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Tragedy hit Drumcode‘s label lead and producer, Adam Beyer, and his family recently. His daughter has been in intensive care for the last week after a speeding car struck her while crossing the road. The accident occurred in Ibiza, where Adam Beyer holds the Resistance Residency at Amnesia Ibiza. The Accident Beyer recently got on social media to explain the situation that occurred this week. A few days after Beyer announced the release collab with American producer Layton Giordani ‘Alto’, his daughter had a near-death experience while being hit by a speeding car and suffering head trauma. She was transported to a hospital in Mallorca via helicopter. She has been in the intensive care unit since. According to the artist, he and his ex-wife, DJ Ida Engberg, have been taking turns day and night. They accompany Uma during these tough times. Nonetheless, both Uma and Adam are smiling in the picture he posted. This picture shines a ray of light and hope on an otherwise somber situation. Adam has not made any comments regarding his Residency at Amnesia. He is not scheduled to perform until July 30th. The EDMTunes family sends them lots of love and healing energy during this trying time. The post Adam Beyer’s Daughter Recovering After Being Struck By a Car appeared first on EDMTunes.

There's something charmingly unhinged about the idea of releasing a mashup of 100 songs for a generation with no attention span left. But while that may sound absurd, it works in practice thanks to the tenured dance music duo DJs From Mars, who reached triple digits while curating songs for their new "megamashup.” Cramming 100 festival anthems from the past two decades into one cohesive cut, the mix spans from the seminal music of Daft Punk and The Chemical Brothers to the serotonin-draining anthems of 2010s Avicii and Swedish House Mafia to today’s global hits from Fred again.. and Peggy Gou. It’s the kind of ambitious nonsense that sounds impossible until you hear it working perfectly. The Italian duo credits the AI-powered stem separation tool LALAL.AI for making the project feasible. While many in today’s music industry weaponize AI for unethical uses like unauthorized vocal deepfakes, platforms like LALAL.AI were built to enhance the toolkits of producers rather than displace them. Thanks to its clean stem separation technology, gone are the days of artists digging into the dregs of Google with the hopes of finding that one golden studio-quality acapella. "We always struggled to find good quality acapellas," DJs From Mars said in a statement. "Now we can extract clean vocals from basically every existing track. That’s a game-changer for our mashups, our live sets and our studio production. We tried LALAL.AI, and boom! It was love at first sight." The result, a euphoric 13-minute jolt of electro nostalgia, feels like watching a montage of your own raving history. It’s a reminder that sometimes the best way to celebrate how far dance music has come is to throw it all in a blender and just see what happens. Check out the new "megamashup" below. Follow DJs From Mars:X: x.com/djsfrommars Instagram: instagram.com/djsfrommarsofficial TikTok: tiktok.com/@djsfrommars Facebook: facebook.com/djsfrommars Spotify: tinyurl.com/5bbk6tt9

Armada Music has announced the release of The Comeback of Hard House, a new genre-focused documentary charting the explosive return of one of dance music’s most iconic sub-genres. Centred on the Dutch corner of the hard house movement of the ‘90s, the film explores how a once-underground genre is storming back into the spotlight – louder, cheekier, and more energetic than ever. Deeply rooted in the iconic Midtown Records catalog, the Dutch hard house scene forms the backbone of The Comeback of Hard House. This 10-minute documentary traces the genre’s rise, fall, and full-circle revival from a distinctly Dutch perspective. Featuring exclusive interviews with foundational ‘90s acts like Club Caviar (aka Mass Medium), Klubbheads, and B.O.B. Ltd (aka Sax Brothers), as well as contemporary producers such as Benwal and Maruwa, the film captures both the legacy and the lasting influence of the Netherlands’ contribution to hard house. The documentary examines how the pandemic played a pivotal role in the rediscovery of this corner of hard house. With dance floors closed and energy bottled up, the appetite for fun, fast and feel-good club music grew, and hard house delivered. The post ‘The Comeback of Hard House’ – A New Documentary on the Rebirth of a ’90s Club Phenomenon appeared first on Decoded Magazine.

As Lexlay celebrates 20 years in music with his debut album, his journey reveals not only the personal cost of longevity—but the transformation of an entire culture. In this EDMNOMAD exclusive interview, we dive into his legacy, the modern DJ scene, and two decades of dance. When Spanish DJ and producer Lexlay began playing Saturday nights at City Hall Barcelona in the early 2000s, the electronic music scene was still largely local, physical, and analog. Records outnumbered laptops. Word-of-mouth filled clubs. No one cared about follower counts. If you could move a crowd, you mattered. Twenty years later, he stands on the other side of a transformed landscape. Lexlay has performed across five continents, founded a global record label, and just released his debut album 20 Years of Music—a deeply personal project that doubles as a time capsule of both personal growth and cultural evolution. But as the dance world has scaled, so has its distance from its emotional roots. “One of the biggest lessons we’re still learning is the value of authenticity over hype,” Lexlay says. “The scene sometimes gets too focused on trends, numbers, or social media presence, and forgets that at the heart of it all is the music and the connection it creates.” In that one reflection lies the paradox of modern electronic music: bigger than ever, but often lonelier too. From City Hall to Global Halls: A DJ Grows With the Scene Lexlay’s foundation was laid not on viral moments but on repetition. For six years, he played every Saturday night at City Hall Barcelona—a venue that taught him more about crowd psychology than any masterclass or algorithm ever could. “City Hall taught me one of the most important lessons of my career: read the crowd, don’t just play for yourself,” he says. “Week after week, I learned the psychology of the dance floor—how to build tension, when to surprise, when to hold back. It wasn’t about playing the ‘coolest’ tracks—it was about creating a journey people would remember.” Few artists can translate 20 years of music into something that still feels urgent—but Lexlay achieves it with sincerity. His words echo the now-rare craft of DJing: responding to energy, not executing a pre-planned set. At a time when visuals, pyrotechnics, and prerecorded sets fill main stages, this ethos feels almost radical. Today, the industry often celebrates branding over beatmatching. Lexlay recognizes the advantages younger artists have—tools, distribution, exposure—but warns that the pressure has simply shifted forms. “Now it’s not just about making good music—it’s about building a brand, staying visible, managing social media, engaging constantly. It can be overwhelming,” he says. The Pandemic and the Power of Stillness Much of Lexlay’s new album was written during a time when dancefloors were silent. The COVID-19 pandemic forced artists worldwide to sit still for the first time in years. For Lexlay, that pause gave rise to Resilience, one of the most personal tracks on the album. “It came from a very personal chapter of my journey,” he explains. “It represents a moment of change—when I had to take risks, leave comfort zones, and truly believe in myself as an artist.” Stripped of touring, applause, and adrenaline, Lexlay had to confront what remained. “Translating those memories into music meant going deep, not just into my sound, but into my emotions and mindset at the time,” he adds. “Now, I don’t just create or play to stay busy—I do it with more meaning, more presence.” That reflective shift was mirrored across the global scene. Some artists quit entirely. Others experimented. Livestreams surged. Conversations about mental health and balance became mainstream. For the first time in years, the industry had no choice but to reconsider its relentless pace. Through 20 years of music, Lexlay has remained committed to building not just sets, but communities around sound. South America, Soul, and Reconnecting to the Crowd Lexlay’s global touring experience brought him to many corners of the world, but no region left a deeper imprint than South America. On Lovin’ Sudamerica, a standout track from the album, he pays tribute to the energy he found there. “South American crowds have something truly special—pure passion and presence,” he says. “They don’t just listen—they live every beat with their whole heart. There’s this raw energy, an emotional connection with the music that’s impossible to fake.” In an era where clubbing can sometimes feel curated for content rather than connection, the emotional immersion of Latin American crowds serves as a reminder of dance music’s roots. “It’s not about status or trends—it’s about feeling,” Lexlay continues. “Playing in places like Argentina, Colombia, Chile or Peru reminds me why I started this journey in the first place.” His experience underscores a broader truth: while the music scene has globalized, local cultures still shape how music is experienced. In cities like Medellín or Córdoba, electronic music isn’t just nightlife—it’s resistance, expression, community. Lexlay doesn’t just observe this; he channels it. The Label as Lifeline: Happy Techno’s Evolving Role As a label boss, Lexlay hasn’t just adapted to the changing tides—he’s helped shape them. Happy Techno, his imprint and creative home, began as a passion project and has grown into a community-driven platform with global reach. “With Happy Techno, my goal was always to go beyond just releasing music,” he explains. “I wanted to build a platform where people felt part of something—a sound, a vibe, a family.” In the 2000s, signing to a label was often the only viable path for DJs to break through. Today, distribution is democratized—but Lexlay believes the need for curated identity is more critical than ever. “A strong, well-curated label matters—maybe even more now, because it gives artists not just visibility, but identity,” he says. That sentiment puts Happy Techno in the company of other values-driven collectives—Innervisions, Anjunadeep, Afterlife—where the imprint is as recognizable as the artists themselves. It’s not just about the music; it’s about what the music stands for. Sacrifices, Soul, and the Next Twenty Years For all the milestones, Lexlay’s career has come at a cost—one often unseen behind the stage lights. “One of the hardest sacrifices has been the constant travel and the solitude that comes with it,” he admits. “People see the lights, the crowds, the energy—but what they don’t see is the long hours alone in airports, hotels, or backstage after the show.” The personal toll is real: missed birthdays, holidays, even family crises. “No matter how much you love what you do, sometimes you feel the weight of everything you’ve missed,” he shares. “But these sacrifices make every connection with the crowd even more meaningful.” Lexlay’s endurance in a scene that devours and discards quickly is testament to something deeper. Not perfection. Not marketing. But presence. “When I’m on stage, I give everything—because I know what it’s cost to be there.” As he looks ahead, his optimism is grounded in caution. The tools will change. The platforms will evolve. But he hopes the essence—the soul—remains. “I’d be most curious to see whether the soul of electronic music is still alive—the real human connection, the emotion, the unity on the dance floor,” he says. “If we can carry that spirit forward, no matter how the sound or the tools change, then the future will be beautiful.” For 20 years, Lexlay has built a global career on the foundation of connection, not algorithms—and the music proves it. And where does that leave Lexlay? Reinvigorated. Purposeful. Ready. “This album feels like closing a chapter—but not the book,” he says. “It’s a celebration of everything I’ve lived so far, but also a reminder that there’s still so much more to explore. It’s not about repeating the past—it’s about writing the next part of the story with even more passion, more freedom, and more purpose.“ The post The Truth About Modern DJing: Lexlay Sends Powerful Message After 20 Years of Music appeared first on EDMNOMAD. 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We recently sat down with an extraordinary duo for a quick chat. The world of music is a beautiful one. You just don’t ever run out of new faces to discover, new corners to step into, new goodies to uncover, and certainly, an uncountable catalogue of songs at your disposal at all times. This time, a certain two-man group has been brought to our attention. Their name? D&S. D&S, a vibrant Chicagoan DJ and production duo, formed through a serendipitous connection, creating their distinct sound. Their mutual passion for electronic music, especially House, Progressive, and Techno, drives their signature blend of melodic synths and commanding basslines. Drawing inspiration from their shared musical history, D&S has significantly impacted Chicago’s underground scene, gracing major venues and festivals. With 2024 on the horizon, they’re set to unveil more groundbreaking music, pushing the electronic sonic envelope. It’s at this point in their blossoming career — and right after the release of their new song ‘Time & Space’ — when we figured we’d step in and have a little chat. So, from their beginnings in the business to evolving their sound into a distinct one and reflecting on the past, here’s our interview with the Chicago-bound dynamite duo, D&S. Where did you grow up, and how did your environment shape your relationship with music? We both grew up in the Chicago suburbs, and it had a huge impact on how we connect with music. Being so close to the city gave us access to an amazing music scene. Chicago’s legendary nightclubs and iconic music festivals were where we first felt the magic of house and techno. Those late-night sets and packed dancefloors showed us how electronic music could bring people together and create unforgettable moments. Growing up, there were tons of opportunities to learn an instrument or dive into something creative, and that encouragement really stuck with us. Early on, we explored everything from classic rock and jazz to hip-hop beats before finally finding our place in electronic music. That mix of curiosity, discipline, and Chicago’s vibrant music culture shaped not just our sound but also how we approach making music today. It gave us the work ethic and open-mindedness that drive us as artists. What’s the first memory you have of making music? For both of us, making music started with learning traditional instruments as kids. Dan started with piano, guitar, and percussion, experimenting with different styles early on. Sean picked up violin and saxophone, which sparked his love for melody and rhythm. Those early years gave us a foundation in music theory and the freedom to explore our own ideas. The big turning point came when we started messing around with Ableton and a MIDI keyboard together. What began as casual experimenting turned into something bigger. We layered sounds and textures until we landed on a melody that became our first track, “Origins.” That moment showed us the magic of collaborating and blending our musical backgrounds into something new. Looking back, those early sessions were more than just making a track. They solidified our shared passion for creating music and kicked off a journey we’re still on today. When you think back to your earliest projects, what’s something you would do differently now? Looking back at our earliest projects, one thing we’d do differently is starting with a strong melody or vocal hook as the core of a track. Back then, we’d often dive into drums or basslines first, which helped us learn production basics but sometimes left us without a clear direction. Over time, we’ve realized that starting with a standout melodic idea or hook not only sparks creativity but also gives the whole track more focus and flow. This shift has been a game-changer, especially with remixes. Building around the main vocal hook has helped us create tracks that feel more intentional and dynamic. It’s all about having a clear focal point to guide the arrangement and make sure every element supports the main idea. Those early projects were crucial for our growth, but this change in our approach has made a huge difference. It’s a lesson we’re glad we learned, even if it took a little time to get there. Why do you think persistence is such an important part of making it in the music industry? Persistence is everything in the music industry because growth doesn’t happen overnight. It takes time, effort, and resilience to sharpen your craft and handle the ups and downs. Having a routine or creative process helps you stay consistent—whether that means dedicating specific hours to studio time or trying out new techniques, it keeps you moving forward even when inspiration feels out of reach. Trial and error is a huge part of it. Not every idea will stick, and not every track will feel right, but that’s where the real growth happens. Taking risks, making mistakes, and learning from them are what push you forward as an artist. Combine that mindset with discipline and practice, and you’ll keep getting better at bringing your vision to life. The music industry isn’t just about talent; it’s about perseverance. Persistence helps you tackle challenges, break through creative blocks, and stay focused on your goals. It’s the difference between dreaming about success and working hard to achieve it. What’s a key piece of advice you would give to your younger self at the start of your journey? If we could give our younger selves one piece of advice, it would be: don’t be afraid to fail. Early on, it’s easy to get discouraged when things don’t work out, but failure is just part of the process. Every misstep teaches you something new and helps you grow. Embrace mistakes and trust they’re leading you toward success. We’d also remind ourselves to always keep learning. The music industry is always evolving, so staying relevant means constantly refining your skills. Whether it’s experimenting with new techniques, diving into sound design, or learning from other artists, growth keeps creativity alive and your music fresh. Most importantly, we’d say to enjoy the journey. Every challenge, lesson, and breakthrough shapes who you are as an artist. Knowing that from the start would’ve made every hurdle feel more rewarding and worth the effort. How has your sound evolved as you’ve grown as a person and artist? Our sound has evolved a lot as we’ve grown, both personally and as artists. When we first started, we focused on making club and underground-driven tracks for our DJ sets. That foundation shaped our early style, but over time, we’ve worked on developing our songwriting and composition skills. This shift has helped us create music that not only works on the dancefloor but also connects with listeners on a deeper level. We’ve also become more intentional about pulling inspiration from other artists while staying true to our sound. Melodic synths and commanding basslines remain at the core of what we do, but we’ve embraced new ideas and influences that feel fresh while still authentic to us. This evolution reflects how we’ve grown as individuals, too. The music we make now feels like a more refined and expressive version of who we are, shaped by the lessons we’ve learned and the inspirations we continue to explore. Why do you think it’s important for artists to share their struggles as much as their successes? It’s important for artists to share their struggles because fans usually only see the highlights—sold-out shows, big releases, and moments of celebration. What’s often hidden is the hard work, setbacks, and doubts that happen behind the scenes. By opening up about the challenges, artists can show a more authentic side and connect with fans on a deeper level. Struggles are where the most growth happens, and sharing them can inspire others to keep going in their own pursuits. It’s a reminder that success isn’t a straight path. Every failure, late night in the studio, or missed opportunity is part of the journey. When artists share those moments, it makes their achievements feel more genuine and relatable because they’re built on resilience and hard work. Being open about the ups and downs also helps break the illusion of perfection. It fosters a sense of community and shows that behind every polished track or performance is a person navigating life’s challenges, just like everyone else. Final Words Thank you so much for the words, S&G. We’re truly looking forward to seeing what the future brings both for you as artists, and us as listeners. ‘Time & Space‘, the duo’s latest single, is out now, and you can stream it by hitting the ‘Play‘ button on the Spotify player below. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry. The post [INTERVIEW] D&S Talk Musical Beginnings, Persistence, Sonic Evolution, And More appeared first on EDMTunes.

Under a newly confirmed schedule, the lawsuit filed by former Copyright Office head Shira Perlmutter is expected to run into at least July 2025. Photo Credit: Maddi Bazzocco One scheduling sub-dispute later, the legal battle for Copyright Office control is seemingly set to proceed into at least July. That’s according to a new preliminary injunction scheduling order from the presiding judge, who signed off on most of the deadlines proposed by the involved parties. As many know, those parties – reinstatement-minded former USCO head Shira Perlmutter on one hand and Trump administration officials on the other – spent a good bit of May clashing over the case’s timetable. To be sure, during May’s final week and change, Perlmutter filed the complaint, the government fired back, and the former Register of Copyrights sought a restraining order as well as summary judgement. Now, with the dust having largely settled from the restraining order and summary judgement pushes, the heretofore breakneck proceedings are easing into a more measured pace. In response to a related conference order, the litigants on June 4th requested a June 10th deadline for Perlmutter’s preliminary injunction motion. From there, the defendants would have until the 24th to respond, followed by a July 1st cutoff for Perlmutter’s reply in support of the original motion. As initially mentioned, Judge Timothy J. Kelly just recently approved these scheduling particulars. Notably, with regard to the preliminary injunction itself, both sides had also asked the court to “schedule a hearing at its convenience for the week of July 7 or July 14-16.” Here, however, Judge Kelly only wrote that he would “determine whether a hearing is necessary at a later time.” In any event, the high-stakes suit doesn’t appear to be trending towards an immediate resolution; it’ll be worth charting the above-described motion and responses throughout June. And in the bigger picture, as explored in detail by DMN Pro, there’s quite a lot riding on the Copyright Office’s future from an IP policy perspective. While nothing is set in stone, the available evidence suggests Perlmutter’s reinstatement might be unlikely. But if their past comments are any indication, the acting Copyright Office and Library of Congress replacements aren’t exactly Big Tech advocates. The point is certainly important when it comes to pressing AI training questions. So is the possibility that the acting appointees could make way for permanent successors following the Perlmutter action’s resolution. To state the obvious, the music space, the wider entertainment sector, and the tech world alike have an interest in who takes the reins. View the full article

Marshmello, Ellie Goulding, and AVAION have teamed up to release their debut collaborative single, “Save My Love.” Arriving today, the track marks a first-time union of dance music titans, as the superstar EDM producer-DJ and award-winning British singer-songwriter combine forces alongside German melodic talent AVAION for a summer house tune overflowing with dancefloor euphoria. Taking center stage on “Save My Love” is the latest of many iconic dance vocals from Goulding, who has worked with a host of greats from Calvin Harris and Kygo to Major Lazer and Skrillex, before the track drops into a wash of fluttering stutter house grooves from the pair of producers. The track follows Marshmello’s March-released collaboration with AR/CO, “Worlds Apart,” as the helmeted dance music hero’s fourth release of 2025, joining “Slow Motion,” featuring the Jonas Brothers, and “Fale Então,” with Argentine rapper Trueno. Listen to Marshmello, Ellie Goulding, and AVAION’s new single, “Save My Love,” below. Featured image courtesy: Marshmello. The post Marshmello, Ellie Goulding & AVAION Link On Historic First Collab, “Save My Love” appeared first on EDM Maniac. View the full article

Marshmello, Ellie Goulding, and AVAION have teamed up to release their debut collaborative single, “Save My Love.” Arriving today, the track marks a first-time union of dance music titans, as the superstar EDM producer-DJ and award-winning British singer-songwriter combine forces alongside German melodic talent AVAION for a summer house tune overflowing with dancefloor euphoria. Taking center stage on “Save My Love” is the latest of many iconic dance vocals from Goulding, who has worked with a host of greats from Calvin Harris and Kygo to Major Lazer and Skrillex, before the track drops into a wash of fluttering stutter house grooves from the pair of producers. The track follows Marshmello’s March-released collaboration with AR/CO, “Worlds Apart,” as the helmeted dance music hero’s fourth release of 2025, joining “Slow Motion,” featuring the Jonas Brothers, and “Fale Então,” with Argentine rapper Trueno. Listen to Marshmello, Ellie Goulding, and AVAION’s new single, “Save My Love,” below. Featured image courtesy: Marshmello. The post Marshmello, Ellie Goulding & AVAION Link On Historic First Collab, “Save My Love” appeared first on EDM Maniac. View the full article

Think of the Queen of Pop, Madonna. Now, imagine her as Veronica Electronica. Yes, you read that right. The pop icon recently took to social media to introduce her fans to her new alter ego, Veronica Electronica. The announcement came as a prelude to her forthcoming electrifying remix album, promising to take her fans on an exhilarating ride into the realm of electronic dance music (EDM). Madonna, who has always explored new territories in her music, revealed that she “ventured into electronic music” under the guidance of renowned producer, William Orbit. This collaboration was instrumental in shaping her highly anticipated remix album. Her transformation into Veronica Electronica is not only a testament to her evolving musical persona but also a symbol of her commitment to pushing boundaries and breaking norms. On Thursday morning, Madonna dropped the bombshell announcement of the release date for this much-anticipated project. Scheduled to hit the music stores on July 25, the album will serve as a treasure trove for Madonna’s fans, featuring eight rare and unreleased remixes, some of which were conceived during her ‘Ray of Light’ phase. The original demo version of “Gone, Gone, Gone,” and fresh edits of “Drowned World/Substitute for Love,” “Ray of Light” and “Sky Fits Heaven” are expected to be the highlights of the album. The Anticipation for Veronica Electronica Madonna’s announcement of Veronica Electronica has sparked excitement among her fans. The announcement also came with the promise of an EDM remix album, set to be released on July 25. This album, aptly titled ‘Veronica Electronica’, promises to be an exciting blend of new and old, featuring eight rare and unreleased remixes from her past work. Among the tracks, fans can look forward to new edits of classics like “Drowned World/Substitute for Love,” “Ray of Light” and “Sky Fits Heaven.” The album will also feature the original demo version of “Gone, Gone, Gone.” To whet fans’ appetite, Madonna dropped a first taste of the LP with “Skin (The Collaboration Remix Edit).” Madonna’s venture into the world of electronic music is not just about creating foot-tapping tunes. It’s about pushing boundaries and exploring new sounds, much like she’s done throughout her career. With Veronica Electronica, Madonna continues to be a trailblazer in the music industry, proving that evolution is key to longevity. Embracing Veronica Electronica Madonna’s evolution into Veronica Electronica is a testament to her ability to reinvent herself, pushing the boundaries of what is expected from her. This new persona is yet another example of how Madonna continues to lead the charge in evolving pop music, this time by venturing into the world of electronic dance music. As fans eagerly await the release of ‘Veronica Electronica’, it’s hard not to marvel at Madonna’s audacity to venture into new musical landscapes. Her consistent efforts to redefine herself and her music are what make Madonna a true icon, a beacon of inspiration for other artists, and an ever-evolving force in the music industry. So, let’s embrace Veronica Electronica and get ready to embark on this new musical journey with Madonna. As she herself declared, Veronica Electronica is her ‘other half’, and it’s clear that this other half is all set to take the music world by storm. The post Madonna Introduces New EDM ‘Veronica Electronica’ Alter Ego appeared first on EDMTunes.

Photo Credit: TaTa by Stage Zero After signing with AI music startup Suno, Timbaland is creating an AI-focused genre, as well as his first AI-generated artist. Timbaland is determined to make AI music his own way, announcing the launch of a new AI entertainment company, Stage Zero, which will work on an AI-focused genre he calls “A-Pop.” The company is already introducing the world to their first AI-generated artist, called TaTa. According to Stage Zero co-founder and film producer Rocky Mudaliar, TaTa is one of the first steps in Timbaland’s “A-Pop” (artificial pop) project. Timbaland has been champing at the bit to create AI music since last year when he started using AI music creation program Suno, made by a company on which he now serves as creative director. Timbaland says he “fell in love” with the voice that Suno generated when he uploaded unfinished demos of his songs onto the platform. “It came to a point where I’m like, ‘Yo, this voice, it’s amazing.’” That voice became the pink-haired young woman known as TaTa. While there’s no word yet on when TaTa’s first single might be released, Stage Zero says they plan to make her seem as real as possible. She will have a social media presence, in addition to more AI-generated imagery of the virtual artist. Despite AI remaining a touchy subject, particularly in the music industry where the technology has been challenging copyright law, Mudaliar believes the opposition will subside, eventually. “[AI is] not going anywhere,” he says, comparing what he calls the inevitability of its eventual acceptance to the way influencers were initially viewed in the cultural zeitgeist. Human creators will be involved in the process of creating TaTa and her music, as well as that of other AI artists. But it’s difficult not to look at such an endeavor as a way to minimize human involvement. Often at the cusp of creating generation-defining music, it will be interesting to see if his latest move will prove to be a meaningful one. View the full article

An over $10 million question: Which DSPs made material payments in the alleged years-long fake stream scheme purportedly orchestrated by Michael Smith? Photo Credit: Simone Secci Billions of fake streams and millions in allegedly stolen royalties later, many questions remain about the federal case against accused fraudster Michael Smith. Perhaps the biggest of all: Which DSPs failed to flag – and consequently paid into – the years-long scheme? At least according to the indictment, that scheme saw Smith make off with north of $10 million in fraudulent royalties between 2017 and 2024. Behind the sizable sum, the defendant allegedly used bots to stream “hundreds of thousands of” AI songs. The machine-generated recordings’ titles didn’t scream “hit” – ever heard of “Zyme Bedewing”? – and were attached to “artist” profiles like “Calorie Event” and “Camalus Disen,” per the indictment. Apparently, the gibberish titles and the exclusive reliance on AI didn’t raise red flags throughout the entire streaming world. In an age when most tracks are failing to crack 1,000 annual streams – to the financial detriment of the involved talent – how did some services let the alleged scam and its billions of plays run unimpeded? Given AI’s growing prevalence, that’s another multimillion-dollar question with massive implications for the music industry. While we won’t arrive at an answer overnight – the case itself is still navigating through choppy discovery waters – there’s nothing stopping us from peeling back the streaming fraud onion layer by layer. In this spirit, we got the ball rolling by asking on-demand music platforms point blank about their contributions to Smith’s alleged scam. We’re still awaiting responses from several DSPs, and one can certainly argue that silence will ultimately prove more telling than straight answers. An important note here: The indictment specifically mentioned Amazon Music, Apple Music, Spotify, and YouTube Music, but the alleged scheme’s tracks made their way onto even more platforms than that. Though they’ve long since been removed, of course, the uploads also reached SoundCloud, Africa’s Boomplay, and multiple others, lingering “artist” profiles show. Getting down to it, then, Spotify previously told DMN it’d paid less than 1% of the $10 million in allegedly fraudulent royalties described in the indictment. “Spotify invests heavily in automated and manual reviews to prevent, detect, and mitigate the impact of artificial streaming on our platform,” a spokesperson told DMN. “In this case, it appears that our preventative measures worked and limited the royalties Smith was able to generate from Spotify to approximately $60,000 of the $10,000,000 noted in the indictment. “As Spotify typically accounts for around 50% of streamshare, this shows how effective we are at limiting the impact of artificial streaming on our platform,” the rep proceeded. Like we’ve noted in prior coverage, that Spotify seems to have stopped the alleged scam – on its own service – presents additional questions yet about communications (or the lack thereof) with the MLC, distributors, and more. But we’ll dive into the multifaceted topic another time. As things stand, SiriusXM told us that Pandora had contributed even less than Spotify to the alleged scam. “Pandora’s estimated royalty exposure for tracks relating to the indictment in question was $1,500.00, underscoring the speed and effectiveness of our preventative measures,” a SiriusXM spokesperson told us. “We have several measures in place, leveraging AI machine learning and other technologies, to identify and filter behavior to prevent data disruption and inaccuracies,” the company continued. “We use conservative thresholds that monitor for multiple types of behaviors in violation of our terms of service at the listener level, and in our continued efforts to combat attempted fraud we regularly evolve our methods of identifying both anomalous streamed tracks and listeners.” Next, SoundCloud opted against disclosing its cumulative payout to Smith – while directing us back to a September 2024 statement touting the fan-powered model as a means of preventing fraud. “In a pooled royalties model, it’s easy to game the system with vanity accounts that exist to blindly play certain tracks over and over, commonly supported by bots,” SoundCloud said. “In contrast, fan-powered royalties tie royalties directly to the contributions made by real listeners. “Fan-powered royalties are attributable only to listeners’ subscription revenue and ads consumed, then distributed among only the artists’ listeners streamed that month. No pooled royalties mean bots have little influence, which leads to more money being paid out on legitimate fan activity,” the platform proceeded. With those clarifications, we can cross Spotify, Pandora, and presumably SoundCloud off the list of possible payers into Smith’s alleged scheme. And needless to say, we’ll provide further updates as other responses come in – or fail to arrive. Meanwhile, we’re also teeing up updates exploring, among different things, Smith’s alleged co-conspirators as well as separate instances of alleged streaming fraud. If a $10 million alleged royalty scam can go (partially) undetected for years, it’s safe to say DSPs are hardly impervious to smaller-scale efforts to boost uploads via non-organic listening. View the full article

Photo Credit: Solen Feyissa President Trump is ready to extend TikTok’s deadline for a federal ban for the third time as the White House prepares to hold trade talks with China. The previous extension to the law that forces TikTok’s Chinese parent company ByteDance to divest the app in the US or face a federal ban expires June 19. However, the White House is expected to hold tariff discussions with China this week. “The president has said he’s willing to [announce another extension] if it has to happen,” said a government official close to the situation on Tuesday, adding that the Chinese government “just want[s] to hold this up as leverage in the trade talks.” According to a Wall Street banker involved in the deal to sell the app to US investors said Trump could be persuaded to let TikTok disappear from app stores on June 19—if he believes it will give him a strategic advantage in negotiations with China. The Biden administration signed the law to force divestiture or face a ban on TikTok to go into effect on January 19, the day before Trump’s inauguration. Once he took office, Trump promptly signed an executive order to push the ban by 90 days. Trump then announced a second extension in April, claiming they were close to reaching a deal that would allow TikTok to be controlled by a majority-US company, while a minority stake would be retained by Beijing-based ByteDance. Should that deal be completed, the consortium of private sector names will be led by tech giant Oracle, founded by Trump supporter and friend Larry Ellison. But that deal quickly went belly up when Trump launched his extensive trade tariffs, with especially rigid sanctions against China: a 145% rate. That rate was already reduced to 30% last month, as talks for a final deal resumed. Trump was previously a critic of TikTok, seeking to get it banned during his first term. He has since turned around on the platform, believing it was integral to his reelection in 2024. View the full article

Photo Credit: Subtronics.net Subtronics adds a sixth and final night to his 360-degree shows at the Shrine Expo Hall in Los Angeles after overwhelming demand. Due to overwhelming demand, Subtronics has added a sixth and final night to his 360-degree shows at the Shrine Expo Hall in Los Angeles, set for Tuesday, December 2. The previous five shows, set for December 3, 4, 5, 6, and 7, are sold out, making Subtronics’ run one of the fastest-selling sets of shows in the venue’s history. The six-night stretch also marks the second-highest number of performances by an electronic artist at the Shrine, just behind Fred Again…’s nine dates. Subtronics hit the stage at Ultra’s Main Stage earlier this year, while in May he kicked off his residency at the Wynn in Las Vegas. The DJ and producer is scheduled to perform two nights at the Brooklyn Mirage on July 31 and August 1. In April, Subtronics released his latest EP, Fibonacci Part 1: Oblivion, through his record label Cyclops Recordings. The EP is part of a larger project that will come to fruition when Part 2 drops later this year. Subtronics is managed by Red Light Management’s Eric Silver, Elyse Young, and Brandon Garber, and booked by Wasserman Music’s Jake Bernstein. Jesse Kardon (Subtronics) came up in the Philadelphia music scene, and never expected his “wonky beep boop music” to go anywhere beyond small online circles. The son of a tour manager and promoter, he got his associate’s degree and went to Temple University intending to follow in his father’s footsteps. His DJ gig started out as a hobby, and it took Kardon about nine years to “figure out” and perfect Subtronics. But by the time he was 23, he had become fully devoted to the project, thanks to the support of his father. “It’s unbelievable for me,” said Jesse’s father, Rich Kardon. “I remember the first time [a band I worked with] played Red Rocks. I was a tour manager for ten years, and did Red Rocks back in the mid-80s, and always loved the venue. […] And then, to see my kid on stage at Red Rocks, it was mind-blowing.” “It’s crazy how that corner of dubstep popped off,” said Subtronics. “It was not something anyone ever expected. We were definitely the weird ones. It was just goofy and fun.” Now a touring juggernaut, Subtronics has successfully brought his unique sound to continuously sold out major events, including the annual Miami Music Week ‘Deadbeats vs Cyclops’ event in March; his Cyclops Rocks at Red Rocks in April; and most recently, the launch of his 2025 Wynn residency in Las Vegas. View the full article

Words by Alex Lambeau, Zach Salafia, and Ross Goldenberg. New music highlights from Dancing Astronaut’s Artists to Watch in 2025: Jackie Hollander, Malóne & Baby Bash – What The World Is Exactly two decades ago, Akon and Baby Bash released an all-time classic. Fast forward to present day and Jackie Hollander has brought it back to continue her red-hot release run. Teaming up alongside Malóne, an iconic vocal sample to turn it into the ultimate summer anthem. Hollander’s summer tour run is already 17 dates deep and most recently featured stops at both Breakaway Ohio and Project Glow in D.C. Amy Wiles & Angel City – Dream Away Amy Wiles is continuing to refine her signature melodic sound. And she’s done so on “Dream Away,” her newest single in the form of a collaboration with Angel City, who provides her legendary trance vocals to the record. A year in the making, “Dream Away” arrives as a euphoric summer anthem ripe for her sets around the planet, which most recently included a stop in New York for Anjunabeats’ takeover. Zerb & Kiki Gyan – 24 Hours In A Disco (PACS Remix) After opening the year with his double-sided FAREWELL EP, PACS has returned for his third offering of the calendar. Zerb had revived Kiki Gyan’s iconic ’70s classic “24 Hours In A Disco” just a month prior, and PACS has flipped the original, repurposing Gyan’s famed vocal and reimagining Zerb’s toned-down approach for a melodic techno undertaking that once more reaffirms his Dancing Astronaut Artist to Watch status. _________________________________________________________________________________________ Argy & Omiki – Wind After months of teasing their collaboration, Argy and Omiki’s long-awaited meeting “WIND” has finally landed via New World. With a string of genre-defining releases like “Aria,” “Tataki,” “Pantheon,” and acclaimed remixes for the likes of The Chainsmokers, Zerb, and Hugel, Argy has firmly cemented his status as a global innovator in electronic music. A track that’s quickly become a fan-favorite moment in Argy’s sets, “WIND” now follows the massive success of Argy’s LP New World and the rise of his imprint of the same name. Seth Hills & DAMEN – Losing My Mind When Seth Hills manned the decks at Tomorrowland’s House of Fortune stage last July, he unloaded more than a few previously unreleased weapons. And one of those was a meeting with DAMEN. Fast forward almost a year to the day later and “Losing My Mind” has fittingly arrived via Tomorrowland Music, with Hills and DAMEN loading up a searing plate of melodic techno that incites exactly what its title suggests every time it hits the live circuit. RÜFÜS DU SOL – Inhale / Exhale Remixed Vol. 2 RÜFÜS DU SOL have doubled down on the reimagining of Inhale / Exhale with its second remix pack. Landing as 22-track expansion of the first remix album that landed back in May, the remix album sequel sees the trio invite a compelling group of electronic acts to put their own spin on the project, including Samm, Vintage Culture, LP Giobbi, and more. Arriving in the wake of their record-breaking, coinciding album tour, this follow-up collection reinforces the trio’s impact at the club level, continuing their evolution as one of the most influential forces in modern electronic music. Featured image: drewsmedia The post Dancing Astronaut’s New Music Friday: Jackie Hollander, Amy Wiles, RÜFÜS DU SOL, and more (June 6, 2025) appeared first on Dancing Astronaut.

Photo Credit: Izumi Two influential music industry groups, the Music Artists Coalition (MAC) and the National Independent Talent Organization (NITO) have thrown their support behind New York legislative bills A.8659 and S.8221. These bills aim to overhaul the state’s live event ticketing system—giving artists more control over how their tickets are sold. Their advocacy reflects a growing frustration among artists, venues, and fans over exploitative ticketing practices and excessive fees in the live entertainment industry. Assembly Bill 8659 and Senate Bill 8221 are designed to address several persistent problems in the ticketing market. This legislation would ban speculative ticketing, requiring resellers to actually own tickets before they list them. It would also cap secondary market ticket mark-up at 25%, curbing extreme resale prices. The legislation would also empower artists and venues to mandate that resold tickets be offered at face value—including all fees—to ensure fans pay a fair price for access. Finally, ticket resellers in New York would be required to register with the state, adding an additional layer of accountability and oversight. NITO, which represents independent talent agents and managers, has been vocal in urging lawmakers to pass these bills. IN a public statement, NITO emphasized that speculative ticketing “misleads fans into buying tickets that do not actually exist at the time of purchase, driving artificial scarcity and fueling inflated resale prices.” The organization also highlights the importance of capping resale prices and fees, noting that “bots and platforms add extreme fees—often over 40% of the ticket price—to already inflated listings.” NITO believes eliminating these practices is essential to restoring integrity to ticket-buying to protect both artists and fans. Meanwhile, the Music Artists Coalition highlights how speculative tickets hurt fans directly. “What we want is simple: do not interfere with our artists’ relationship with our fans,” their statement begins. “As musicians, MAC’s members create their art with the hope that it will connect with people. They want their fans to be able to attend shows at a reasonable price that enables them to craft a unique musical experience. They don’t want their fans competing against brokers, or bots, who intercept these tickets and drive up the price, diverting money from fans’ wallets to people who have no involvement whatsoever in the creation of the shows and music.” “We also want to end the practice of someone selling a ticket that they don’t own. This practice, called speculative ticketing, is unheard of in other industries. How can someone sell something that they do not own? Even before our artists’ tickets are put on sale for the general public, shady resellers are already listing them at inflated prices. Then, often using bots, they go and buy tickets at the face value price and resell them at the inflated price.” “We’ve heard many stories of fans flying to a show, staying in a hotel, only to get to the ticket scanner and find out that the speculative ticket is not a real ticket. The resellers might offer to refund the money for the ticket, but it doesn’t solve the fan getting shut out from the show. This bill ends speculative ticketing by requiring resellers to actually own tickets or have written contracts before they can sell them. This simple requirement protects fans from fraud and ensures artists can maintain trust with their audiences.” As the bills move through the legislative process, the unified support from these major music organizations sends a strong message to lawmakers about the urgent need for comprehensive ticketing reform in New York. View the full article

OMRI. has been building something special and his Crosstown Rebels debut “Nothing Wrong” feels like the moment everything clicks into place. This three-track EP showcases a producer who understands that the best dance music doesn’t just move bodies. The title track’s “Love Mix” floats on clean, pulsing foundations, gradually revealing layered vocals and subtle emotional textures. It’s designed for those liminal club moments between peak euphoria and dawn reflection – the kind of track that lingers long after the night ends. The “Club Mix” strips things back to expose the track’s minimalist core, functional but deeply soulful. AYYBO’s remix pushes into darker, sci-fi territory with West Coast punch, yet OMRI.’s emotional DNA remains unmistakable. This feels like a fully-formed artistic statement because OMRI. has been methodically building toward it. His previous work across Hot Creations, Nervous, and REALM established his hypnotic sensibilities, while co-founding Collecting Dots proved his curatorial instincts for off-center club music. Collaborations with Moscoman, Adam Ten, and Yamagucci further cement his place in a globally-minded electronic movement. With a Crosstown Rebels co-sign and a summer of dates at Hï Ibiza on the books, OMRI. isn’t just poised for a breakout. He’s already mid-metamorphosis. If ‘Nothing Wrong’ is any indication, the next chapter is going to be worth following, closely. The post OMRI. Hits His Groove on ‘Nothing Wrong’ appeared first on Dancing Astronaut.

Norwegian producer dublon has been quietly perfecting his jazz-house fusion, and “Nectar” – his debut EP via French label Delicieuse Musique – proves the wait was worth it. This isn’t your typical bedroom producer fare; it’s bridges club culture and live musicianship with genuine finesse. The seven-track collection reads like a European tour diary, capturing everything from golden-hour soul to smoky late-night introspection. Dublon’s assembled an impressive cast of collaborators, including New Zealand jazz legend Nathan Haines, Stockholm’s TABLE, Texas alt-pop artist Deza, and French producer Tour-Maubourg. “Salve” featuring Deza and TABLE radiates that SG Lewis-backed warmth, while “CPH” with Nathan Haines delivers a flute-laced tribute to Copenhagen that’s equal parts stylish and club-ready. The EP’s smoky slow-burner “Brush” showcases Tour-Maubourg’s touch, building to the raw, piano-led title track that strips everything back to dublon’s classical foundations. What makes “Nectar” work is dublon’s restraint. These tracks roll with TR-909 grooves and tumbling jazz improvisations without ever feeling overwrought or academic. There’s real soul here – the kind that comes from someone who’s spent time absorbing the culture that informs every track. “Nectar is the soundtrack to a European summer,” dublon explains, and that’s exactly what it delivers – groovy, melancholic, and refreshingly human in an increasingly digital landscape. For a debut EP, it’s remarkably assured work from a producer who clearly knows the difference between jazz-house and jazz-house done right. The post From Oslo to Paris: dublon’s Sophisticated Debut EP appeared first on Dancing Astronaut.

Since being awarded the Dancing Astronaut Artist to Watch in 2025 title at the end of last year, John Alto has already earned his stripes in his path to defending our decision. In the first half of this year alone, Alto has already racked up impressive musical milestones that include serving as the debut signee on Alesso’s Body Hi label — as well as having reworked the forenamed Swede’s new single with Becky Hill — on top of his live circuit cameos that include Coachella, EDC Las Vegas and more. And now, Alto is taking everything that he’s been working on behind the scenes over the previous year and putting it center stage with the upload of an hour-long set. Alto had previously teased at the start of May that a set upload in the works, which would only contain music that he’d personally worked on. That set is now available via Alto’s YouTube, with him offering an endless sea of IDs that give a front-row seat into what’s to come for the remainder of 2025 and beyond. Alto explained that he’d been “spending a lot of time in the studio during the last eight months,” adding that he’s “stoked to give [everyone] a glimpse of what [he’s] been creating” and that he’s “got some really big things coming later this month, this is only the beginning.” And while details have yet to be revealed, Alto also added that it’s set to be one of his biggest career achievements thus far. Out of the 14 included tracks across the 56-minute runtime, 10 are unreleased, showcasing the depth of Alto’s current production vault. From the opening moments all the way down to his linkup with Alesso from last year — while also including yet-to-be released edits of LISA, RÜFÜS DU SOL, VNSSA, Years & Years, and more — Alto’s ID-loaded set reaffirms his Dancing Astronaut Artist to Watch standing once more. Featured image: John Alto/YouTube The post Premiere: John Alto previews next chapter with ID-filled set upload [Watch] appeared first on Dancing Astronaut.

Barry Manilow thinks songwriting has changed, and that young artists don’t write the same way he was trained to. Manilow – known for hits such as Copacabana and Mandy – is currently amid his The Last Concerts tour, and is planning to release a new album by the end of the summer which he says will probably be his last. Manilow also runs the Manilow Music Project, which has provided schools with instruments and equipment for over 30 years. READ MORE: “I’m not just producing tracks anymore… I’m producing stars from scratch”: Timbaland unveils AI entertainment company – and its first Suno-powered artist In an interview with Billboard, he discusses the forthcoming album: “I’ve been working on it for a long time…for so long that the style of music has changed [laughs]. I had to go back and redo [the songs] so they sounded a little more contemporary. “I had to take all the strings out, all the background vocals out ‘cause they don’t do that anymore. They don’t use strings and background vocals and all that. Even I heard that it sounded dated, so we had to go back and redo it,” he says. “The songwriting has changed. Young people don’t write the way I was trained to write. There’s no verse which goes into the chorus which goes back to the verse which goes to [the] ending, and you change keys. They don’t do that. “They start the song and then they just…it feels like a run-on sentence to me. I can’t find the hook. I can’t find the chorus. It just keeps on going, and then it ends,” Manilow continues. However, he assures his own album will stick to the classic formula. “That’s not what this album is, and that’s not the way I know how to write, and I think my contemporary songwriters and people I work with would say the same.” Barry Manilow will continue playing shows for his Last Concerts tour in July. He is also playing a number of shows in Las Vegas as part of his residency at the International Theater. You can find out more via his official website. The post “I can’t find the hook. It just keeps on going, and then it ends”: Barry Manilow’s issue with modern songwriting appeared first on MusicTech. View the full article

Drawing on dance titan GRYFFIN’s indie roots, ‘Hard Time Lover’ channels the emotional resonance and melodic instrumentation that first catapulted GRYFFIN into the spotlight. Anchored by Chance Peña’s wistful vocal delivery and fluttering guitar lines, the track explores the complexities of loving someone through their darkest moments. A wondrous blend of lyrical storytelling and danceable rhythms, ‘Hard Time Lover’ is a testament to GRYFFIN’s signature that moves both the heart and body. Listen here. ‘Hard Time Lover’ follows a string of genre-expanding releases like ‘In My Head’ with Kaskade and the thunderous ‘Air’ alongside Excision and Julia Michaels. Since the release of his third full-length album PULSE last year, GRYFFIN has dabbled across electronic subgenres, pushing the boundaries to showcase the full spectrum of his sound. With each new single, GRYFFIN highlights his ability to meld emotive songwriting with innovative production that is continuously evolving. This year, GRYFFIN returned on the road for his PULSE: PHASE 2 Tour, which has seen him headline Atlanta’s Coca-Cola Roxy, Austin’s Moody Amphitheater, Boston’s Roadrunner, and Nashville’s The Pinnacle in recent weeks. GRYFFIN will close out the tour with his two-night PULSE FINALE in New York City ahead of festival appearances at Lollapalooza, Ultra Europe, Ultra Japan, Lost In Dreams, and more. The post GRYFFIN & Chance Peña: Hard Time Lover appeared first on EDMTunes.

On June 6, 2025, Captive Soul welcomes a powerful new release: Kraken by rising Indian talent Sixth Ocean. This gripping melodic techno piece is a fierce, emotive journey – an embodiment of the mystery and majesty the track is named after. With soaring leads and cinematic depth, Kraken is both a dancefloor weapon and an emotional release, echoing Captive Soul’s vision of music with meaning. As the mythical creature stirs from the deep, so too does a soundscape full of tension, beauty, and unleashed power. Kraken doesn’t just drop – it emerges. Hailing from Mumbai, India, Sixth Ocean is an emerging voice in the melodic house & techno landscape. Known for his soulful soundscapes and captivating leads, he crafts music that’s not just for the club, it’s an emotional journey designed to resonate deeply with listeners. Sixth Ocean has brought his unique melodic sound to stages across India, captivating audiences with emotionally charged sets. He has shared the stage with international icons like John Summit, ARTBAT, Ben Böhmer, Miss Monique, Agents of Time and many more, supporting their shows with standout performances that have solidified his place among the most promising names in the scene. Like all my tracks, when I started working on this track, I didn’t have any plan, all I knew was that I was going for a peak time melodic techno track and I wanted a memorable lead synth that stands out. I like to be lost in the music while I’m creating it. I try to forget about everything and everyone, dissolve into the moment and let the universe create through me and Kraken is an outcome of this phenomenon. I think I came up with the chords in the breakdown first and then the lead synth and melody mysteriously arose from a series of sound design and sequencing experiments. Once I had that, I crafted the supporting elements around it and the track was formed. SIXTH OCEAN During the show with John Summit in India, Sixth Ocean was deeply moved when John played two of his tracks – a powerful and unforgettable moment that marked a milestone in his artistic journey. With recent support from global tastemakers like Vintage Culture, ARGY, Korolova, Massano, and Henri Bergmann, Sixth Ocean is quickly establishing himself as an artist to watch. His music represents more than just rhythm; it’s an invitation to immerse in the present moment, to enter the “Sixth Ocean“: an imaginary realm where time dissolves, and only music remains. Korolova dropping ‘Kraken’ with Sixth Ocean in Mumbai Captive Soul: Elevating the Emotional Frontier Founded by Ukrainian DJ and producer Korolova, Captive Soul has become a beacon for deeply melodic, emotionally immersive electronic music. Each release, including Kraken, furthers the label’s mission to fuse beauty with drive, storytelling with sound. This is music made to move bodies and open hearts. The post Sixth Ocean Unleashes ‘Kraken’ : Out Now on Captive Soul appeared first on EDMTunes.

GRAMMY-nominated Brazilian music superstar & philanthropist ALOK joins the official soundtrack for FATAL FURY: City of the Wolves with his new single ‘Don’t Mess With The Fire’. A futuristic fusion of 16-bit nostalgia and flat out production, the track comes decked out with its very own drum ‘n bass finishing move. Gear up for battle on June 6th, when the new single drops worldwide. Listen here. ‘Don’t Mess With The Fire’ sees ALOK join a soundtrack full of heavy hitters, including artists like Alan Walker, Steve Aoki, Solomun, and Afrojack across 19 custom tracks. The full soundtrack doesn’t only add a new layer to the aesthetic immersion of FATAL FURY: City of the Wolves, but further injects the game’s ethos into today’s mainstream. About FATAL FURY: City of the Wolves: SNK’s beloved Fatal Fury series first hit the market in 1991, spearheading the fighting game boom of the 1990s that swept the industry thereafter. GAROU: MARK OF THE WOLVES (released in 1999) has, for some time, served as the franchise’s most recent installment. But that is all about to change: 26 years on, a brand-new entry – FATAL FURY: City of the Wolves – is set to arrive on the scene! FATAL FURY: City of the Wolves features a unique art style that stimulates the senses, an innovative REV System that supercharges the excitement, plus a host of other battle systems even more robust than before. The game also breathes new life into the series by introducing two distinct control schemes (ensuring fun and excitement for newcomers and veterans alike) as well as other fresh features and elements. The streets of South Town are a hotbed of action, wild dreams, and even wilder ambition. Here, at long last, a new legend is about to unfold… About ALOK ALOK is a bona fide two-time Latin-GRAMMY nominated dance music superstar and philanthropist holding the title of the second biggest Instagram following of any electronic artist globally, with over 28 million fans. On Spotify, ALOK concentrates more than 33 million monthly listeners and 5 billion streams, making him the most listened to Brazilian artist internationally. In 2024, he received his first two Latin GRAMMY Music Award nominations in the new ‘Best Latin Electronic Music Performance’ category for his songs, ‘Pedju Kunumigwe’ with Guarani Nhandewa from his The Future Is Ancestral album, and ‘Drum Machine’ with DJ Pickle. In 2023 he was named the No. 1 DJ in Latin America and 4th Best DJ in the world, according to the prestigious DJ Mag Top 100 DJ Poll. The post Alok Releases ‘Don’t Mess With The Fire’ for Fatal Fury appeared first on EDMTunes.

Mumbai, where Sony Music India is based. Photo Credit: Hardik Joshi The Hello Group (THG) and Sony Music are once again broadening their partnership – this time with an eye on India, where they’ve officially launched THG India. LA-based THG and Sony Music India revealed that newly minted unit today, three years and change after the former announced a Sony Music Publishing JV. Apparently, Hello Group has quietly been pursuing growth in India in the interim – including by claiming an A&R win with a “crossover hit” featuring local talent as well as The Chainsmokers. Meanwhile, Sony Music – like not just its fellow majors, but Believe, Reservoir, and several others – has been spearheading India-focused expansion initiatives. In March 2025, to name one recent example, Sony Music Publishing extended its admin deal with TIPS Music. At the intersection of all these points, THG India is poised to zero in on publishing, artist management, and global touring alike in the market, the involved parties indicated in more words. In a statement, Hello Group founder and CEO Taylor Jones, whose company moved to hire a Mumbai-based executive assistant about four months back, emphasized plans “to amplify India’s voices like never before.” And in remarks of his own, Sony Music India MD Vinit Thakkar touted THG India “as a critical bridge” for the Indian music market, which is beginning to prioritize paid listening. (The shift hasn’t been without growing pains, and by some estimates, it’ll take quite a while yet to translate into healthy revenue results for the industry.) “This is a great moment for the Indian music industry and its vibrant creative community,” added the former Universal Music India COO Thakkar. “THG India marks our first international collaboration of this scale right here in India, and it serves as a critical bridge. “By combining THG’s strength in global live touring and their international network with our deep local expertise, we are strategically empowering Indian artists with the resources, seasoned management, and global network essential to truly accelerate their careers and resonate on the international stage,” he concluded. Regarding some of Sony Music’s other India buildout efforts, 2023 saw the major’s AWAL subsidiary set sail in the nation of 1.4 billion. And this past March, AWAL added (or more specifically re-added; the exec had previously spent the better part of a decade with Sony Music) Amazon India’s Aniket Parpillewar as head of India and South Asia. View the full article

A private electronic music party in Puerto Colombia, Colombia, turned into a scene of horror this Monday, June 2nd, leaving three people dead and nine injured after armed assailants opened fire indiscriminately on attendees. The massacre, which unfolded at Finca Villa Olvega near the Papiros Toll Booth, has shocked the coastal municipality and ignited a major police investigation. The event, promoted as “Talent Tryout Sunday,” was underway when four armed individuals on two motorcycles burst into the private cabin around 10 PM. Without warning, they began shooting into the crowd of partygoers, causing immediate panic and chaos. Two victims, 25-year-old Luis Alfredo Vergara Julio and 19-year-old Ronaldo José Alarcón Castrilleros, died at the scene. A third victim, 25-year-old Maciel Karina Gómez, a DJ performing at the party, succumbed to her injuries at the nearby Portoazul Clinic while receiving medical attention. The nine injured individuals were also transported to the clinic, where most are reported to be out of danger. Authorities are treating the incident as a targeted attack, with preliminary investigations suggesting a violent dispute between rival criminal gangs over drug trafficking routes and revenues. A key focus of the inquiry is Raúl Henao Farías, alias “Choco,” a presumed member of the criminal structure “Los Costeños,” who was among the injured. Some of the deceased and injured also reportedly had prior criminal records. The Commander of the Barranquilla Metropolitan Police, General Edwin Urrego, confirmed the ongoing investigation, emphasizing the link to organized crime. The brutal nature of the attack has sent ripples of concern throughout the region. [H/T] El Universal The post Three Dead, Nine Injured In Brutal Attack At Colombian Electronic Music Party appeared first on EDMTunes.

Earlier last month, RÜFÜS DU SOL released their Inhale/Exhale Remixed album, a fantastic remix compilation of their must-hear album from 2024, Inhale/Exhale. It contained stunning remixes from the likes of Carlita, Enamour, Francis Mercier, and Kaz James. Fast forward to this month of June, RÜFÜS DU SOL has now dropped an exciting Inhale/Exhale Remixed (Vol. 2). This new remix album serves as an exhilarating expansion of the band’s earlier collection of 15 remixes, introducing an impressive array of 22 fresh remixes from an eclectic and meticulously curated lineup of artists spanning the electronic music landscape. Inhale/Exhale Remixed (Vol. 2) from RÜFÜS DU SOL brings out the atmospheric bliss In this vibrant collection, listeners can expect to hear the outstanding sounds of Brazilian heavyweight Vintage Culture, known for his genre-defying grooves, and the captivating energy of piano house powerhouse LP Giobbi. The Swiss sonic alchemist Jimi Jules brings his innovative touch, while Berlin-based live act GHEIST infuses their mix with a pulsating live energy. Melodic house producer Maga adds a lush layer of sophistication, complemented by the dynamic Dutch duo WEVAL and the imaginative soundscapes crafted by German music maker Tim Engelhardt. Turkish-American sound sculptor Samm and Swiss-French female DJ Deer Jade showcase their unique styles, while the brotherly duo Betical and Israeli tastemaker Sean Doron contribute their fresh perspectives. An unforgettable auditory experience The album also provides notable attention on creative collaborations, such as the great partnership between Italian duo Mind Against and Thai act Tharat, along with the Afro house collective & Friends teaming up with newcomer David Mackay. Furthermore, Inhale/Exhale Remixed (Vol. 2) features the atmospheric remix of ‘Lately’ by Adam Ten and Mita Gami, previously released last year, alongside RÜFÜS’ own club edit of the anthemic track ‘Music is Better’, ensuring that listeners are treated to a dynamic and immersive auditory experience. The post RÜFÜS DU SOL Inhale/Exhale Remixed (Vol. 2) Enhances Soundscapes To New Heights appeared first on EDMTunes.