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Photo Credit: SnoopDoggTV Snoop Dogg reaches a settlement with a studio musician who accused the rapper of failing to license two backing tracks on his 2022 album, BODR. Veteran studio musician and producer Trevor Lawrence Jr. sued hip-hop legend Snoop Dogg for allegedly failing to license two backing tracks used on BODR (Back On Death Row), his 2022 album. Now, Snoop and Lawrence have filed a joint motion to dismiss their litigation, with a previous filing stating the two parties reached a settlement through a mediator back in April. The terms of the deal have not been disclosed. Last summer, well-known drummer and producer Lawrence, who has worked with artists like Alicia Keys, Bruno Mars, Ed Sheeran, and Kendrick Lamar, sued Snoop and his label, Death Row Records. His filing alleged that the rapper failed to clear backing tracks used in two songs on the album: “Get This D—k” and “Pop Pop.” According to Lawrence’s original lawsuit, he created these two tracks “on spec,” giving them to Snoop in 2020 with which to “experiment” in the studio. However, Lawrence says he made clear that Snoop would still need to license the tracks if he wanted to use them in an album—yet Snoop released BODR two years later, allegedly without a licensing agreement for the tracks’ use. Worse still, Lawrence claims Snoop didn’t get his permission before releasing both tracks that used the unlicensed material as NFTs (non-fungible tokens). This, allegedly, raked in millions of dollars in profits for Snoop. Attorneys for Snoop Dogg (whose real name is Calvin Broadus) denied any wrongdoing, asserting the rapper engaged in a draft deal with Lawrence and paid him $20,000 as a “producer fee” before BODR was released. They further claimed that Lawrence cashed that $20,000 check, which effectively conceded that the terms proposed in the deal were acceptable. Before the two parties reached an agreement, the case was scheduled to go on trial in September in Los Angeles federal court. Neither the Lawrence nor Snoop camps have discussed the terms of the deal, but both parties are reportedly happy to have put the matter behind them. View the full article

Photo Credit: Thibault Penin Spotify is making a bold play for the attention of YouTube’s top video creators, aiming to transform the platform into more than just a music and podcast hub. Amid the subscription slowdown for Spotify, the company has reportedly offered select YouTube creators lucrative, non-exclusive deals to bring their shows and videos to the platform. These offers are designed to attract high-profile talent, not notably, they do not require exclusive rights to the content, allowing creators to continue distributing the content on other platforms including YouTube. The strategy marks a significant shift for Spotify. After years of heavy investment in exclusive podcast deals—most notably with Joe Rogan and Alex Cooper—the company has pivoted toward a more flexible approach for video content. According to Bloomberg, Spotify is now focused on building a robust video catalog rather than locking creators into restrictive contracts. The company is offering both financial incentives and marketing support, with some creators receiving direct payments and others benefiting from enhanced visibility for their shows. The size of the deal often depends on the creator’s influence and audience size, but the common thread is that all of these video partnerships are non-exclusive. Spotify’s courting of YouTube creators is part of a broader effort to compete with established video platforms including YouTube, Instagram, and TikTok. The company is rolling out new features that make it easier for video creators to monetize their content and track performance, including allowing Premium subscribers to watch videos ad-free and sharing ad revenue with creators from ad-supported free users. These changes aim to address creator concerns about intrusive ads infiltrating their content, making Spotify an attractive alternative for creators with a substantial video audience. This push into video is also a strategic move on Spotify’s part, the aim is to increase user engagement with the platform and reduce subscription churn. By offering more content formats, Spotify hopes to keep its users on its platform longer and attract new audiences. Executives have acknowledged the challenges of competing with YouTube’s massive scale and established creator ecosystem. “People make it out to be the winner-takes-all dynamic in that there’s only one player that can solve all of it, but what creators want is to be on multiple platforms,” Spotify CEO Daniel Ek said during a recent earnings call. Despite the aggressive courting of YouTube content creators, Spotify’s approach is not without challenges. Independent creators must manage distribution across multiple platforms without dedicated tools for simultaneous uploads, potentially increasing their workload. Additionally, Spotify’s video ad infrastructure is still maturing compared to YouTube’s, which could limit the effectiveness of monetization for some creators. A leaked Spotify pitch deck shares that 300 million users have watched at least one video podcast, with 70% watching the video in the foreground. Spotify estimates it has 675 million monthly active users now, with 260 million paid subscribers. YouTube still remains the king of podcasting platforms, despite Spotify’s huge push into creating deals with content creators. That’s primarily because of the video component, with TV watching time a huge component for YouTube. View the full article

The Zurich headquarters of UBS, which has settled on a neutral rating for Universal Music Group stock. Photo Credit: JaierRT UBS has officially downgraded its Universal Music Group stock rating from buy to neutral – albeit while reiterating a per-share target of €30 (currently $35). The Zurich-headquartered bank just recently disclosed its updated Universal Music Group stock (UMG on the Euronext Amsterdam) forecast. As summed up by multiple financial publications, UBS believes the major label has continued room for revenue growth. Of course, that refers in part to anticipated paid streaming gains. Despite ongoing concerns of subscription plateaus across established markets, UMG posted a 9.5% YoY hike for streaming revenue during Q1 2025, including an 11.5% YoY spike from premium listening. (There’s presumably a forthcoming upside from more expensive on-demand tiers as well as superfan offerings, but time will tell when they actually go live. On the other hand, ensuring strong free-to-paid conversions might be a comparative challenge in light of the subscription plateau.) Separately, however, the expansion-minded major is also rolling out high-profile label JVs and looking to break “into every dimension of entertainment and consumer life,” to name a couple examples. But the way UBS views things, these and adjacent growth areas are already baked (or at least baking) into Universal Music’s stock price. At present, UMG shares are resting at €26.58 ($30.99) a pop – up approximately 10.5% from 2025’s start and closer to 27% from a July 2024 low. UBS’ rating is accompanied by the mentioned €30 target price for Universal Music Group stock, implying a nearly 13% boost from here. And given the emphasis on sustained positive trends, it’ll be interesting to see the major’s Q2 performance particulars. More immediately, UBS’ adjusted UMG outlook has entered the media spotlight about three months after Pershing Square trimmed its Universal Music holding. (Perhaps not coincidentally, the offering was priced at €26.60 per share.) Then, Bill Ackman, the CEO of Pershing Square Capital Management, stepped down from the label’s board last month. Though the announcement roughly lined up with Ackman’s appointment as executive chairman of Howard Hughes Holdings’ own board, it also followed a 2024 push to have Universal Music exit the Euronext Amsterdam in favor of a stateside listing. Long story short, Universal Music brass opposed the move, but Pershing still has the option (one it seemingly intends to exercise in 2025) to debut a secondary UMG listing in the States. Closing on a different stock-related note, Pershing Square Holdings (LON: PSH) today announced a $200 million share buyback program. “Since PSH commenced its first share buyback program on 2 May 2017,” the company wrote, “PSH has repurchased 69,920,511 PSH Public Shares for a total of $1.6 billion at an average price of $22.49.” View the full article

Bass music powerhouse SLANDER has officially announced their upcoming 2025 live tour, ‘VOYAGER‘, an 8-date trek promoted by Live Nation that promises an unforgettable experience for fans across North America. The tour kicks off on Saturday, September 6 in Atlanta, GA at the Coca-Cola Roxy, before making stops in major cities including Toronto, Seattle, San Diego, and Sacramento. The journey concludes with a two-night finale in Minneapolis, MN at The Armory on January 30 and 31. Known for their emotionally charged performances and cinematic soundscapes, SLANDER is setting the stage for their most immersive tour yet. The ‘VOYAGER’ tour will feature cutting-edge production, unreleased music, and the kind of heart-pounding energy that has made the duo a staple in the electronic music scene. Presale tickets will be available starting Thursday, June 26 at 10 a.m. local time via artist presale. Fans can sign up now by clicking here. Additional presales will roll out during the week leading up to the general onsale beginning Friday, June 27 at 10 a.m. local time at on SLANDER’s official website. SLANDER PRESENTS: VOYAGER TOUR DATES Sat Sep 06 – Atlanta, GA – Coca-Cola Roxy Fri Sep 26 – Toronto, ON – Budweiser Stage Fri Oct 10 – Seattle, WA – WAMU Theater @ Lumen Field Sat Oct 11 – Seattle, WA – WAMU Theater @ Lumen Field Fri Oct 17 – San Diego, CA – The Rady Shell Fri Oct 31 – Sacramento, CA – Heart Health Park* Fri Jan 30 – Minneapolis, MN – The Armory Sat Jan 31 – Minneapolis, MN – The Armory Get ready to embark on a musical voyage like no other. Stay tuned for more news! The post SLANDER Announces New ‘VOYAGER’ Tour Launching this Fall appeared first on EDMTunes.

Seismic Dance Event announced the highly anticipated phase one lineup for its 8.0 edition. The event is taking place November 14–16 at Austin’s acclaimed The Concourse Project. Renowned as the South’s premier house and techno festival, Seismic returns with another world-class lineup. This year’s lineup delivers a bold fusion of legacy acts, tastemakers, and rising stars. At the top of the bill are legendary UK duo UNDERWORLD, experimental luminary Four Tet, techno trailblazer Charlotte De Witte, GRAMMY-nominated act Elderbrook (DJ Set), and viral Brazilian phenom Mochakk. In addition to that, they’re joined by melodic house visionary Lane 8, UK powerhouses Gorgon City, and festival mainstay Duke Dumont. Moreover, the lineup expands with high-octane sets from global underground talent like Enrico Sangiuliano, electrifying selector Lilly Palmer, peak-hour expert Eli Brown, melodic favorite Cassian, the high bpm styles of KETTAMA, and industrial techno duo X CLUB. Adding fresh energy to the weekend are international talents including UK rave favorite Ben Hemsley, eclectic Italian DJ and producer GENESI, Portuguese standout Mari Ferrari, fast-rising Brazilian Afro-House focused artist Maz, and Germany’s old school rave inspired Somewhen. Seismic Dance Event comes to life across its flagship stages. There’s the indoor Volcano, outdoor Tsunami, and return of the Frequency stage. Each has its own distinctive aesthetic, sound design, and carefully curated artist programming. As day turns to night, the energy transitions seamlessly into immersive afterparties held within The Concourse Project’s iconic main room. Defined by world-class bookings, boundary-pushing production, and one of the most passionate dance communities in the country, Seismic has solidified its status as a standout on the global electronic music circuit. Tickets are on sale here. Stay tuned for more news! The post Seismic Dance Event Reveals Lineup for 8.0 Edition appeared first on EDMTunes.

Apple is at the current moment, working diligently towards the development of an iPhone featuring a fully all-screen design, with expectations to achieve this objective within the next few years. According to his article in the Power On newsletter, Bloomberg‘s Mark Gurman indicated that Apple intends to reduce the size of the Dynamic Island on new iPhone models scheduled for release next year. Furthermore, he anticipates the introduction of a redesigned iPhone model in celebration of its 20th anniversary in the following year. Gurman has previously noted that this 20th-anniversary iPhone will soon to include curved glass edges, exceptionally thin bezels, and a truly edge-to-edge screen devoid of any cutouts. This model would represent the first iPhone to offer a completely seamless all-screen design. The move to the all-screen design signals another grand chapter of the Apple iPhone Additionally, last month, Wayne Ma of The Information reported that the iPhone 18 Pro models, expected to launch next year, will feature under-screen Face ID technology. These devices will include only a small aperture in the top-left corner to accommodate the front camera, which means the traditional pill-shaped cutout will no longer be present. This development raises questions regarding Gurman’s assertion about the reduction of the Dynamic Island for next year. In summary, it appears that the first fully all-screen iPhone, which will feature both under-screen Face ID and an under-screen front camera, is projected for release in 2027. The transition to a comprehensive all-screen design is progressing steadily and appears to be on track. Beginning with the iPhone X in 2017, Apple moved from Touch ID and thick bezels to Face ID and a notch. This evolution continued with the iPhone 14 Pro in 2022, which transitioned from the notch to the Dynamic Island. The post New iPhone Potentially Moves to All-Screen Design in Two Stages appeared first on EDMTunes.

After a busy first half of the year, Italian-American Melodic Techno producer Anyma is ready to shift gears into his next move. No stranger to Ibiza, Anyma is bringing his new era to the newest Megaclub, [UNVRS]. The hyperclub will showcase Anyma’s ability to captivate the Ibiza audience. Shortly after the release of his album The End of Genesys, the artist continues to reinvent himself, finding new and refreshing ways to enchant worldwide audiences. [UNVRS] Ibiza The megavenue officially launched this summer. It has a stacked lineup that goes 7 days a week throughout the Summer. Anyma joins the lineup formed by Carl Cox, Elrow, Jamie Jones, David Guetta, Fisher, and Eric Prydz. Moreover, the venue will host a few extra special performances this September. These include names such as Charlotte de Witte, No Art, and Sara Landry. New Era After closing out a major chapter of his career with The End of Genesys Residency at the Sphere in Las Vegas and the consequent album, Anyma is ready for more. His 6-week residency will go on from July 8 to August 26. However, he brings back a plethora of artists. These artists have been a part of his musical journey thus far. Many of the returning artists have played Afterlife events and Anyma’s very own Sphere residency. Artists that will be coming to [UNVRS] include Amelie Lens, John Summit, Dom Dolla, Solomun, Cassian, Kevin de Vries, Son of Son, Colyn, Innellea, Recondite (Live), Adriatique, Argy, Layla Benitez, Mind Against, Rebuke, and Script. Paul Kallbrenner and Notre Dame complete this Summer lineup. What can we expect from the audiovisual artist? Well, of course, nothing short of an audiovisual feast. There will be incredible storytelling and thoughts. As we connect with our inner selves through music, we get to connect with Anyma’s artistry on another plane of existence. If you find yourself in Ibiza this Summer make sure you check out Anyma’s newest residency, tickets here! The post Anyma’s New Era Will Debut at [UNVRS] Ibiza appeared first on EDMTunes.

Zeds Dead are closing out their biggest Colorado weekender yet with the return of Backyard Jamboree, the fan-favorite July 4th celebration taking over Denver’s Civic Center Park. Now in its fifth year, the all-day event has grown from a humble fan-appreciation BBQ into a full-scale community festival, drawing over 10,000 attendees with multi-stage performances, food trucks, lawn games and nonstop Deadbeats energy. Taking place immediately following Zeds Dead's sold out Deadrocks XI shows on July 2nd and 3rd, this year’s Jamboree serves as the final chapter in a three-day takeover built around the duo’s latest album, Return to the Spectrum of Intergalactic Happiness. Their first full-length project since 2016's Northern Lights, the stunning album is a psychedelic, genre-blurring opus that has powered their North American tour and headline festival appearances since March. The 2025 Jamboree lineup features Ravenscoon, fresh off a sold-out Mission Ballroom show, and Deadbeats standout Cool Customer along with performances from Villager, Skellytn and Nikita, The Wicked, among others. Attendees can expect dunk tanks, vendor villages, interactive installations (you might even spot Hooks of Zeds Dead live-painting a graffiti wall), and the event's now-famous hot dog eating contest. For fans, it’s become somewhat of a tradition: a couple of Canadians taking over Denver for the Fourth of July. And in true Deadbeats fashion, the celebration doesn’t stop there, as Zeds Dead is set to play one final set at Mission Ballroom to close out the weekend in epic fashion. Tickets for Deadbeats Jamboree available here. c/o Press Follow Zeds Dead:X: x.com/zedsdead TikTok: tiktok.com/@zedsdead Instagram: instagram.com/zedsdead Facebook: facebook.com/zedsdead Spotify: tinyurl.com/4tjppc6p

The countdown to Shambhala is on. Returning to the Salmo River Ranch from July 24-29, the beloved Canadian festival in 2025 will feature performances from a slew of electronic tastemakers, like ILLENIUM, Excision, Chris Lake, TroyBoi, SOFI TUKKER, Flying Lotus, Bob Moses and EDM.com Class of 2025 inductee Tape B, among many others. Ahead of the 2025 edition, EDM.com reached out to several past attendees to get their honest take on what makes Shambhala so special. Check out what they had to say about their experiences over the years below. At the time of writing, Shambhala 2025 is completely sold out but you can join the waitlist here. "The word 'home' still couldn’t explain the connection you will have with Shambhala. The true meaning of PLURR (peace, love, unity, respect & responsibility) comes to life on the Farm. It goes way beyond the meaning, the love you will immediately be hit by from a crowd of thousands. Everyone is there to share the love for the scene, the music, the people, the production, and the magic that each soul carries in with them. You haven’t felt this type of love until you have been to Shambs. I personally have never felt so at peace, so genuinely happy, in a crowd of many. Being AuDHD life can be a rollercoaster. The EDM scene has always been a place where I felt I belonged, where I was included, where I could be unapologetically myself. The magic of Shambhala will open your mind & expand that outlook even more. The magic of how we all can truly come together and create such a beautiful family. From the moment you get to the farm, to the very last moments of Fractal Forest’s closing ceremony, to the last WOO that circles the farm, to the moment you pack up camp. The countdown to next year begins, the countdown to getting back home has started, once again." - Pyxie View the original article to see embedded media. "Shambhala helped me unleash my creativity and allowed me to express it freely and with no judgement. After my first Shambhala in 2023, this year will by my third consecutive, it inspired me to take the leap and create my own media business using my unique engaging/POV style of filming. When I’m at Shambhala I “boop” around and film everything that looks magical to me. It’s shown me that the performer is not the only attraction, but the people in the crowd, the performers, the signs, the stages themselves, pretty much everything are equally as important moments to be captured as well. I like to tell stories with my videos where people can relive their experiences or if they didn’t / can’t attend what a POV experience would look like. I feel more safe to express my style at Shambhala than anywhere else and I greatly look forward to learning more about myself each year!" - Kelly "I’ve been attending Shambhala Music Festival for the past 8 years, and somehow, it continues to exceed all my expectations year after year. What keeps pulling me back is simple, it’s the most magical place on Earth. Shambhala isn’t just a music festival, it’s a transformational experience, a journey that touches your soul in ways words can barely explain. The level of love, detail, and intention put into every element is mind blowing. From the world class sound systems that vibrate through your bones, to the hypnotic laser light shows that dance across the night sky, to the immersive art installations that make you feel like you’ve stepped into another dimension the production is on another level. The artists are carefully curated and never fail to blow minds, spanning every genre and vibe imaginable. Whether you’re deep in a forest at The Grove, vibing at The Village, or losing yourself under the stars at Pagoda every stage offers a completely unique world of its own. But what truly sets Shambhala apart is the community. The people, the culture, the kindness, the radical self expression it’s pure magic. There’s something sacred about floating down the Salmo River during the day, sharing laughs with new and old friends, then dancing through the night like you’re exactly where you’re meant to be. Each year builds upon the last. You gain wisdom, you find new corners of wonder, and you bring more intention and love into your journey. It genuinely gets better every year, because Shambhala evolves with you or maybe, you evolve with it. This place isn’t just a festival, Shambhala is home. It’s where you remember what it feels like to be free, connected, and fully alive. If you’ve never been, go!! You have to feel it to believe it. Get ready to create your own stories, the kind you’ll carry in your heart forever." - Bianca View the original article to see embedded media. "I’ll never forget my first Excision set in the Village. I wore one of those inflatable t-rex costumes. Two strangers ask me how much I weigh. 'Buck 80,' I replied. They proceeded to crowd surf me to the front where I was dropped into a pit of other inflatable t-rex. Best. Moment. Of. My. Life." - Chris "Shambhala... it’s one of the best independently run electronic festivals in the world, but for me as an artist and facilitator, it’s a huge reunion. Every year is like coming back home to the farm to catchup with the homies where everyone saves their A-game for both partying and their DJ set. It’s a rare festival where the artists are just as excited to check out their own list of DJs as they are to play their own set. The top artists are also camping like everyone else, and not just bussed in while staying in hotels. Once you’re in the forest, you’re part of the farmily. My favourite part is getting to lead various workshops - acro yoga, sound baths, blindfolded yoga, crowdsurf simulators - to bring in that community and connected vibe during the day and balance out the full send of the rave" - John View the original article to see embedded media. "Last year, I got to play Shambhala Music Festival for the first time — a dream I’ve had since before I even started making music. What first inspired me to produce was a set I saw years ago at Fractal Forest, when Rob G dropped an hour and a half of straight bangers and I couldn’t stop dancing. Fast forward, and I was given the exact same slot — 4 to 5 p.m. on Sunday at that very stage. It was a full-circle moment, and one of the most meaningful shows of my life." - Thomas "Shambhala isn’t just a festival, it’s a reunion with my truest self. From the moment I first stepped onto the farm, I knew that place was different. Each year peels back a new layer, leaving me more present, more connected and more alive. After my first year, I got the Pagoda stage tattooed as a permanent reminder of the self-awakening I experienced. I'm heading into my third year now, and it’s the magic that keeps pulling me back. As you arrive you watch the farm become a city, a community built from love, compassion, and intention. You wake up with yoga and a dip in the river, and end your nights with bass pulsing through your chest, beneath laser lit skies. Each stage has its own atmosphere, each one holding a different energy. The real magic is the people. It's in their art, their outfits and radiant self expression. It’s in every hug, every smile from a stranger. It lives in the spontaneous moments of connection through conversation, dance or trading trinkets.There’s a true sense of freedom and belonging. Those strangers become family, the music becomes medicine, and the farm becomes home. Shambhala is a place where love reigns supreme, where you’re safe to be exactly who you are, and celebrated for it. It reminds me of what’s possible when we lead with love. I carry that feeling all year long and every time I leave, I’m already dreaming of coming back." - Vanessa View the original article to see embedded media. "It’s going to sound so cliché, but Shambhala is absolutely sacred. It’s a celebration of existing, where all walks of life come together to share the same love. It’s healing. There is nothing that I can say that will verbalize how grateful I am for Shambhala. It just feels like it is where I belong. I’m surrounded by the most beautiful people, immersed in nature with the most insane PK setup in existence. Every unique piece of Shambhala brings a different aspect of ‘childhood awe’ back, that just lets you truly be you. Their commitment to their community is what creates the culture behind the festival. They’re committed to harm reduction, which is such a lacking piece of the community as a whole, especially in the states. They’ve continued to stay independent, by staying true to what they believe in. It’s an adventure for us to get there, but I will never not make the journey back home. I love Shambhala and truly have no words to describe it, other than: Go. But you must bring love and the best attitude to the farm." - Madi "The first time I went to Shambhala I fell in love with the Grove Stage. There were dancers that moved like cats and circus artists that were spinning in the air. It was the most captivating and thing I ever saw in my life and I decided in that moment with no training background whatsoever that I would somehow get up on that stage one day. 9 years later I was the first performer to perform aerial chains on that stage. Shambhala is a place where dreams are created and where dreams can come true. It’s been that for me and countless others. A space that the festival invites art, creativity and alternative self expression. It’s a space where all of you is celebrated and welcomed, even in your rawest states. I’ve met best friends, loves of my life and eclectic characters that make me feel like life is magical. Shambhala is one of the most unique festivals you can go to in the world and every single year I find myself wondering I’ll be going back again and again to my farmily. Shambhala has changed my life in so many ways and I’m forever grateful for that festival." - Luna View the original article to see embedded media. "For me, Shambhala is my own personal New Year. It’s a time when the noise of life fades, and what’s left is connection, clarity, and a whole lot of bass. I come out the other side dusty, sleep-deprived, but somehow completely recharged for another year. I’ll never forget standing at Fractal with my buddy Sean—just two happy dudes in the crowd. I knew he had a dream, and I used to egg him on: “You’ll be playing for us up there one day.” Ten years later, I watched him live that dream, right there at Fractal, down in front. That was an ethereal moment that has stuck with me. So maybe Shambhala isn’t just where we escape life—it’s where we remember what matters." - Zach FOLLOW SHAMBHALA MUSIC FESTIVAL:X: x.com/shambhala_mf Instagram: instagram.com/shambhala_mf TikTok: tiktok.com/@shambhalamusicfestival Facebook: facebook.com/shambhalamusicfestival

Two of electronic music’s most lauded luminaries are going on tour together, as The Prodigy have announced Carl Cox as the special guest for the band’s upcoming tour of the UK and Ireland. Though hailing from two different corners electronic music—Cox, a techno legend, and The Prodigy, a pioneering drum & bass live act—the fellow British heavyweights and 1990s dance icons will play at nine arenas across ten dates in April 2026, including shows in Glasgow, Dublin, Manchester, Birmingham, Cardiff, Bournemouth Leeds, and Belfast, plus a two-night run at London’s OVO Arena. Ahead of The Prodigy’s headline set on each date, Cox will deliver one of his famous two-hour, three-deck, vinyl DJ sets, in which he plans to blend classic hardcore rave tracks with present-day sounds, according to a press release. Check out the full list of tour dates below. “I love working with these guys, and it’s such a long time since I have,” Cox said in a statement. “They knew me that last time I was out playing three turntables, and the type of music I was playing was hardcore rave music, so that’s what I’m going to be doing: playing that sort of sound and into the new skool. I’m really looking forward to it, so here we are, Carl Cox and The Prodigy, back again to rip up the dance floors.” The Prodigy frontman Liam Howlett added: “We’re bringin back that full experience of non-stop noise and beats from doors to getting chucked out. It will be that full Prodigy ruckus as it was then and how it continues to be now. “We’ve got our old friend Carl joining us, so expect full attack mode,” he continued. General on-sale for The Prodigy plus special guest Carl Cox begins this Friday, June 27, at 9AM BST (4AM ET). For more information or to purchase tickets, click here. Featured image courtesy: The Prodigy / Carl Cox. Credit: Javier Bragado. The post Dance Legends The Prodigy & Carl Cox Team Up For Joint Tour appeared first on EDM Maniac. View the full article

The E. Barrett Prettyman Federal Courthouse, where a lawsuit from ex-Register Shira Perlmutter is playing out. Photo Credit: Toohool One month and change later, the legal battle for Copyright Office control is still in full swing. Now, a preliminary injunction push from fired Register of Copyrights Shira Perlmutter is taking center stage. The sought injunction isn’t to be confused with Perlmutter’s prior stabs at a restraining order and summary judgement, which the presiding judge rejected. However, the reinstatement-minded plaintiff’s objective remains the same: The court should sign off on an injunction determining that the “purported removal of Ms. Perlmutter has no legal effect,” her counsel wrote earlier in June. This injunction would enable Perlmutter to “resume her work as Register of Copyrights” and prevent the Trump administration “from encumbering her efforts to perform her duties,” per the text. As many are already aware, the administration has from the outset defended Perlmutter’s removal (besides the appointment of an acting replacement) as entirely above board. And the clear-cut position is front and center in a newly submitted filing opposing an injunction. Perlmutter, today’s filing reads, “has failed to demonstrate…that she will suffer irreparable injury absent a preliminary injunction” and “has no right to perpetual service as Register of Copyrights.” Behind the straightforward view, the DOJ says the Library, as part of the Executive Branch, “is subject to presidential control, according to the strictures of the Federal Vacancies Reform Act.” Furthermore, in areas where the latter act “does not apply, the President’s constitutional power to supervise the Library is greater—not less,” the text indicates. Following the stance to its logical conclusion, President Trump “lawfully removed Carla Hayden from her position as Librarian of Congress” in May, according to the document. Therefore, acting Librarian Todd Blanche “had clear authority to” remove and replace Perlmutter as Register, per the same source. Meanwhile, in the absence of a Librarian, the defendants maintain that the president also possesses the authority to make changes at the Register level. “In addition [to Blanche’s firing of Perlmutter], the President removed the Register directly—a removal that likewise is within his constitutional power when, as at that time, there was no Librarian,” the filing explains. “The general rule is that the power to remove tracks the power to appoint; thus, the Librarian normally has the power to remove the Register. But if there is no Librarian and the President cannot designate an acting Librarian (as Plaintiff argues), the President’s removal authority extends to inferior officers like the Register,” the opposition drives home. Regarding what comes next, Team Perlmutter’s retort is due back by July 1st. In the bigger picture – and as explored in detail by DMN Pro – the sweeping USCO changes are raising far-reaching questions about the direction of federal policy at the intersection of copyright and AI. View the full article

Photo Credit: All Maf, 36 Chambers, DNA Music, Hitmaker The Wu-Tang Clan and its founding producer and DJ Mathematics partner with SoundCloud to launch the “Warriors Two, Cooley High” Open Verse. The Wu-Tang Clan and founding DJ/producer Mathematics have joined forces with SoundCloud to launch the “Warriors Two, Cooley High” Open Verse—a global hip-hop initiative spotlighting lyrical skill, raw storytelling, and rising talent from around the world. Inspired by the energy of Warriors and Cooley High, Mathematics’ new track features Benny the Butcher in a nostalgic Wu banger. Now, fans and up-and-coming MCs are being invited to spit their best bars over the official beat in a SoundCloud-powered Open Verse that channels the spirit of hip-hop’s golden era. Mathematics lays down a raw beat that evokes classic East Coast energy with a cinematic edge. The Clan is passing the mic, challenging aspiring MCs worldwide to “drop their best 16 over the track and show they’re worthy to stand among the greats.” “This is an invitation to show and prove,” said Mathematics. “Wu-Tang has always been a brotherhood of bars and beats and we’re opening up the gates for the next warrior to step into the arena.” Interested emcees should download the official open verse track from the SoundCloud Store and record and upload their 16-bar verse over the instrumental to SoundCloud using the hashtag #WarriorsTwoOpenVerse. Artists are encouraged to share their track to socials and tag @WuTangClan, @MathematicsWU, and @SoundCloud. Mathematics and the Wu-Tang Clan will be keeping an ear out for standout remixes, with their favorite tracks featured in an official playlist on Wu-Tang’s SoundCloud account. The campaign ends August 15,2025. Mathematics’ journey with Wu-Tang is highlighted in season two of Wu-Tang: An American Saga on Hulu, where he recreated over 15 early Wu-Tang sketches and advised on the show’s authenticity. Beyond DJing, Mathematics is the owner of All Maf Productions and has performed at major festivals like Coachella and Glastonbury, showcasing his versatility across genres like hip-hop, EDM, and trap. He debuted as a solo artist with Love, Hell or Right (2003) and later produced Wu-Tang: The Saga Continues (2017), which topped indie and rap charts. His artistic contributions also include the logo for RZA as well as GZA’s Liquid Swords album cover, cementing his legacy as a key figure in Wu-Tang’s history. View the full article

The CEO of Downtown Music, Pieter Van Rijn, talks about ‘going down the rabbit hole in the digital supply chain, technology, UGC monetization, or publishing’ in their role as artist partners. “We need to make sure there’s fair pay for artists, whether they’re established or just starting their careers.” The following recaps an interview with Pieter Van Rijn as part of Downtown Music’s series, The Music Industry Lives Here. Downtown Music is a company DMN is proud to be partnering with. Pieter Van Rijn’s foray into music began when he was sixteen years old. “It’s always been a big passion of mine to write and to perform; even though I’m not active in that now, it drove me, and I was very passionate about it.” Throughout high school and university, Van Rijn was actively involved in songwriting and was a part of many bands. “When I finished my studies in Rotterdam, I signed a contract at Sony Music as an artist and as a writer.” Van Rijn says that was not the best time in music, as digital music had just started taking over. “It was fairly uncharted territory at the time. It was interesting because I learned a lot, and I also learned that it was not the thing I wanted to do later on.” “I was happy to experience the industry from an artist’s point of view. That’s something that I’m using to this day,” he reveals. In 2014, Van Rijn met people who were part of FUGA. “It was kind of a scrappy startup back then, but I was immediately impressed by the technology they’d built, the people, and the shareholders.” Despite being daunted by the opportunity, Van Rijn was excited to join FUGA. “It was clear that we had a good path forward as to what we wanted to achieve, and how we wanted to empower artists and entrepreneurs to be independent.” “We set out a strategy to become a full-service business that sets itself apart through technology and services.” FUGA began in Amsterdam and immediately had its gaze set on the global stage. “We didn’t have a big home market, so we had to be scalable, thinking across borders. That vision was part of the success in the US, UK, and markets across the globe.” Relaying the story of how FUGA eventually became a part of Downtown Music, Van Rijn says, “FUGA was getting larger and larger. For our shareholders and management, it was the right moment to consider a new home, new routes, and a new partner.” “That was when we sold the company to Downtown Music.” For Van Rijn, the experience unlocked abundant new avenues for exploration. “It allowed me to cover various interesting areas in the industry across rights, publishing, and neighboring rights.” In 2021, Downtown sold the copyrights to their music catalog and pivoted to becoming a full-service business. “That [progression] has been in my DNA, but also in many of the businesses that were part of the Downtown Group.” “It was a very logical and seamless thing for us to do. The world has become much better for artists, creators, and the entrepreneurs who represent them. We’re able to negotiate good rates [for them] with the DSPs. They can start a career on several platforms.” Van Rijn admits that the industry frequently tends to split itself into two parts — independents and majors. Even though that divide is ‘logical given the history,’ Van Rijn believes the music industry is moving toward a more united and level playing field. “It’s important for us to continue to work well with technology companies, the platforms, and the DSPs to make sure that there’s fair pay for artists — whether they’re established [in the music space] or just starting their careers.” Apart from trying to negotiate good deals for their clients, Downtown Music continues to ‘innovate with [artists’] needs.’ Van Rijn added, “We’re always very close to the needs of our clients, and try to take away their pain points.” “We’re trying to maximize their income where we can, and make sure that we can be a partner every step of the way. “That means going down the rabbit hole in a digital supply chain, technology, UGC monetization, or publishing.” What strikes Van Rijn the most about Downtown is how potential clients engage with their experts, and how seamlessly their mutual passion drives the conversation. “I’m always so proud of that. I’m amazed by the knowledge these [Downtown] people have. It resonates with our clients because they feel heard, and like they have an equal partner.” “That’s the essence of what we do here at Downtown — really understanding our clients.” “We don’t tell our clients what we think is best for them. We listen and tailor our offer to their actual needs,” says Van Rijn. “The flexibility we provide with our offering is one of the things that sets Downtown apart.” As a result of that flexibility, Downtown has developed a broad set of integrable services. “What that means is that a client can come in for neighboring rights and choose to stay with that. Alternatively, they may be interested in distribution, publishing, or another service, such as royalty accounting. We can then build that relationship with them.” “What excites me about the journey we’re on is that we’ll soon be exposed to an ever-broadened set of capabilities and services, which will ultimately benefit our clients,” Van Rijn says. “Whether you’re an established artist that requires certain white glove marketing services, or a business that requires a tech solution and broader marketing, or an emerging artist that wants to make sure their music gains access to basic distribution services. We provide all of that.” What does the statement, ‘The Music Industry Lives Here,’ mean to the CEO? “Whether you’re an artist, a songwriter, an entrepreneur, or a business, at Downtown, you’ll find a home.” About The Music Industry Lives Here: Downtown Music’s interview series allows powerful conversations with the voices shaping the music industry. To gain weekly access to exclusive interviews with music executives, artists, record label owners, and influential figures who drive the rhythm of the industry, join here. View the full article

Excision is bringing Lost Lands’ famous Crater stage to Bass Canyon. The dubstep don’s annual festival at the Gorge Amphitheatre in George, Washington, announced on Instagram today that the spinning, 360-degree stage, which grabbed headlines for its stunning overhead lasers when it debuted at Lost Lands last fall, will make its way west for Bass Canyon’s seventh edition, this August 15-17. As in its Midwest premiere, fans can expect the Crater at Bass Canyon to provide another home for high-powered B2Bs and late-night surprise sets, complete with the mind-boggling, laser-heavy production that Excision has made his calling card over the last decade. Check out a preview of the Crater stage in the post below. This year’s Bass Canyon lineup features three headline sets from the Canadian producer and DJ: one solo set, a B2B with masked riddim favorites ATLiens, and his experimental-leaning Detox set. Other top bass names such as Adventure Club, Boogie T, Hedex, Liquid Stranger, Of The Trees, Space Laces, SVDDEN DEATH, Tape B, and many more will join Excision at the festival hotspot, known for its sloped lawn and picturesque views of the Columbia River Gorge Canyon. For more information or to purchase tickets to Bass Canyon 2025, visit basscanyon.com. Featured image courtesy: Excision Presents / Lost Lands. Credit: Shotbyed. The post Excision To Bring Lost Lands’ Laser-Heavy Crater Stage To Bass Canyon 2025 appeared first on EDM Maniac. View the full article

Photo Credit: Rusty Gaston, Briana Calhoun, David Hawkins, Kix Brooks, Cam Caldwell / Amy Allmand Sony Music Publishing Nashville and Kix Brooks of Brooks & Dunn signs rising singer-songwriter Briana Calhoun to a global publishing agreement. Today, Sony Music Publishing Nashville, in partnership with country music’s Kix Brooks of Brooks & Dunn, announced signing emerging singer-songwriter Briana Calhoun to a global publishing agreement. Briana Calhoun has already built a strong reputation within the songwriting community, having collaborated and shared stages with the likes of Don Cook, Terri Clark, David Lee Murphy, Randy Houser, Dallas Davidson, Steve Wariner, Bob DiPiero, Tim Nichols, Rafe Van Hoy, Marv Green, Brett Tyler, and Greg Barnhill. In addition to her songwriting career, Briana is Executive Director and Founder of Hope On the Inside, alongside partner and President Kix of Brooks & Dunn. Hope On the Inside (HOTI) is a nonprofit founded in 2023. Having been an inmate herself, Calhoun has overcome seemingly insurmountable odds to dedicate her career to empowering others within the correctional system. Now, joined by country superstar Kix Brooks and a growing collective of artists, HOTI is set to expand its outreach, using art, education, and entertainment to inspire change across communities. Calhoun also plans to release two songs relative to her story and Hope On the Inside’s mission in August: the aptly named “Hope On the Inside,” and a rodeo track called “Bustin’ Out.” While making music for HOTI’s mission is near and dear to her heart, Calhoun also plans to release an acoustic album later this year, weaving her storytelling and experience into a blend of country, roots, pop, and R&B. When she isn’t hosting and performing in writer’s rounds inside correctional facilities or overseeing fundraising events for her charity, Calhoun plans to perform at festivals and featured shows across the country. “I’m humbled and honored to have the opportunity to do what I love for a living. I had all but given up on my dream of becoming a songwriter and shifted my focus to growing Hope On the Inside. But with that came an outpouring of love and support from the Nashville community, and I think people began to notice,” said Calhoun. “I’m living proof that walking in-purpose can lead to your dream. I’m so grateful to everyone who has joined me on this journey and I’m especially grateful to Kix for believing in me and pushing me to use my gifts for good, and for Rusty [Gaston] for giving me this opportunity and encouraging me along the way.” “Really looking forward to working with Briana on this collaboration with Sony,” adds Brooks. “I’ve been writing songs there for almost my entire career, and I’m confident it’s going to be a great home for her, too. She’s not just writing really good and unique songs, she’s also changing lives with the work she’s doing to help inmates through her nonprofit. I’m proud to be associated with her, and I have no doubt she’s got a great future with the music she’s got coming. Congratulations, Briana!” Sony Music Publishing Nashville CEO Rusty Gaston concluded, “We couldn’t be more excited to join forces with Kix to support Briana’s journey. She’s making an incredible impact as both a songwriter and as a champion for her community, and we can’t wait to see what she does next.” View the full article

After a two-year hiatus, Dirtybird CampINN is officially back in 2025, returning stronger than ever with a new resort venue, fresh experiences, and a massive multi-genre lineup. Taking place over Labor Day Weekend, from Friday, August 29 to Tuesday, September 2, Dirtybird’s beloved resort festival will now be hosted at the DoubleTree by Hilton at the Entrance to Universal Orlando in partnership with Home Bass. The Dirtybird CampINN Lineup This year’s event will showcase stage takeovers from three cornerstone collectives in the global dance music scene. UK powerhouse Defected Records brings its world-renowned brand of house music excellence to Florida, highlighting timeless club sounds and emerging talent alike. West Coast crew Desert Hearts returns with a full squad — Mikey Lion, Lee Reynolds, and Marbs — spreading love and groove with their signature blend of house and techno, in addition to leading a family sunrise set. Meanwhile, FriendShip, the brainchild of legendary curator Gary Richards (aka Destructo), brings its cruise ashore with a high-powered lineup and community-first spirit for a ShipFam takeover. Dirtybird staples and crowd favorites return in full force, including Justin Martin, Ardalan, Eats Everything, VNSSA, Sacha Robotti, Christian Martin and Shiba San. Joining the mix is globally acclaimed tech house heavyweight ACRAZE, who boasts over 5 million monthly listeners on Spotify, and legendary trap producer TroyBoi, revered for his genre-bending beats and signature low-end swagger. Their appearances will not only bring crossover appeal and elevate the lineup’s genre diversity even further. There are also several European Dirtybird artists making their debut, including Riva Starr, Sirus Hood, and Solardo. The flock continues to grow with rising label stars such as AMPRS&ND and Smalltown DJs, plus standout sets from tastemakers Nick Curly and Tini Gessler, and cutting-edge bass acts like Rusko, Eprom, Freddy Todd, Champagne Drip, and Nitepunk. It also includes glitch, breakbeat, and bass music pioneers, The Glitch Mob. Detroit legend Kevin Saunderson will bring decades of dance floor knowledge, while notable acts like DJ Tennis, Black V Neck, DJ Habibeats, J. Worra, DJ Holographic, Gene Farris, Stacey Pullen, and DJ Glen round out the stacked lineup. Back-to-back performances, surprise guests, and specialty takeovers will amplify the weekend’s energy across multiple curated stages. Showcasing their own DJ chops are Dirtybird’s label manager Deron Delgado and EMPIRE’s Head of Dance, Moody Jones, two behind-the-scenes forces who have helped shape today’s genre-fluid dance culture. “Dirtybird has always been about collaboration and community, and this year’s Dirtybird CampINN is about expanding the flock in every direction… By working with like-minded artists, brands, and collectives — from legacy labels like Defected to grassroots movements like Desert Hearts, to festival pioneers Destructo & Friendship — we are moving away from the ‘one-way-to-do-it’ mentality. Dirtybird’s future is built on inclusivity, shared values, and pushing dance music forward together.” -Dirtybird label manager, Deron Delgado Beyond the Music Attendees can expect a full slate of immersive, artist-led activities and surprises. Highlights include the ‘Walk The Plank’ Drag Show, Water Aerobics, Glow-in-the-Dark Double Dutch, Sunset Yoga, and a colorful tie-dye station hosted by Desert Hearts. Defected will host an on-site record store, while FriendShip will cultivate a one-of-a-kind takeover in the DoubleTree resort’s ballroom. Building on the festivities, games like Frick Frack Blackjack and The Great Bingo Revival will be happening throughout the weekend. Additional highlights include a performance by DJ Contest winner Coco Prosecco. About Dirtybird CampINN 2025 Honoring Dirtybird’s 20-year milestone as a community-led brand, this flagship event will mark a significant evolution in the festival’s legacy. The new resort offers 742 rooms, multiple dining options, a heated outdoor pool, 60,000+ square feet of event space, and unbeatable proximity to Universal Studios. With exclusive hotel access reserved for Dirtybird CampINN guests, attendees will be immersed in nonstop music, color team competitions, artist-led activities, and vibrant poolside performances all weekend long. With a lineup that blends genre icons, global tastemakers, and underground champions, Dirtybird CampINN 2025 reaffirms its status as one of North America’s most original boutique festivals. The weekend unites decades of legacy with fresh creative vision, welcoming new faces while honoring Dirtybird’s fun-loving roots. Get Your Tickets Now Tickets for Dirtybird CampINN 2025 are on sale now. Secure your spot here. The post Dirtybird CampINN Set To Return This Labor Day Weekend With Massive Lineup appeared first on EDMTunes.

Photo Credit: Somewhere Festival (Deadmau5 Set) The 2025 Somewhere Festival in Wichita, Kansas has wrapped up its second year, drawing 15,000 attendees from 31 countries and six countries. The two-day festival of music, art, conversation, and collaboration brought together 105+ local visual and dance artists, nearly 190 musical artists, 51 conference speakers, 22 social change partners, and 24 community partners—all produced by Wichita’s creative community. The festival included immersive art installations and skate ramp jams, genre-defying performances, thought-provoking panels, and a space for people from all walks of life to gather, share, and co-create. “This year proved what’s possible when vision means collaboration,” Jessie Hartke, CEO of Midtopia shared with Digital Music News. “Wichita showed the world that we can build something meaningful from the ground up—no gatekeepers, just community, creativity, and heart.” Midtopia seeks to establish sustainable and equitable opportunities for independent artists and music workers via concepts for contributive partnerships and alternative business models that harness the connected, collaborative power of interdependence. Somewhere Festival serves as a platform for homegrown talent, helping retain Wichita’s creative workforce by offering new platforms and access to broader audiences. The festival broke down silos—forging respect and collaboration across music, visual art, dance, skate, production, food, and more. Attendees this year described the event as a welcoming, safe space that crossed neighborhood lines, demographics, and scenes—offering real opportunities for connection and social change. Programming this year reflected the spirit of inclusivity and creativity, with national headliners like Deadmau5, Suki Waterhouse, Flying Lotus, and Aloe Blacc with 2ŁØT taking the stage. It also included more intimate sets from regional and local favorite artists. Meanwhile, the conference half of the festival sparked vital conversations with panels on mental health, artist advocacy, DIY touring, and marketing without social media. It also includes workshops on PR, personal branding, tour routing, and live looping. The Change Starts Somewhere Block Party invited hundreds to engage in hands-on community-building around addiction recovery, economic mobility, education, and creative expression. “This experience reminded us all of what’s possible when a group of passionate people align around a shared vision and values,” adds Chase Koch, Founder of Movement Musick. “Wichita showed the world that music, creativity, community, and collaboration can truly transform a city.” View the full article

The prominent music distribution platform, DistroKid, has announced an expansion to its video distribution service, DistroVid. Artists can now use it to upload unlimited full-length music videos to Spotify. Unlike before, when Spotify only associated looping video clips with music releases, artists can have their music videos within their Spotify profiles, allowing fans to engage with more forms of their content output. READ MORE: YouTuber explains why Aphex Twin evokes nostalgia across generations, including those who weren’t alive during his heyday Currently, Music Videos on Spotify is in the beta stage. The feature is not available in the United States or Canada, but Premium subscribers in 98 other markets, including the UK, can watch videos. The update allows users to easily switch between songs and their associate music videos by simply tapping the “Switch to video” button above the playing song. “DistroVid makes it easy for independent artists to get their music videos everywhere, with unlimited uploads and zero commission. We’re excited to now include Spotify as a destination,” says Phil Bauer, President of DistroKid. “I’m so impressed by how seamlessly video has been integrated – listeners can instantly switch between the music video and audio track with a single tap, making it feel like a native, fluid part of the Spotify experience.” Launched in 2013, DistroKid has grown into the world’s largest distributor of independent music. DistroVid was added to the service in 2022, giving artists the ability to upload music videos to multiple DSPs, including Apple Music, Vevo, Tidal, Boomplay, and now Spotify. The service costs $99 per year, and DistroKid takes no royalties from artists for any uploads. “As an independent artist, growing my career is all about finding authentic mediums for discovery,” says NYC rapper Marlon Craft. “DistroVid and the ability to add music videos to Spotify creates an opportunity – if the visuals can live where people discover and listen to the music, it can allow visual art to market the music itself in a way that is super direct and impactful.” Find out more information at DistroVid. The post DistroKid now enables artists to upload unlimited full-length music videos to Spotify appeared first on MusicTech. View the full article

The organizers of UNTOLD, one of the leading EDM festivals in Europe, have big plans for 2025 as they celebrate the event's 10-year anniversary. For UNTOLD, it's all in the name. Every year, the festival builds a new universe for attendees to discover on its grounds at Cluj‑Napoca, Romania. UNTOLD is now returning for its biggest festival yet from August 7–10, bringing eight stages, 200 artists and roughly 400,000 fans to dance under the night sky of this magical pocket of Transylvania. This year's lineup is also massive, featuring a slew of superstars from EDM and contemporary music alike. Martin Garrix, Anyma, Tiësto, Alan Walker, Dom Dolla, FISHER, Armin van Buuren and Swedish House Mafia's Steve Angello will all DJ, not to mention a performance from Post Malone. EDM.com has teamed up with UNTOLD for a special VIP ticket giveaway ahead of the 2025 festival. The giveaway ends July 14th, 2025, at 11:59pm PST and the winner will be announced the following day. Read on to discover how to enter. EDM.com & UNTOLD Festival Giveaway2x VIP tickets to UNTOLD 2025 (travel and accommodation not included)How to enterFollow @untoldfestival and @edm on InstagramLike the Instagram post belowTag your festival partner in the comments (each tag = one entry) View the original article to see embedded media.

KRK has launched its new Kreate Series studio monitors, which introduce three new two-way monitors designed to suit a range of audio applications, aimed at “producers, podcasters and content creators alike”. The Kreate Series – comprising three-, five- and eight-inch models – aims to deliver playback with “clarity and accuracy”. It does this via woven glass fiber cone woofers – which provide “amazing dynamics, good damping and tight and punchy mids and lows” – and Hybrid Class D and Class AB amplification for superior power and headroom. READ MORE: Meet the Solid State Logic Oracle – a revolutionary new analogue console with instant recall and reset capabilities The monitors also feature woven-textile dome tweeters with neodymium motors, which expands the frequency range of the Kreate 5 and 8 models to up to 40 kHz and that of the Kreate 3 to 33 kHz. KRK has also fitted the Kreate Series with acoustic boundary correction and tuning EQ, which can be used to minimise any issues with your acoustic environment. In terms of audio input, Kreate monitors can stream music wirelessly, via Bluetooth, or through balanced and unbalanced analogue inputs. The trio of monitors are currently available in two different variations: black and yellow or latte and black. The Kreate 3 model comes as a pair, while the larger Kreate 5 and Kreate 8 are available separately. With the selection of sizes and colourways on offer, KRK hopes to attract producers working with a wide range of setups. “The Kreate Series offers professional-grade sound and flexible functionality that empowers emerging artists, producers, podcasters, and all creators to embrace high-quality audio at an affordable price point,” says Sterling Doak, Senior Director of Marketing for Gibson, KRK’s parent company. “The monitors fill a vital space in the KRK lineup and are ideal for those who demand quality without compromise. As the new introductory solution within the portfolio, the Kreate Series will enable users to begin their creative journey with confidence.” A pair of Kreate 3 monitors will set you back by £138, while a single Kreate 5 or Kreate 8 costs £129 or £173, respectively. For more info, head to KRK Systems. The post “High-quality audio at an affordable price point”: KRK’s new Kreate Series monitors are aimed at producers, podcasters and content creators appeared first on MusicTech. View the full article

Photo Credit: Susan Q Yin Training LLMs on protected works without authorization is fair use – at least according to a new federal court ruling in a copyright lawsuit filed against Anthropic by several authors. Judge William Alsup just recently granted multiple (but not all) components of Anthropic’s summary judgement motion on the ever-important fair use question. As many know, AI giants are adamant that ingesting copyrighted materials to train their models is transformative and entirely lawful. Unsurprisingly, the stance isn’t sitting right with professionals and rightsholders, who’ve fired off a number of related suits. Music publishers levied one of those (possibly settling) complaints, though it’s worth noting a key difference between the action and the (book) authors’ suit. In short, the music publishers claim that Claude incorporated protected lyrics into its outputs, while the authors’ arguments center solely on training. “Here, if the outputs seen by users had been infringing, Authors would have a different case,” Judge Alsup wrote in the summary judgement order. “And, if the outputs were ever to become infringing, Authors could bring such a case. But that is not this case.” With the significant distinction out of the way, today’s summary judgement decision encompasses a few components, all with potentially far-reaching implications for the music space. First, the judge expressed the belief that the actual process of training Claude on books (many of which having been purchased, stripped from the binding, and then scanned into a central library) fell under the fair use banner, notwithstanding the many copies made along the way. “In short,” the court wrote, “the purpose and character of using copyrighted works to train LLMs to generate new text was quintessentially transformative. Like any reader aspiring to be a writer, Anthropic’s LLMs trained upon works not to race ahead and replicate or supplant them — but to turn a hard corner and create something different.” (To state the obvious, readers aspiring to become writers aren’t machines and certainly aren’t valued at nearly $62 billion.) “Here, it is true that Anthropic could have used some other books or no books at all for training its LLMs — or so this order accepts the record shows for Authors,” the judge continued. “But Anthropic has presented a compelling explanation for why it was reasonably necessary to use them anyway.” Perhaps equally pressing for the music world, where secondhand CDs are far from expensive or hard to find, Judge Alsup determined that the aforementioned physical-to-digital book-scanning process was, albeit for different reasons, also fair use. “On the facts here,” he specified of Anthropic’s effort to assemble a so-called research library with millions of purchased books, “that format change itself added no new copies, eased storage and enabled searchability, and was not done for purposes trenching upon the copyright owner’s rightful interests — it was transformative.” At the intersection of the library, subsequent copies, and training, “the further copies made therefrom for purposes of training LLMs were themselves transformative,” the court indicated. All that said, Anthropic’s use of pirated books in its library – “Anthropic thereby pirated over seven million copies of books” – cannot constitute fair use, per Judge Alsup. “We will have a trial on the pirated copies used to create Anthropic’s central library and the resulting damages, actual or statutory (including for willfulness). That Anthropic later bought a copy of a book it earlier stole off the internet will not absolve it of liability for the theft but it may affect the extent of statutory damages,” he wrote. View the full article

Verknipt Croatia is back on Zrce Beach for a week-long, waterfront hard techno showcase kicking off this weekend. The Dutch promoter’s second annual holiday festival returns to the coastal town of Novalja from June 29 to July 3, with five days and nights of performances from the best selectors in the high-BPM subgenre, spanning beachfront sets, boat raves, pool parties, and club nights at some of the region’s leading venues. More than 50 artists will be on hand to soundtrack this year’s hard techno vacation, including leading names like Alignment, Basswell, Fantasm, 6EJOU, and Shlømo, and rising powerhouses like CARV, NOVAH, and Onlynumbers. Fans can also check out genre innovators such as Winson, OMAKS, KETTING, and T78’s Activator alias, while Adrián Mills, Cloudy, KUKO, and Cynthia Spiering dive into the surging sounds of hardgroove. Check out the full lineup below. New for 2025, Verknipt Croatia will feature a reimagined festival layout and new production elements, according to organizers. Attendees can customize their festival experience with a range of bookable ticket packages, airport transfers, and accommodation options, including hotels, apartments, beach houses, and luxury villas. Since its founding in 2012, Verknipt has grown to become one of the foremost global event brands in hard dance, serving nearly 300,000 ravers in 2024 alone across gigs in the Netherlands, Spain, Portugal, Thailand, Hungary, Brazil, Chile, and Colombia. For more information or to purchase tickets to Verknipt Croatia 2025, visit verkniptcroatia.org. Featured image courtesy: Verknipt Events. The post Verknipt Croatia Returns For Beachfront Hard Techno Showcase This Weekend appeared first on EDM Maniac. View the full article

Verknipt Croatia is back on Zrce Beach for a week-long, waterfront hard techno showcase kicking off this weekend. The Dutch promoter’s second annual holiday festival returns to the coastal town of Novalja from June 29 to July 3, with five days and nights of performances from the best selectors in the high-BPM subgenre, spanning beachfront sets, boat raves, pool parties, and club nights at some of the region’s leading venues. More than 50 artists will be on hand to soundtrack this year’s hard techno vacation, including leading names like Alignment, Basswell, Fantasm, 6EJOU, and Shlømo, and rising powerhouses like CARV, NOVAH, and Onlynumbers. Fans can also check out genre innovators such as Winson, OMAKS, KETTING, and T78’s Activator alias, while Adrián Mills, Cloudy, KUKO, and Cynthia Spiering dive into the surging sounds of hardgroove. Check out the full lineup below. New for 2025, Verknipt Croatia will feature a reimagined festival layout and new production elements, according to organizers. Attendees can customize their festival experience with a range of bookable ticket packages, airport transfers, and accommodation options, including hotels, apartments, beach houses, and luxury villas. Since its founding in 2012, Verknipt has grown to become one of the foremost global event brands in hard dance, serving nearly 300,000 ravers in 2024 alone across gigs in the Netherlands, Spain, Portugal, Thailand, Hungary, Brazil, Chile, and Colombia. For more information or to purchase tickets to Verknipt Croatia 2025, visit verkniptcroatia.org. Featured image courtesy: Verknipt Events. The post Verknipt Croatia Returns For Beachfront Hard Techno Showcase This Weekend appeared first on EDM Maniac. View the full article

Dirtybird CampINN is back to ruffle feathers with a resort rager like no other for the label's 20th anniversary. The festival, which is back in 2025 after a two-year break, has collaborated with Home Bass for an even bigger Orlando hotel takeover over Labor Day Weekend. The 2025 lineup flexes versatility in sound and style, with acts ranging from The Glitch Mob, Eprom and TroyBoi to Dirtybird staples VNSSA, Shiba San, Justin Martin and many more. Plus, stacked takeovers from Defected Records, Desert Hearts and FriendShip will keep the energy high all weekend long. Attendees can expect "bigger bass, louder stages and a resort that never sleeps," as well as "more games than ever before," the festival wrote on social media. Keeping its signature summer camp charm alive, CampINN will host a slew of artist-led activities and events. Make tie-dye with the Desert Hearts crew, go crate-digging at Defected's record store or gamble anything but money at Frick Frack Black Jack. And don't forget to choose your crew—Gator Gang, Flamingo Fam or Scuba Squad—to participate in Dirtybird's beloved color war games. “Dirtybird has always been about collaboration and community, and this year’s Dirtybird CampINN is about expanding the flock in every direction,” said Dirtybird's Label Manager, Deron Delgado in a press release. “By working with like-minded artists, brands, and collectives—from legacy labels like Defected to grassroots movements like Desert Hearts, to festival pioneers Destructo & Friendship—we are moving away from the ‘one-way-to-do-it’ mentality. Dirtybird’s future is built on inclusivity, shared values, and pushing dance music forward together.” You can purchase CampINN tickets here. Follow Dirtybird CampINN:X: x.com/camplnn Instagram: instagram.com/dirtybirdcampinn TikTok: tiktok.com/@dirtybirdcampinn Facebook: facebook.com/dirtybirdcampinn

Get ready to celebrate Independence Day in spectacular fashion as Project 91’s annual 4th of July Block Party makes its highly anticipated return! There’s no better spot to celebrate the holiday with your friends and family than at the Skyline Drive-In in Greenpoint, Brooklyn. This prime location offers breathtaking views of the Manhattan skyline, right on the waterfront, providing the perfect backdrop for an unforgettable block party experience. Attendees will be able to view Macy’s official fireworks show from this party. The show starts from early on in the afternoon with DJ sets from Bakermat, Chromeo, and Shallou, keeping the vibes high from 3 PM to 9 PM. Imagine dancing to incredible tunes as the sun sets over the iconic New York City skyline, and as the night rounds out, you get a perfect view of the 4th of July fireworks show. Project 91 has been doing this year after year and has it all down pat. You’ll find six-plus bars, including an expansive beer garden complete with picnic tables and umbrellas, perfect for chilling with friends. Expect a lively ambiance with live music, classic yard games, and a festive July 4th-themed setup to immerse you in the spirit of the holiday. Gotham Burger Social Club will be back serving the city’s favorite smash burger alongside other food vendors. Tickets are still available here but don’t delay because tickets are expected to sell out. The post Project 91 Presents: 4th of July Block Party with Bakermat, Chromeo, & Shallou appeared first on EDMTunes.