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Like it or not, AI is here in music, and it’s changing things fast. And while many musicians and industry figures are strongly opposed to the greater presence of artificial intelligence in all stages of music creation and distribution, others are more accepting, and say artists should simply adapt to the changing times. In a new conversation on MusicTech’s My Forever Studio podcast – which sees producers and musicians choose items to go in their fantasy forever studio – production prodigy Charlie Deakin Davies says the music industry is ever-changing, so artists should expect it to continue doing so. READ MORE: My Forever Studio: Charlie Deakin Davies’ perfect vocal chain is attainable “This is one of my special interests,” they say. “Even just the music industry as a whole, like even one of the biggest changes that happened with Universal and the massive mergers last year, the knock on effect has been absolutely massive, actually in the production and the artist world. [And] because I’m a signed artist to Sony, I am seeing it from that side.” They go on: “But I’m also an active producer [and] writer as well, and an MD. So I feel like I’ve got a bird’s eye view on what’s happening in the major label industry at the moment. I don’t think it’s scary. I think some people are scared. But because I like music industry history, I’m like, don’t worry! “This is just, just the analog to digital transition. This is just the record to tape transition. Like, don’t worry. Like, we’re just having one of those.” Davies says, however, that it’s “scary for some people, because they don’t know whether they’re going to be on the chopping block of these changes”. Specifically with respect to whether producers and artists should see AI as a threat, Davies goes on: “I’m not saying it’s an unfounded fear. Change is about to happen and change is happening. Change always happens. “And when you choose to work in an industry that is on the front line of innovation, of technology and media consumption and social culture… I think it’s the highest changing technology and cultural thing that there is. So I think people need to go in eyes wide open if they’ve chosen that career. “Yeah, it’s scary. Your job might get taken away, but like, work with it. Like, can you use AI? Can you do this stuff? I don’t know. You’ll have me on the podcast in like 10 years and I’ll be like, ‘I’m homeless!’” Watch the full episode below: The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio. However, hosts Chris Barker and Will Betts impose some strict rules. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles! You can subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech. The post “Yes, it’s scary. Your job might get taken away, but work with it”: Charlie Deakin Davies explains why artists need to adapt to AI technology appeared first on MusicTech. View the full article

On May 3, 2025, Pacha Ibiza played host to a standout event that will linger in the minds of electronic music lovers for a long time. Maccabi House, the boundary-pushing imprint led by Adam Ten and Mita Gami, made its debut on the island. From the moment the first beat dropped, it was clear this wasn’t just another night at Pacha. The duo delivered a masterclass in genre-bending house music, seamlessly blending sonic textures, hypnotic grooves, and deep, pulsing rhythms. The set evolved with intention, moving from melodic introspection to raw dancefloor energy, keeping the crowd fully immersed from start to finish. The sound system at Pacha carried every detail of their intricately woven set, swelling basslines, glitchy synths, and epic moments in equal measure, driving interaction and cheers from the dancefloor. The energy was palpable throughout, with a crowd that felt fully tuned into the sonic journey unfolding before them. Visually, the night complemented the music perfectly. Pacha’s iconic production paired with Maccabi House’s underground aesthetic created an environment that was both elevated and intimate, a rare balance that enhanced the connection between the artists and the audience. This wasn’t just a label showcase; it was a statement. Adam Ten and Mita Gami didn’t just bring Maccabi House to Ibiza, they left an impressive mark on the island. For anyone lucky enough to be there, it was a reminder of what dance music can be when artists truly take risks and fully engage the audience. For us, this was a hypnotic, high-energy journey that challenged expectations and delivered something truly unique. One of the season’s early highlights at Pacha. The post Event Review: Maccabi House at Pacha Ibiza – A Night of Sonic Alchemy appeared first on Electric Mode.

In Part I of our Understanding Copyright in Music series, we explored the different types of works and copyright rights in music. In Part II we’ll discuss different types of music licenses. There are many kinds of music licenses. What and how you license will depend on the type of work you are licensing—whether it is a musical work or sound recording (or both)—and what kinds of uses you are allowing the licensee to do with your work. Below is a list of several types of music licenses and how they are used: Public Performance License A public performance license grants someone permission to play a song in public, whether to a live or online audience. Recall that a performance is considered “public” when the work is performed in a public place, at a place where a substantial number of persons outside a normal circle of friends and family are gathered, or is transmitted to the public. If someone wants to publicly perform a musical composition, they must obtain a public performance license to do so. The owners of the public performance right in the underlying musical work typically authorize a Performance Rights Organization (or PRO), such as ASCAP, BMI, SESAC, and GMR, to license these rights. As discussed in Part I, owners of sound recordings only have a public performance right when the performance occurs by means of a digital audio transmission. That right is administered by Sound Exchange. But no license would be required when the transmission of the sound recording is by a terrestrial or other non-digital transmission, for example over broadcast radio. Mechanical License A mechanical license grants someone permission to reproduce and distribute a copy of a musical work and is required when someone wants to create and distribute copies of a song—whether in physical or digital form or whether it’s a recording of an original song or a cover version. This is because in all these examples, the musical work is being copied or a copy of it is being distributed. For example, if someone wants to use the musical work in a CD, a vinyl record, or a digital download of a song, they’ll need a mechanical license. The Mechanical Licensing Collection (MLC) administers blanket mechanical licenses for musical compositions to eligible digital streaming and download services. A “blanket license” is a single license that allows the licensee to use any musical work in a catalogue. In the case of The MLC, the blanket license covers all musical works in the United States. The alternative to a blanket license is song-by-song licensing, which requires a licensee to obtain a license for every song they want to use on an individual basis. The blanket license covers interactive streams, limited downloads, and permanent downloads. The MLC does not administer public performance licenses for musical compositions (including for digital radio, or “non-interactive” streaming), and does not administer any rights for sound recordings. Other organizations also administer mechanical licenses for other uses. For example, the Harry Fox Agency issues licenses for creating and distributing cover songs. Mechanical licenses can also often be obtained directly from the music publisher. Print License A print license is a license that allows someone to rearrange, print, or display the music notes or lyrics of a musical work in print. This type of license is required to reproduce or display sheet music or lyrics of a song in printed form. The difference between a mechanical license and a print license is that a mechanical license covers audio reproductions, while a print license covers printed reproductions. Synchronization (“Sync”) License A synchronization license (“sync” license) is a license that allows someone to use a musical composition along with a video in an audio-visual work. For example, a songwriter or music publisher would grant a sync license to someone who wants to use a song in a video format, such as a movie, TV show, advertisement, or video game. It would not give them the right to use a sound recording of that musical composition. In order to use the sound recording in the audiovisual, the licensee would also need to obtain a master use license from the owner of the sound recording rights. Master Use License A master use license is a license that allows someone to use a particular sound recording in, for example, a movie, television show, or advertisement. Master use licenses are usually available from the record label. Many of the licenses listed above are particular to and only apply to the musical work. The master license is different in that it a license that someone gets from the owner of the master recording of the sound recording. Understanding Licenses is Important to Getting Compensated and to Protect Your Music Understanding your rights and the various types of music licenses is important since the terms of those licenses will specify what rights you are licensing and how someone is allowed to use your musical work or sound recording. These licenses will also specify how much and when you will be paid for allowing such use (i.e., your royalties) and for how long these payments will continue, as well as many other aspects that govern the relationship between you, the music licensor, and the person or entity who is using your music, the licensee. Don’t stop your copyright education here! Be on the lookout for Part III of our Understanding Copyright in Music series, and also be sure to check out Copyright Alliance’s FREE Creator Membership for additional educational resources. 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MQA Labs has launched two new plugins to give producers “unprecedented control” over the “critical details” in their recordings. The new plugins – named Inspira and Endura – both offer a different set of tools which each address different challenges in digital audio. They were previously teased during NAMM back in January under different names (simply called Input and Output plugins). READ MORE: The Magnolia might be the most alluring synth launched at this year’s Superbooth Inpsira is designed for mixing and recording, while Endura is built for mastering. According to MQA Labs, Inspira and Endura both employ “previously unavailable methods” not used in other plugins, and tackle a sense of “flatness” that can come across in digital recordings. By using Inspira, you can mitigate unwanted time-domain distortions that often occur during analogue-to-digital conversion. It offers two core functions: a clarity control and a section for noise shaping and dithering. For noise shaping, the UI shows a real-time rendering of the noise floor of the recording. You can then select from several predetermined shapes, while the Depth knob will shift the shaped noise up and down to achieve the maximum resolution. As for Endura, this plugin is intended for use on the Output Bus to enhance an entire mix. It gives engineers full control over temporal smearing, and hosts “advanced analysis capabilities” to generate unique noise shapers suited to each track. It offers Align and Depth functions that work together, and a ‘Learn’ mode where the noise floor is analysed to create a noise shaper customised to the recording. Following the analysis, it will return with its optimised suggestions for both Align and Depth, and will allow users to compare its custom suggestions to the standard shapers. Endura also exports in WAV and FLAC formats, ensuring that “the best-sounding masters reach any streaming service with absolute fidelity”. Spencer Chrislu, Director of Content Services at MQA Labs, states: “These tools offer engineers a new level of creative freedom, enabling them to dial into the detail of their sound. Whether they want to refine subtle nuances or make significant enhancements, creators can now deliver their music exactly as they envisioned, unlocking possibilities previously out of reach.” Inspira ($249) and Endura ($349) are available now. You can head over to MQA Labs to find out more. The post These new plugins from MQA Labs give you in-depth control over “critical details” in your recordings appeared first on MusicTech. View the full article

Things are spicing up this summer! One of EDM’s biggest trolls, and Canadian producer deadmau5 has picked his next foe. Although Joel Zimmerman has trolled artists and audiences throughout the years, his opponent, British DJ and House star James Hype, has retaliated. In what appears to be the most current beef between artists in the electronic dance scene, deadmau5 and James Hype are now directly addressing each other on social media. Timeline The beef and steak started back at Ultra Miami 2025, where deadmau5 closed out the Worldwide stage playing a set full of his classics. The artist then closed out the set while picking up the microphone to make fun of the fireworks and whoever bought the $500,000 bottle service. Then, he got tired of his outro song ‘Faxing Berlin’ and started scratching the cdjs. The sentence that started the beef was: “How do I James Hype my way out of this one?”. Finally, he followed with: ” It’s real djing, I’m just saying”. Hype didn’t stay quiet long, following the “shade” posting the clip on his socials, mixing in his newest release at the moment, ‘Don’t Wake Me Up’. Hype kept going more recently, promoting his newest live show, “Sync”. The artist used deadmau5’s logo projections to prove that you can play live and sync the visuals alongside. This is in reference to Zimmerman’s past claims that one can only sync visuals to a pre-recorded set and that it is not possible playing live. Hype ended his video with a picture of deadmau5 during one of his studio sessions while he’s eating. deadmau5 refused to let Hype have the last laugh, as he threw a barrage of comments, making fun of Hype and joked about Hype’s effort to try to undermine him. Sometime later, Zimmerman went the extra mile and responded with a flurry of posts on Instagram where he shows how he synced the cdjs to his monitor in 5 minutes. To make matters more intense, the videos show Joel playing Elden Ring, a massive successful platform game, using the decks as controllers. Nonetheless, deadmau5 loves to joke around and one of his posts states it’s “not that serious”, but is he being real, or trolling us yet again. The post Here’s All You Need to Know About that deadmau5 x James Hype Beef appeared first on EDMTunes.

‘Heart Attack’ is the latest single from breakout DJ/producer Sam Silver, featuring dynamic vocal performances from GROOVY and Cade Clair. The track is a unique melding of UK garage rhythms, emotional dance, and R&B-infused vocals, capturing raw angst and driving it forward with club energy. Right from the opening beat, ‘Heart Attack’ immerses you in the action. The pulsating bass quickly establishes the mood, followed by GROOVY’s silky smooth vocals, which effectively captivate the audience. As his verse unfolds, an anxious, urgent low-end builds beneath, creating tension until the song transitions into a stuttering sample fueled by a UK garage breakbeat. Cade Clair and Groovy both showcase unique vocal styles that harmoniously complement each other, providing a smooth, melodic contrast to the UK garage-infused track. “Heart Attack started as a late-night idea in LA and turned into a year-long obsession,” says Sam Silver. “Groovy brought the Jersey bounce, I ripped the synths, and Cade sealed the deal. The first version was cool—but we knew it could hit harder. When I sent the new drop, Groovy lost it: ‘Bro—we have to get Cade on this.’ And he crushed it. Easily one of my favorite records I’ve touched.” The lyrics narrate a story enlivened by the accompanying music video. It begins with a woman using an old school iPod, and transitions to a fantastical world populated by unusual characters in a vivid club scene. Amidst strobe lights and a sweaty, dark atmosphere, the footage alternates between Sam Silver at the DJ booth, Groovy and Cade Clair among a lively crowd, girls dancing in the crowded club, and surreal snapshots reflecting the track’s emotional turmoil. The video showcases various chaotic elements; from a man performing shirtless curls on the dancefloor to a snorkeler in flippers, a horse-headed raver, and a mime-like dancer. It culminates dramatically with a girl collapsing in the crowd, as chaos ensues and the music fades, symbolizing the physical and emotional “heart attack” the song conveys. Speaking on the meaning behind the single, Groovy explains: “Heart Attack captures its name in every way. The feeling of panic and chaos when let down emotionally triggers physical symptoms. Impending doom, a pit in your stomach, a situation that just doesn’t get better no matter how positive you remain. That’s a heart attack, that’s the song.” Heart Attack is out now on Boom Records The post Sam Silver x Groovy x Cade Clair – Heart Attack appeared first on EDMTunes.

Global dance music powerhouse Vicetone is excited to release their poignant new single, “Over Too Soon”, via Monstercat. Known for their infectious melodies and emotive production, the Dutch duo, comprised of childhood friends Ruben den Boer and Victor Pool, once again tap into deep emotion with this heartfelt track. “‘This record is about that bittersweet feeling when you’re seeing someone new for a while and it ends too soon—even if it may have never worked out. We love the emotion behind the vocal and wanted the music to invoke that feeling of bittersweet, melancholic gratitude.” vicetone With a career spanning over a decade, Vicetone has solidified their place as leaders in the electronic music world, boasting over a billion streams, multiple platinum and gold certifications, and a fiercely loyal global fan base. Beyond their studio success, Ruben and Victor continue to push creative boundaries, building their own custom Nashville recording space as a true reflection of their passion for sound design and craftsmanship. Recently, Vicetone brought their artistry to a new level with the live debut of their groundbreaking PROJECT V concept in China. This unique show, which took place on April 18 in Chengdu and April 19 and 20 in Guangzhou, featured a collaboration with traditional Chinese musicians accompanying Vicetone on stage while performing their biggest hits. The performances blended Eastern and Western sounds in a breathtaking display that thrilled audiences and marked an exciting new chapter in Vicetone’s live experience. Watch a clip from their unforgettable PROJECT V shows on Instagram and download the track here. As they continue to push boundaries, “Over Too Soon” promises to be another standout moment in Vicetone’s dynamic career – a track that captures the fleeting beauty of connection with their signature emotional depth and dancefloor-ready energy. “Over Too Soon” is available now on all streaming platforms. The post Vicetone unveils new single “Over Too Soon” after making history with PROJECT V launch appeared first on EDMTunes.

For a limited time, you can save up to 25 per cent off Ableton Live 12 Standard and Suite purchases, including upgrades, at Sweetwater and Thomann. That equals a saving of up to $225, so now is probably the best time to download the DAW if you’ve been holding out. Deals on Ableton Live don’t come around often, with the last one happening over Black Friday and Cyber Monday 2024. This flash deal isn’t hanging about long, either — you’ve only got until 19 May 2025 to get your hands on it. In cash terms, the deal means that new users to Live 12 can pick up Live 12 Suite for $525 (saving you $225) and Live 12 Standard for $373 (saving you $66). Meanwhile, owners of Ableton Live Lite, Intro, Standard and Suite versions 7 through to 11 can make some killer savings on upgrade prices, too. [deals ids=”tYq1v1oPx2sDx1GQTk9DK”] Ableton Live 12 is currently one of the most popular DAWs on the planet, used by myriad producers in electronic, hip-hop, pop and alternative music. We scored Ableton Live 12 a 9/10 in our review in 2024, praising its new MIDI editing and MIDI generation tools, powerful browsing features and calling it “the best clip-based DAW around.” But which version should you get? Well, Ableton Live 12 Standard edition has 13 instruments, 16 sound packs and 42 effects, and the full-fat Suite version provides 20 instruments, 33 sound packs and 58 audio effects. If you’re looking for a vast sound palette, Suite will be tremendous value for you; if you’ve already got a ton of third-party plugins and a big sound library, you can probably save a few bucks and go for Standard. In our review, we added: “Ableton has pulled off the trick of keeping Live fun and accessible on the surface while providing a great depth of tweakability (much more so now than in the earlier years) and including heavyweight extras like the Max For Live design environment with the Suite edition,” we said in the review. “Many users will find that the Standard edition suits their needs perfectly well, since the main thing you gain with the pricier Suite is more instruments and effects – otherwise the functionality is essentially the same.” Check out the deal at Thomann and Sweetwater. The post Ableton Live 12 is now 25% off — but not for long appeared first on MusicTech. View the full article

‘Dynamite’ was the hotly anticipated sixth album from the band. It followed the release of their 2001 album ‘A Funk Odyssey’ that had garnered critical and commercial success globally. Also in the intervening period between the two albums, the band were exposed to rafts of new fans when their 1999 track ‘Canned Heat’ became the focal point of cult-turned-smash-hit movie Napoleon Dynamite (2004) when the movie’s namesake lead performed his now infamous dance. Originally released in the UK on 20 June 2005, its lead signal and first track on the record ‘Feels Just Like It Should’ became the bands fourth number-one on the US Dance Chart that also broke into the UK Top 10 Singles Chart and was accompanied with a Grammy Award nominated video that features Jay Kay going from nerd to himself and also adopt the role of the Candyman. ‘Dynamite’, like all of their previous albums, continued their great album chart success, this time entering at number three. The second single, ‘Seven Days in Sunny June’ entered the top 15 and in 2006 saw the band’s relationship with smash hit movies continue, appearing in The Devil Wears Prada. ‘(Don’t) Give Hate A Chance’ was released as the third single, once again featuring a hugely captivating video this time with an animation of the band’s infamous ‘Buffaloman’ logo throwing some signature Jay dance moves. This reissue continues the ongoing celebration of Jamiroquai with the albums ‘The Return Of The Space Cowboy’, ‘Travelling Without Moving’,‘Emergency On Planet Earth’, ‘A Funk Odyssey’ and ‘High Times: The Singles 1992-2006’ all available on vinyl again, some with bonus material. Check out Jamiroquai’s official store. Jamiroquai, The Heels Of Steel tour comes through the UK later this year, find out more at www.jamiroquai.com/events, UK dates below. Wednesday 3 December – The OVO Hydro, Glasgow Saturday 6 December – CO-OP Live, Manchester Tuesday 9 December – The O2 Arena, London Friday 12 December – Utilita Arena, Birmingham Sunday 14 December – The O2 Arena, London To be released on 13 June, it can be pre-ordered now here https://jamiroquai.bio.to/Dynamite20 The post Celebrating its 20th anniversary, Jamiroquai’s ‘Dynamite’ is to be released as a double-LP set on Dynamite Smoke vinyl appeared first on Decoded Magazine.

The deadmau5 and James Hype feud is far from over it seems, as deadmau5 is now truly flexing his muscles when it comes to showing his CDJ skills. How? By using it as a controller to play Elden Ring. The disagreement began as Hype shared a promotional video to his Instagram earlier this week to promote his new live show, SYNC. In it, he references old comments made by deadmau5 (which he has since claimed were taken out of context) during a livestream in 2021, when he suggested that most DJs play pre-recorded sets at large events. READ MORE: “A lot of artists need to understand that it’s part of music production”: Myd on overcoming the fear of a blank DAW In the video from Hype, he says his new live show really is live, and triggers the deadmau5 logo and a large image of him to flash up around his set up in response to the music he plays. Of course, the ever outspoken deadmau5 didn’t simply ignore this clip, and responded across multiple comments and in two response videos of his own. In one video, he was seen using a CDJ to control his movements in the Elden Ring video game, and he hasn’t quite stopped there. In another video, he’s now shown himself using his CDJ-3000 to fight what is the game’s toughest boss, demigod Malenia. Though he does die in the conflict, viewers are still rather impressed. However, one Instagram user comments, “I don’t think it’s about James Hype anymore lol”. The video shows the first bit of in-game conflict tackled using the CDJ, but deadmau5 has also shared some other clips giving a little insight into how he set it up which you can view below. Hype has not yet replied directly to these comments or videos from deadmau5, but has since shared a story promoting his appearance at EDC festival in Las Vegas on Sunday which also shows a sign reading “heat warning” and some eye emojis. Deadmau5’s next live appearance will be on 31 May at Forbidden Kingdom for a DnB set. You can view the video below: View the full lists of scheduled live dates for both James Hype and deadmau5. The post Deadmau5 turns CDJ-3000 into Elden Ring controller – and fights the hardest boss in the game appeared first on MusicTech. View the full article

Spotify’s AI DJ feature has been given an update, and you can now personalise the music it plays using voice control. Up until now, DJ X – who commentates between plays – has not been interactive, with only the ability to change the music it plays by skipping tracks using regular controls. Now, by simply using your voice, you can ask the DJ for requests to match whatever mood you’re in. READ MORE: Best Spotify alternatives in 2025 for music listening and discovery Spotify’s DJ feature is available to its premium subscribers only, across more than 60 markets. The new request feature is only available in the English language for now. Spotify also notes that the feature is still in its beta testing phase, and won’t produce results for non-music-related requests, like audiobooks or podcasts. However, DJ can handle a combination of genre, mood, artist, or activity-related voice requests. To use it, open up the DJ feature on Spotify (you can do this through the search tool) and simply press play. When you’re ready to switch up the music, press and hold the DJ button in the right-hand corner, and it will beep when ready to listen. “We know that listeners have asked for more ways to interact with DJ and enjoy more control over their listening sessions. That’s why we’re excited to share that DJ is now taking music requests, giving Premium users in more than 60 markets an entirely new way to curate the vibe of their listening sessions in real time,” comments Spotify. “Serving up suggestions using AI and insights from our global editorial experts, DJ helps you uncover new tracks, rediscover old favourites, and connect deeply with the music you love.” In other Spotify news, the streaming platform recently celebrated even more user growth, as across the first quarter of the year, it recorded its highest subscriber net adds since 2020. In its new Q1 report, Spotify also revealed a record high operating income (its profit after deducting operating expenses), which rose to €509 million across the quarter, and a premium subscriber count of 268 million – an increase of 12 per cent year over year, marking the the second-highest Q1 in Spotify’s history. You can find out more about Spotify and its AI DJ feature via the Spotify Newsroom. The post Spotify’s AI DJ now takes requests appeared first on MusicTech. View the full article

Three powerhouse names in electronic music—Mangoo, Alex Pizzuti, and Mark Neve—have come together to deliver an unforgettable collaboration. Their new single, “Moments”, is set for release on May 9th, blending cinematic emotion with dancefloor-ready energy in a track that captures the bittersweet tension between heartbreak and hope. Driven by atmospheric synths, pulsing percussion, and a euphoric drop, “Moments” strikes a perfect balance between heartfelt songwriting and high-impact production. The emotional core is encapsulated in the line: “I’m still hangin’ on moments / Back when nothing was broken”—a poignant reflection that will resonate deeply with listeners navigating the complexities of lost love. This collaboration brings together three distinct artistic visions: Mangoo – The Swedish producer behind the cult classic “Eurodancer”, which became a viral sensation in the early 2000s and inspired a generation of electronic artists. His 2019 rework of the track, “Play” (with K-391, Alan Walker, and Martin Tungevaag), has surpassed 280 million Spotify streams, with chart-topping success across Norway, Finland, Sweden, and Indonesia. Alex Pizzuti – A leading figure in the Future House scene, the Italian DJ and producer has worked with top-tier labels including Revealed Recordings, Hexagon, and Sony Music. His tracks like “Vibe” and “Bla Bla Bla” have dominated Beatport charts and festival stages, while his reimagining of “Memories” received support from David Guetta and Don Diablo. Mark Neve – Known for fusing emotional storytelling with melodic dance energy, the Italian producer made waves in 2023 with “Delilah” (with Mikolas Josef), amassing 62+ million streams and reaching #10 on Czech radio and #3 on iTunes. His sound resonates with fans who crave authenticity in electronic music. “Moments” is a natural evolution for all three artists, fusing nostalgic sentiment with modern production to create a track that feels as at home on the biggest editorial playlists as it does on festival main stages or late-night drives. With early buzz building across social media and DSPs, “Moments” is poised to become a standout release of the season—offering emotional depth, replay value, and crossover appeal to both mainstream and dance music audiences alike. The post Mangoo, Alex Pizzuti, Mark Neve Team Up For “Moments” appeared first on Electric Mode.

The red hot Louis Bekk unveils his much-anticipated production debut with brilliant new single, ‘All I Need’ on [PIAS] Électronique out Tuesday 13th May. This stunning first release very much embodies the unique sound Bekk has become known for in his DJ sets. ‘All I Need’ is a brilliant mix of pulsing beats with the singer’s own emotive vocals making for a fresh take on contemporary dance-pop. It has an airy, summery feel with sweeping drums and textured pads lifting dancers off their feet and sending shivers down the spine with the falsetto vocal. Louis Bekk is a scene-leading French DJ and producer based in London signed to PIAS Électronique after gaining momentum through a series of viral moments everywhere from boxing rings to matcha shops. He has racked up 100M+ views in total and sold out every one of his single shows at places like KOKO and other 1500 capacity venues in London, all thanks to having built such a strong community of fans who follow him wherever he goes. Blending the groove of French touch with UKG-influenced emotional electronica, his sound draws comparisons to acts like Fred again and Overmono. With his unique sound and musical philosophy, Louis champions a return to authentic, inclusive dance culture and has a vast and ever growing community and strong social presence. His DIY ethos and charismatic style have attracted attention from brands seeking cultural impact and he is now positioned perfectly at the intersection of underground rave culture and mainstream electronic appeal. This is a standout sound from the brilliant Louis Bekk. Upcoming shows As a standout in the pop up show scene, Bekk has plenty planned including a DJ set on top of a bus while it moves through London, a set on top of two residential buildings at Embassy Gardens, which is home to the world’s first suspended infinity pool, and a secret set at Piccadilly Circus with the exact location revealed just hours beforehand. BUY / STREAM: LOUIS BEKK – ‘ALL I NEED’ HERE Louis Bekk https://www.instagram.com/louis.bekk/ [PIAS] Électronique https://www.instagram.com/piaselectronique/ The post Louis Bekk delivers first single “All I Need” on [PIAS] Électronique appeared first on Electric Mode.

NOW HERE by Paco Osuna unveils its lineup for its fourth season, set to take place every Tuesday at Hï Ibiza Club Room from June 17 to September 30. After unforgettable nights in cities like Miami, New York, and Amsterdam, and two memorable full club takeovers at Hï Ibiza, Paco Osuna and his concept NOW HERE are ready to embark on their fourth season at their alma mater and the world’s best club, with a stellar lineup where returning favorites and fresh additions will come together for a remarkable summer season. On June 17, Paco Osuna and the NOW HERE family will kick off the Tuesday summer madness in the Club Room of Hï, presenting 16 vibrant dates through September 30, with a lineup featuring 30 outstanding artists. “This season, I want to convey the same energy and values I’ve carried over the past three years: love for music and passion for the art of DJing, not just mine, but also that of the invited artists. My goal is to keep honoring and highlighting the core foundations of this profession: creativity, boldness, the willingness to experiment, stepping outside the comfort zone, and the constant drive to evolve, both behind the decks and in front of the crowd… As I do every year, I’ve invited new artists who are starting to make their mark on the electronic scene and who will have a space within NOW HERE to express themselves and showcase their music.” PACO OSUNA NOW HERE is about the feeling and experience of living and enjoying the present moment, about the love for music as the medium to evoke emotions. Guided by this philosophy, Paco Osuna continues the journey he began three years ago in Ibiza and returns this summer to further cement the niche he has carved into the island’s history. NOW HERE 2025 SEASON ARTISTS: ARIEL RODZ, CHRIS DI PERRI, CLASSMATIC, DAVID LOWE, DE LA SWING, FER BR, FRANKY RIZARDO, GRUUVELEMENT’S, HECTOR, IGLESIAS, ILARIO ALICANTE, JOËLLA JACKSON, LATMUN, MAHONY X WHEATS , MANDA MOOR, MANU GONZALEZ, MELANIE RIBBE, NICOLE MOUDABER, PACO OSUNA, RAFA BARRIOS, REBOOT, REELOW, RENDHER, RIAZ DHANANI, ROB STILLEKENS, RSQUARED, SOSA, TOMAN, VANEE, YOUNIVERSE. The post Paco Osuna Unveils Stacked Line up for NOW HERE at Hï Ibiza appeared first on Electric Mode.

If there’s one thing we’ve come to expect from Forbidden Society, it’s his unwavering commitment to pushing boundaries and making bold, uncompromising moves. Whether it’s through his explosive productions, razor-sharp DJ sets, or entrepreneurial ventures, he has never been one to play it safe. Forbidden Society’s journey began in earnest with his first official studio release in 2004. Since then, his trajectory has been anything but ordinary. He initially released music through respected labels like Jungle Therapy Records and T3K before realizing that the sound he was nurturing needed its own home—one that would allow him full creative control. That’s when Forbidden Society Recordings was born. Musically, Forbidden Society has never allowed himself to be pigeonholed to a specific style. While his roots remain firmly planted in drum & bass, his productions have consistently absorbed elements from techno, electro, punk, and halftime, creating a hybrid that’s both destructive and meticulously crafted. Expanding his influence even further, Forbidden Society has expanded his brand by launching his own line of clothing which serves to be another extension of his commitment to crafting a culture around his music. The clothing brand echoes the same aesthetic found in his tracks: bold, dark, and raw. 2024 proved to be a transformative year for Forbidden Society, with the release of Lonely Road on VISION Recordings serving as its centrepiece. The album unveiled a more introspective dimension of the Czech producer’s artistry which honoured his foundational sound while fearlessly venturing into new creative frontiers. This artistic evolution led to the release of To The Threshold 2, where he masterfully reimagined the neurofunk landscape while maintaining that unmistakable Czech-bred sonic velocity. The momentum only intensified with his explosive contribution to VISION’s Mission 03 compilation, placing him alongside bass music’s most innovative voices. As Forbidden Society stands poised to unleash the next phase of his musical evolution, we caught up with the visionary artist to discuss the philosophy behind Lonely Road, the resurgence of To The Threshold, and what lies ahead on his uncompromising creative path. You closed the year with ‘To The Threshold Part 2’ featuring your typical Forbidden Society styles. An ideal way to end the year with a collection of tracks, don’t you think? Yes, I had planned to do something like this for a long time, and it turned out to be at the end of the year. I must say that I am incredibly grateful for the support the album has received so far, especially from the fans who have been asking for something like this for years. The plan was to create a hard and uncompromising album that focuses on rawness and volume, without focusing on clinical precision in edits and mixdowns. I wanted to keep it pure and raw, just like in the early days. And ‘Part 2’ follows the first edition from 2012. What inspired you to return to this project and create its second part? My fans were the ones who pushed me towards this idea, as they had been asking for it for years. For many years, I received messages saying that people would love to hear the old, hard FS sound again, and they told me this even at events. At that time, it wasn’t the right moment. Creating something like this requires a certain mindset and energy, which came after the release of the ‘Lonely Road’ album on VISION, where I wanted to be the complete opposite—clinically clean and absolutely precise in everything, because it was something you only do once in a lifetime, or at least that’s how I feel about it. After the VISION album, I simply wanted to do the complete opposite—something truly extreme, without compromise, and to forget everything I had learned up until then and go back to my roots. I have to say it ended up coming together quite easily, and I rediscovered what I had within me many years ago. I would just like to add that this album was a sort of reflection and tribute to that style and to my fans. It was for them. I don’t expect to return to this style permanently; I like where I am with my production now, and it suits me. I won’t be going back to hard DnB. I’ll leave that to the people who are still producing it and enjoying it. After Lonely Road’s introspection, was this sequel about reclaiming your hardest roots? Yes, you could say that in a way, I did a small review of my past in DnB. I wanted to follow up on the original album from 2012, which, in its way, made a stir in the scene, and I still remember the reactions to tracks like ‘Cobra,’ which, even after all these years, still works when I play it. Hard DnB, in general, isn’t very popular anymore, but it could make a comeback—who knows? With this album, I wanted to pay tribute to this style and to my fans who have been with me from the beginning. I am also, in a way, grateful to it for getting me to where I was at that time. Now, I think I made a certain impact in my own way. What has the year 2024 been like from the perspective of Forbidden Society Recordings? As the owner of the label, I am satisfied, and I must say that everything released under the label has received the attention it deserved. I am aware that other labels may be doing much better, but I am humble, and it suits me to release what I believe is right, when I believe it’s right. I have my fans who regularly support me and the label, and that is what matters to me. I don’t chase numbers, nor do I feed my ego by posting how high my track is on the charts. What’s important to me is whether I’m happy with what’s being released on my label and if I feel good about it—and that’s certainly the case this year. We released the EPs Refused, Revelation, and at the end of the year, To The Threshold Part 2. From deep stuff to 140, Garage, Techno, and hard DnB, you could say it’s been a really wide range of different styles. My label isn’t just about DnB; we also release other styles of electronic music. You could say that I simply release what I enjoy. Additionally, my label has been focusing on label nights. I used to co-organize label nights all over Europe, but because I handle everything myself—from management to bookings, the music, and even looking after my clothing brand—I realized it was too much. I want to do these things properly, and in my opinion, the only way to manage them well is to focus on just a few things. Label Nights are now twice a year—once at Fabric in Ostrava, which I believe is the best club in the Czech Republic, and at the Beats For Love festival, where for several years now, I’ve been in charge of the last day on the DnB stage with my label night, closing the festival. Personally, it’s my favourite festival where I have the honour to play and present my brand, along with the people who support it. From first conversations with VISION to final master – what were the key moments in bringing this album to life? I still remember exactly how it all started. In 2016, I underwent a sort of transformation where I switched to deep DnB and 140. By that time, I was already quite tired of the hard sound I had been producing, and as a person and producer, I can’t stand staying in one place. I love change, developing, discovering, and I realized that these genres could also be hard and dark but in a different way. I became incredibly excited to dive into that sound and make it my own. This led to the creation of the Fog Walk album, which really surprised a lot of people—it was something completely different from what they expected from me, and I received great support for it. Honestly, I was scared at first, wondering if my fans would condemn me or accept it, but they accepted it, and surprisingly, I got positive feedback. So, without me personally sending it anywhere, the album somehow made its way to NOISIA or Vision Recordings. I still remember that Martijn played one track right away as the first on Vision Radio with a really nice intro. In the next two or three episodes, I had another track premiered on their Vision Radio by Thys and Nik. That’s when I thought it might be worth sending them some demos, and I remember that from that, the Subworld EP emerged as my first release on VISION. Since then, I’ve collaborated with them on other projects, including tracks on their Mission compilations, remixes of Noisia & Mayhem feat. KRS One – Exodus, I Am Legion – Choosing For You, and the previously mentioned Lonely Road album. VISION is like my family. They are extremely perceptive and empathetic people who understand what you want to express with your music. They’re also incredible professionals and won’t release anything they don’t fully stand behind. It’s well known that working for them on something is extremely challenging, but that’s the right way to do it. Personally, it has pushed me a lot, both in terms of production and overall as a person—how to view music in general, knowing that it’s not just a money and numbers machine, but that it has a deeper value. VISION handpicked 13 tracks from your catalogue for this release. What was that selection process like from your perspective? Well, the process worked like this: I spent weeks, maybe months, working on demos that I gradually sent to the label. From that pool, 13 tracks (actually 15, since there are two bonus tracks on the vinyl version) made the cut, and I then worked hard on refining and perfecting them. The main decision-maker was Nik Roos (Noisia, Sleepnet), who, in my opinion, is the best electronic music producer ever. He has an incredible sense of precision, understands what you want to express with the track, and can guide you precisely on where the track should go, including the sound. It was an incredible honour to receive feedback from someone like him, and it really pushed me forward. I worked on the project for two years, and the fact that the label chose me to release an album on their label is an unbelievable honour and, personally, the achievement of my own Mount Everest. The process was beautiful—I remember running to the studio to work on these tracks, unable to sleep because I couldn’t wait to turn on my PC and get to work. It was extremely demanding, but I love challenges, and I really enjoyed how tough it was. There’s a raw, introspective quality to ‘Lonely Road’ – was there a particular headspace or life chapter that defined this album’s mood? The album is very personal; I really opened up as a person, which I’m not used to. I keep my private life to myself, I don’t talk much to people, I don’t belong to any crew or group. You could say I’m quite an introvert, ADHD, OCD, and autistic, and it sometimes makes it hard for me to open up. But VISION was a place where I felt safe to express myself as an artist. I had the chance to get to know these people, and I trust them. The inspiration came from everything that’s happened to me in life, both the good and the bad—it’s about life. As for my development, as I mentioned before, it pushed me a lot, especially in terms of production and working with sound. I’m focusing more on those things now, and I go deeper into everything—I don’t rush anything. You can hear that in the tracks, they have their own longevity, and that’s what I wanted—to make sure they have life, not just numbers. On the album, there are tracks like Lonely Road, which is melodic and melancholic, where I used melodies—something I hadn’t done much before. It was one of the hardest to finish because it’s so personal. At that time, I was going through a phase where I kept asking myself if what I was doing even made sense—away from my family, friends, on the road with strangers. In the end, everything worked out, and those were great events, but it’s a reminder that sometimes you’re on the edge, and when you give something of yourself and sacrifice something, incredible things can happen if you follow your path and have people who support you. Then there’s a track like Empty Field, where I wanted to do 172 Techno, a reminder of how I started—fields, Tekkno, Free Tek, Spiral Tribe, etc. Spirit Animal was meant to be a 160 old-school jungle track but with a new twist. Addict, Morph, Reaching Zero are deeper, minimal tracks where I wanted to use as few elements as possible, and that was a challenge for me because I tend to put too many things in—sometimes too many samples, MIDI, etc. Deep Blue is UK Garage but in my version. I love melodic bass lines in Garage with vocals. Picture of Us is another very personal track—it was a difficult time for me, and the track somehow reflects what was happening. Sunrise is an ambient piece where I was in the studio until morning, and as the sun came up, it was such a magical moment that I still remember fondly. Wish, Posers, Reconnect are my personal vision of 140, which I love producing. Echoes of Desolation is a strange one. I remember it was a track that came together in about 3 hours—it just flowed naturally. I like melodic lines mixed with 808 bass, and it somehow worked out here. Leave It is a roller that came to me after an event where I played with Alix. I remember rushing from the event to the studio, and even at 4 AM, I started working on it because I just couldn’t get the idea out of my head. End Line is the closing track of the album—ambient and melancholic, reflecting the overall mood of the album. The tracks on the album have interesting titles. How did you approach naming them? Honestly, I thought about it quite a lot, but the inspiration came from personal things, the overall vibe of each track, or simply what came to mind during the process of creating certain tracks. I definitely thought about what each track would be called. The album title itself reflects the overall message, which is independence. Personally, I believe that when a person is independent, they are truly free—not only in music but in other areas of life as well. It’s about not relying on others, but always following your own path, and if there’s no path, you create one. That’s the message of the album. Did you enter the ‘Lonely Road’ project with a specific sonic philosophy or unifying vision that guided your creative decisions? No, I let it flow freely. I wanted the album to include styles of music that I like and push them in a certain direction, in my own way. I just wanted to go beyond my limits and do something I’ve never done before, and I really enjoyed it. I even watched tutorials on how certain things are done to get to where I wanted to be with specific elements, because some of these tracks, even though it may sound strange, required certain production progress from me—like with tonalities, chords, etc. Honestly, I didn’t understand much about tonalities or chords, I don’t play any instruments, and I don’t know music theory, so I’d say I’ve developed in that area as well. When working on the Lonely Road album, but also with other things I do in production, everything is adjusted to the work in the studio. That means my diet, sleep, exercise—swimming, cycling, regular sauna visits, and spending a lot of time in nature. It’s all about preparing my mind for the studio; that’s crucial for me, and lots of coffee. I also have certain hours when I think I’m most productive, and I try to stick to that. It’s also important to take breaks and rest sometimes. When your mind isn’t always focused only on music and is given the chance to focus on something else, I believe it helps a lot. I’ve had a family for four years, so they take very good care of me too How do you see your role in both advancing Czech drum & bass globally while keeping its local spirit alive? In the Czech Republic, we’ve been connected for years. It doesn’t really matter what or where I release my music, people here know me, they know I’m their Jindra – FS, and that they don’t really know what to expect from me, as I like to experiment. That’s why I’m glad they accepted my change in 2016 when I transitioned from hard DnB to a deeper sound. I have a very friendly and personal relationship with my fans, and I value that. They are the ones who pay for our entrance to clubs and open-air events, buy merch, and allow us to do what we love, letting us make a living out of it. They also know that I’m just a normal person made of flesh and bones, that I go to the bathroom and eat bread with butter like they do—there’s no need to pretend. This is something that bothers me about other DJs and producers. I’ve noticed that lately, many DJs and producers have changed their behaviour, and I’m not sure exactly why. Maybe it’s just my perception, but it seems that a lot of personal ego and a chase for numbers are influencing things, with the desire to flaunt everything on social media. But I don’t want to start a ‘boomers’ debate about how things used to be and how they are now. Personally, I think we should all pull together, support each other—that’s the strength, and a bit of humility doesn’t hurt either. It’s important to realize that nothing lasts forever, and that’s how I’ve approached it from the beginning. A great example is Covid, when suddenly we were all at home and couldn’t do anything—everything could end overnight, and you have to approach it that way. That’s my personal opinion—people aren’t stupid, they can tell who and how someone behaves. The worst thing for me is the online fake humility and modesty when you know it’s otherwise. Your latest track, Warp Line, just dropped on Vision Recordings. What was the inspiration behind this tune? The inspiration behind Warp Line came from a slow metal bass riff in one of Machine Head’s tracks I was listening to while driving to a gig. I mean the bassline — I’m a big metal fan, especially the old-school stuff, not really into the new wave. That riff just stuck with me and sparked the whole idea. The track has a signature blend of raw energy and intricate sound design. Can you walk us through your production process on this one? Like I said, the bass riff was inspired by that metal track. It’s actually pretty simple, and compared to my other tunes, this one came together pretty fast. One of those where you’re just in the zone and everything clicks. I only revisited the mixdown before the release to make it sound more up-to-date. I learn something new about mixing pretty much every day, so I applied the latest tricks on this one too. It’s meant to sound loud, dark, and hard — in its own way. You’ve got an upcoming EP on Neksus Sound—can you give us a sneak peek into what fans can expect? Any particular themes or stylistic shifts? Honestly, I went a bit crazy on this EP. The label gave me complete freedom, so I did exactly what I felt like doing. It’s definitely heavy and chaotic. I think it fits the Neksus Sound aesthetic well. I love what Nessus and the team are doing at the moment, so I was stoked to be able to release a full EP with them. How does this EP compare to your previous work? Were there any new techniques or experiments you explored in the studio? It’s definitely heavier and more chaotic than my recent releases. I pushed the sound design more into distortion and saturation, experimented with unusual FX chains and layering. Also played a lot with dynamics – some parts are super minimal and then it hits hard again. It’s raw, unpolished on purpose, more instinctive than calculated. That was the main goal – not to overthink, just go with the energy. You’ve expanded your brand with several Forbidden Wear collections, with the latest one for 2025 now available. How do these fashion projects complement your music, and what inspired you to venture into fashion?” In the beginning, it was simply that I wanted to have my own merch, so that people could wear something that connects with both my music and my clothing. It started with my logo on t-shirts and hoodies, and now my brand is celebrating its 10th anniversary. My collections are ultra-limited; for example, I might have only 30 t-shirts and 10 hoodies, which I think makes them more interesting for people. I also create all the content and designs myself, and each one has to tell a story and carry a message. A lot of the designs have a punk, anti-establishment vibe—I really like Orwell’s dystopian novel 1984, as well as Illuminati symbols and symbolism in general. I’m planning to release four new collections in January 2025, where I’ve reached out to three new designers who will be working for me for the first time. The designs will be something different, as I can’t stand staying stagnant—just like with my music, I want Forbidden Wear to keep evolving. The products are eco-friendly, and I try to keep everything aligned ith sustainability. Of course, it’s not 100% yet, but I’m working towards making it better in the future. The Czech drum & bass scene has always had such a distinctive energy. As we move through 2025, how would you characterize its evolution – and where do you see yourself fitting into shaping its next chapter? Honestly, the Czech Republic is well-known for its drum & bass scene. Almost every weekend there’s an event happening somewhere, so I’d say it’s truly alive and active. We have the biggest DnB festival in the world, Let It Roll, where I’ve had the honor of playing for several years. Ostrava and its surroundings also have a huge DnB base, where almost everyone lives and breathes the music. There’s Fabric club, which has a long tradition, and the Beats For Love festival, which originally focused on DnB and regularly invites the biggest names from the scene. As for my role, I just do my thing, and that’s it. I don’t push myself into anything that doesn’t feel right. There’s a lot of new young and talented DJs and producers coming up, and I’m happy to be part of it all, but I stay true to my own path. Apart from releasing music and organizing events, what are your broader goals for 2025, both personally and professionally? I don’t really set specific goals, because that often leads to disappointment. I’ll just see what happens. I’ll keep creating music, performing at events, and enjoying life as it comes! Forbidden Society: Instagram | Facebook