labor Day weekend.
Pre-sale registration for All of Us Chicago 2025 is now open here. Tickets go on sale tomorrow, Thursday, May 8, at 1PM CT. For more information, visit Auris Presents’ official Instagram page.


Featured image courtesy: Pexels.com.
The post Chicago’s All Of Us Festival Brings Top DJs To Grant Park For Pride Weekend appeared first on EDM Maniac.
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Chicago’s All Of Us Festival Brings Top DJs To Grant Park For Pride Weekend

Chicago’s new All Of Us festival has locked a red-hot showcase for Pride weekend at Grant Park.
Helmed by Chicago powerhouse Auris Presents, Dreambrite Presents, and LA’s highly touted queer party, A Club Called Rhonda, the two-day event will debut this June 27-28, celebrating dance music’s LGBTQ+ roots with all-day dance party on the shores of Lake Michigan, featuring a genre-spanning roster of clubland’s leading DJs.
Day one culminates in a trio of formidable DJ sets from Grammy-nominated house icons Disclosure, esteemed British producer James Blake, and R&B-dance fusion favorite Channel Tres, along with support from Chicago house legend Derrick Carter and fellow Windy City DJs TRQPiTECA and Rae Chardonnay.
Night two is all about the underground with a headline DJ set from Venezuelan talent and experimental selector ARCA, edgy electro and hyperpop artists COBRAH and Slayyter, and driving techno dynamo Patrick Mason. Opening sets will come from Detroit’s DJ Holographic, drag queen DJ Miss Toto, and Jaxx. Check out the official announcement below.
This summer in the Windy City, Auris Presents has also locked in a slew of shows from Gorgon City, Steve Aoki, and CamelPhat at Navy Pier, and will bring ARC Music Festival back to Union Park this Labor Day weekend.
Pre-sale registration for All of Us Chicago 2025 is now open here. Tickets go on sale tomorrow, Thursday, May 8, at 1PM CT. For more information, visit Auris Presents’ official Instagram page.


Featured image courtesy: Pexels.com.
The post Chicago’s All Of Us Festival Brings Top DJs To Grant Park For Pride Weekend appeared first on EDM Maniac.
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Warner Music Reveals ‘WMG Pulse’ Audience-Tracking App, Says It Features ‘Data from Every Major Streaming and Social Media Platform’

Warner Music has officially unveiled WMG Pulse, which is said to provide songwriters and artists with real-time consumption stats, royalty data, and more. Photo Credit: Warner Music
Warner Music Group (WMG) is officially testing an app called WMG Pulse, which is said to provide artists and songwriters with real-time consumption data from streaming and social platforms.
The major label disclosed its WMG Pulse beta today, pointing to north of 100 current users and plans for a wider rollout later in 2025. Importantly, the app is distinct from Warner Music’s long-anticipated superfan offering, which looks to be slowly but surely getting off the ground.
(Nor should Pulse be confused with the existing WMG AMP, which is still available for download and, per its Play Store description, “is designed to help Warner Music Group’s artists and managers make meaningful connections from performance data.”)
Pulse, on the other hand, is said to boast a consolidated breakdown of works’ consumption metrics and a corresponding real-time income snapshot. The latter encompasses not just streaming royalties, but earnings particulars for physical, sync, and more, according to Warner Music.
Though the major’s formal release doesn’t dive into specifics here, a brief promo clip appears to suggest that Pulse includes across-the-board DSP data, consumption numbers for individual songs, follower counts, and a standalone “Money” page dedicated to the aforementioned royalties.
(With a “Current balance snapshot” and a side-by-side view of both “Earnings” and “Recoupable costs,” this Money section may well prevent recoupment-related legal confrontations down the line.)
Meanwhile, the major – which emphasized that its “in-house tech experts,” not an external developer, created Pulse – also touched on plans to add support for revenue forecasting, release planning, and collaboration options moving forward.
It’s unclear when these features will go live, and the Africori parent didn’t identify a hard label-wide launch date for Pulse. However, feedback from the above-highlighted artist and songwriter testers “will help fine-tune the app” in the coming months, Warner Music indicated.
“With WMG Pulse,” added WMG technology president Ariel Bardin, “we’re providing greater transparency across the music ecosystem, including data from every major streaming and social media platform.
“The app offers a seamless, easy to use experience, giving deeper insights into careers and fan bases, with even more sophisticated updates still to come. It’s about empowering artists and songwriters with clarity, and helping them make smarter, data-driven decisions with their teams,” concluded Bardin, whose company added Activision Blizzard vet Armin Zerza as CFO on Monday.
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BEONIX Festival Reveals Full Lineup For 2025 Edition

After having a wild 2024 edition of BEONIX Festival that saw its biggest attendance yet, it’s once again returning to the scenic shores of Limassol, Cyprus. The stage is set for another barnstormer of a year and now the full lineups been revealed there’s even more reason to get excited for BEONIX.
The lineup features 50 amazing DJs from all around the world including industry legends as well as rising talents. There are several heavyweights of the dance music world including Armin Van Buuren, Boris Brejcha, Dubfire, Len Faki, Maceo Plex, Roger Sanchez, and many more. There’s an eclectic mix of genres all the way from tech house to trance making for a diverse sonic experience that ensures there’s something for everyone.
The site of BEONIX Festival is truly one of a kind as it’s set on a former winery that has been restored with stunning murals and wonderous art installations. Combined with the array of designs across the four stages, the other worldly fashion of the performers, and the astonishing production, BEONIX is a feast for the eyes.
The attention to detail is second to none which is part of what has grown this sun-soaked festival so rapidly. Having once again put together such a stacked lineup there’s no doubt that from September 19th to 21st, Limassol is going to be buzzing with electric energy. You won’t want to miss it.
You can follow BEONIX Festival on their socials below:
To get your tickets for BEONIX Festival, click the button below:
BEONIX FESTIVAL TICKETS
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[Interview] Giorgia Angiuli X BEC Discuss Their Latest Collaboration on ARTCORE DUO III EP

ARTCORE’s third duo EP in the series is an all-female takeover from BEC and Giorgia Angiuli. ARTCORE Records continues to carve a niche sound, their trademark genre of Psy-Techno, with a string of chart-topping releases, whether in VA format, solo EPs, singles or the creative new DUO release format. Two of the label’s strong female artists return for the 5-track ARTCORE DUO III EP from Giorgia Angiuli and BEC.
This time around, we decided to have both artists interview each other in this special b2b interview, to give them the full range of expression on their newest release. As a result, we had a great discussion with tons of musical chemistry and depth.
BEC: In our track ‘Seeker’, your live instrumentation and vocal performance brought such a beautiful emotional depth. Can you talk about the process behind recording those parts and how you envisioned them fitting into the track?

Giorgia: In ‘Seeker, the process behind the live instrumentation and vocal performance was deeply collaborative and intuitive. Especially, having the influence of the lyrics inspired by Rumi’s quote, “What you seek is seeking you.” We aimed to create an emotional landscape that resonated with the themes of the track, echoing the idea of an inner
journey and the pursuit of one’s true desires.
We created a rich tapestry of sound that would evoke a strong emotional response. With this psy-techno journey, we wanted to invite the listeners in a vibrant sonic experience that enhances the introspective themes. The result reflects a balance of vulnerability and strength, inviting listeners to connect with the music on a personal level.
BEC: Your background in classical music really shines through in your work. How did your training shape the way you approach electronic music production?

Giorgia: My background in classical guitar has helped me find the right harmony faster in my electronic music production. The training I received in music theory and composition allows me to quickly identify and create harmonious structures, enabling a more efficient and intuitive creative process.
However, I have to admit that when I was a teenager, I didn’t enjoy studying it at all. Now, I feel grateful for that foundation, especially since I’ve explored many different musical styles over the years, from nu metal and hardcore to pop, and now to psy and techno. Each genre has shaped my musical identity and contributed to my approach in electronic music.
BEC: What does the Rumi Quote “What you seek is seeking you” mean to you? And how has it been present in your life? Give one example. 

Giorgia: The Rumi quote “What you seek is seeking you” resonates deeply with me, as it reflects the idea that our desires and aspirations are often intertwined with our journey through life. It suggests that when we pursue our passions authentically, we may find that they are also pursuing us in return, creating a beautiful synergy. Rumi is one of my favourite poets, and his wisdom has inspired me to embrace my artistic journey fully.
A significant example of this is my decision to embrace healing in my life, which has now become my mission, both personally and in my music. As I sought healing and self-discovery, I found that it naturally flowed into my creative expression. My music now reflects themes of transformation and wellness, resonating with others who are on similar journeys. This experience has reaffirmed my belief in the interconnectedness of our pursuits and the paths we take in life.
BEC: The EP blends both of our distinct sounds in a really unique way. What inspired you sonically for this collaboration, and how did working together influence your usual creative process?

Giorgia: The EP truly showcases a unique blend of our distinct sounds, and the inspiration for this collaboration came from a desire to explore uncharted sonic territories together. We both love healing, which added a profound layer to our work. This shared passion for wellness allowed us to infuse the music with uplifting and transformative elements, creating a soundscape that resonates on a deeper emotional level.
Working together influenced my usual creative process by introducing a more collaborative mindset. Instead of relying solely on my instincts, I found myself open to new ideas and perspectives, leading to unexpected musical developments. This partnership encouraged me to step outside of my comfort zone, allowing me to embrace spontaneity and innovation in ways I hadn’t before. Overall, the collaboration has enriched my creative approach, blending our influences into a cohesive and exciting project.
BEC: You’ve always had such a strong visual and conceptual identity with your music — how important is storytelling for you in electronic music, and how do you feel Seeker fits into that?

Giorgia: Storytelling is important to me in electronic music, as it adds depth and meaning to the sonic experience. I believe that every track has the potential to convey a narrative or evoke emotions, allowing listeners to connect with the music on a personal level. My visual and conceptual identity helps create an atmosphere that enhances this experience.
With ‘Seeker’, I hope the storytelling aspect shines through its themes of exploration and self-discovery. The music aims to encapsulate a journey, inviting listeners to reflect on their own paths.
The blend of soundscapes and rhythms is intended to create a narrative arc that resonates with the idea of seeking healing and transformation. Ultimately, I want ‘Seeker’ to be more than just a collection of tracks; I hope it offers a meaningful auditory journey that encourages introspection and connection.
Giorgia: What inspired you to collaborate on the track “Seeker,” and how do you feel our musical styles complement each other in this project?

BEC: We both posted the same quote from Rumi “What you seek is seeking you” at different points, and then had an interesting message exchange about it. Then you suggested that you had a vocal already based on this quote, and why don’t we collaborate together. You recorded some incredible lines from live instruments, which really contrast and complement my harder sounds!
Giorgia: Can you share your thoughts on the themes of exploration and self-discovery present in ‘Seeker’? How do they resonate with your own artistic journey?
BEC: ‘Seeker’ is a mirror for that part of us that’s always looking inward while reaching outward. It resonated with me deeply. I’m constantly navigating the balance between intensity and vulnerability, purpose and surrender, both in life and in music. This track feels like a sonic map of that search.
Giorgia: How did your creative process change while working on ‘Seeker’ compared to your usual solo work?

BEC: It was great to have a highly musical pair of ears like yours to give feedback on the work I had done on the track! I learnt a lot, much more than when I work solo and really enjoyed bouncing the track back and forth. When I work solo, I’m usually very instinctive and fast. With this collaboration, I took more time to listen, to step back and hear how your ideas were unfolding before layering mine in. It made the track feel more intentional, more woven together.
Giorgia: What role do you believe storytelling plays in electronic music, and how do you think ‘Seeker’ conveys a narrative to listeners?

BEC: I think storytelling in electronic music is about emotional shape-shifting—taking the listener through a journey without words. ‘Seeker’ opens with tension, evolves into clarity, and then dissolves into something transcendent. It’s like a ritual or a dream sequence. There’s a clear arc, even though it’s abstract.
Giorgia: As someone who values healing in your music, how do you feel that this theme is reflected in ‘Seeker,’ and what message do you hope listeners take away from it?

BEC: For me, ‘Seeker’ is about the magnetism of our thoughts — how what we focus on shapes what we find. Whether it’s light or shadow, healing or chaos, whatever you think, you seek. This track explores that inner polarity, the tension between positivity and negativity. And, ultimately, suggests that both are part of the path. I hope listeners feel empowered to lean into that journey with awareness and intention.
Enjoy the femme-fatale EP ARTCORE DUO III:
https://open.spotify.com/album/09bjc0nfdh6aYopxR8G2is?si=blqgtQQPQ7qS7 UoeEs06Yg




The post [Interview] Giorgia Angiuli X BEC Discuss Their Latest Collaboration on ARTCORE DUO III EP appeared first on EDMTunes.
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TWO LANES Return With Ambient-Centric Single ‘Calling’ and Announce Forthcoming EP

Sibling duo TWO LANES step back into the spotlight with “Calling,” a slow-burning and atmospheric new single that reaffirms their hold on the organic-electronic space. The track is available now via their self-run label, Two Lanes Music, and offers a preview into their forthcoming EP, due later this year.
Led by warm analogue synths, expressive piano textures, and soft percussive patterns, “Calling” threads the line between ambient techno and melodic minimalism. It’s a restrained, immersive listen, structured with a patience that rewards focus. Lyrically, it touches on themes of inner stillness and personal renewal, reflecting the duo’s ongoing focus on introspective and cinematic production.
Made up of Berlin-based brothers Leo and Rafa, TWO LANES have built a huge following around fusing acoustic instrumentation with modern synthesis. Their sound has taken them across North America and Europe, including multiple headline runs and festival appearances. Leo’s background in classical piano (including a Master’s from Juilliard) blends naturally with Rafa’s focus on production, creating a dual perspective that’s technical and emotional in equal measure.
With over 500 million total streams, 2M+ monthly Spotify listeners, and support from outlets like BBC Radio 1, TWO LANES have become a defining act within the melodic electronica space. “Calling” isn’t a left turn—it’s a forward step, and a sign of what’s still to come.
The post TWO LANES Return With Ambient-Centric Single ‘Calling’ and Announce Forthcoming EP appeared first on EDMTunes.
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Jay-Z Says Rape Accusations Have Cost Him Nearly $200 Million

Photo Credit: Giorgio Trovato
Jay-Z says fighting rape allegations and pursuing his ongoing defamation suit against attorney Tony Buzbee has cost him $200 million.
The latest move by Jay-Z against attorney Tony Buzbee—the lawyer representing the Jane Doe who accused the rapper of rape before her lawsuit was dropped—sees him doubling down on assertions that Buzbee has cost him millions. Jay-Z, whose real name is Shawn Carter, has been trying to sue Buzbee for defamation since March.
In his latest filing, Carter outlines the significant financial losses he’s incurred thanks to the allegations against him—which he insists are “false, malicious lies.” Jay-Z claims to have lost around $200 million overall since the back and forth began. These consist of contracts in the sports and entertainment sectors, a personal credit line, and a loan.
The contracts, he says, would have raked in a minimum of $20 million. “The full fee would have been many millions higher had the contract been performed,” the document claims. The credit line would have been $55 million, and the loan was going to be $115 million. The $20 million in sports contracts was referenced in an earlier filing.
“Mr. Buzbee’s actions undermined my relationship, and my company Roc Nation’s relationship, with other businesses in the sports and entertainment space,” he says.
“We have agreements to produce entertainment programs for certain sporting events. After Mr. Buzbee filed the lawsuit, the media reported that other businesses could end their deals with Roc Nation, and forced one to speak out and address whether these false allegations would end our business relationship,” Carter explained.
“Immediately after Mr. Buzbee went public with his false accusations, my company Roc Nation also lost other contracts in the sports and entertainment space that would have generated revenues of approximately $20 million per year.”
Buzbee and his client voluntarily dismissed Jane Doe’s sexual assault case back in February, and Carter promptly counter-sued Doe in early March. He also filed a defamation suit against Buzbee. Jane Doe insists the accusations made in her lawsuit were not false, despite her withdrawing her lawsuit.
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