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DJ Snake has unveiled his most personal work to date—a music video for “Patience,” a tribute to migration, legacy, and cultural memory. Reimagining Amadou & Mariam’s 2008 classic “Sabali,” the video is a cinematic exploration of displacement and perseverance, brought to life with help from actor Omar Sy and the original Malian duo themselves. Released June 5, 2025, “Patience” is more than a remix—it’s a cultural homage and emotional portrait grounded in West African storytelling and rooted in DJ Snake’s own Algerian-French identity. Sabali, Patience, and the Power of Storytelling Filmed in Dakar, Senegal, the video delivers more than just compelling visuals. Directed by Valentin Guiod, it follows the inner and outer journey of a young migrant, revealing the deeply human side of departure and displacement. DJ Snake says the project took over a year to realize, noting: “It took us almost a year and a half to get here today, in the suburbs of Dakar. What’s funny is that ‘Sabali’ means patience.” The word “Sabali” in Bambara (a language spoken in Mali) translates not only to “patience” but also “immortality”—an echo that now resonates louder following the recent passing of Amadou. Their involvement in the project feels like a final gift, as both Amadou and Mariam appear onscreen in a moment that bridges generations and continents. Omar Sy, Tirailleurs, and the West African Thread When DJ Snake approached Omar Sy, known for his roles in Lupin and The Intouchables, the connection was immediate. “He told me about the theme… and that he wanted to do it in Africa, in Senegal. Obviously, that resonated with me,” Sy said. The actor, whose own parents are of West African descent, not only joined the project but also helped shape its creative direction. His cameo was inspired by his performance in Tirailleurs, a historical film about Senegalese soldiers. The visual narrative of “Patience” nods to that same history—bringing cinematic weight to contemporary issues of migration. The cast includes standout performances by Massane Diong, Anna Thiandaoum, Amadou Mbow, and Ibrahima Mbaye, adding depth and authenticity to the story. Their portrayals are as raw as they are restrained—matching the melancholic but hopeful tone of DJ Snake’s production. A Global Triumph on the Film Festival Circuit The “Patience” music video has already earned critical acclaim across major international festivals. It was awarded Best Music Video and Best Cinematography at the Aesthetica Short Film Festival, qualified for BAFTA consideration, and was officially selected at the Bogoshorts, Indy Shorts, and Festival Côté Court—making it a contender for Oscars, Césars, and Goya awards. It also swept the Berlin Music Video Awards, the 1.4 One Point Four Awards, and the Kinsale Shark Awards, taking home multiple Grand Prix titles for direction, cinematography, and best electronic music video. These accolades signal that “Patience” isn’t just artistically rich—it’s historically important in the current era of cross-genre, cross-border creativity. From Sound to Solidarity: The Partnership with SOS MEDITERRANEE What makes “Patience” even more profound is its partnership with SOS MEDITERRANEE, an NGO dedicated to saving lives in the Central Mediterranean. Founded in 2015, the organization responds to the humanitarian crisis facing migrants and refugees making perilous sea journeys in search of safety. This alignment underscores DJ Snake’s intent to turn art into advocacy. By pairing the release with real-world action, “Patience” becomes more than an audiovisual experience—it’s a call for empathy and awareness. As DJ Snake steps into this next phase of his artistry, “Patience” offers a glimpse of a more introspective, globally conscious path forward. It’s a reminder that even in an industry obsessed with tempo, rhythm, and virality, some of the loudest messages come from moments of stillness. Stream it here. The post DJ Snake: New Music Video “Patience” Honors Migration, West Africa, and the Late Amadou appeared first on EDMNOMAD. View the full article

Hey MARQUS! Glad to have you here to talk with you about your latest release ‘SOUND OF THE BASS’. Thank you for having me, it’s always a pleasure to share a bit more about the music and the process behind it! Can you tell us the idea behind it and how the song brought life? The idea behind SOUND OF THE BASS was to create a powerful underground track that could hit hard in both clubs and on festival stages, something raw, energetic, and built around a strong bassline. The track first came to life when NOTID sent me an initial idea. I loved the vibe right away and took it further, building on the foundation he created. From there, I shaped the arrangement, added new elements, and finalized the mix and mastering to give it the punch we were aiming for. It was a really organic and exciting process. What is different to ‘SOUND OF THE BASS’ apart from your previous work, and why should listeners tune in? Compared to my earlier releases, SOUND OF THE BASS leans even more into the midtone-driven bass and has a darker, more underground feel. It’s high-energy but still very clean and dynamic. I think listeners will enjoy how it balances raw power with a polished sound, it’s made to move both festival stages and intimate club floors. Can you tell us a funny story that happened when you worked on the song with NOTID? During the process, we had a moment where the project crashed and we lost a few hours of work. Instead of stressing about it, we just laughed and took it as a lesson in non-attachment. It reminded us that sometimes letting go leads to even better results, and after restarting, the new version of the track actually turned out stronger. Do you have a favourite sport or hobby to practice while you’re not producing music? When I’m not producing music, I enjoy spending time with my girlfriend and also practicing Shaolin relaxation and breathing techniques. It helps me stay focused, balanced, and clear-minded, which is really important when working creatively for long hours. What’s your favourite song of 2025 so far till now? One track that really stuck with me this year is “CULTURE” by MORTEN and ARTBAT. It has that powerful, driving sound but still feels emotional and immersive, a great balance that I really respect. What’s your piece of advice you can give to other music producers who are at the beginning of the road in music production? One technical tip I always share is to mix the mono and stereo signals separately. It really helps to create a cohesive sound that translates well across different speaker systems. Getting the mono foundation right ensures that the track still hits even on smaller setups, while the stereo image can then add width and depth without getting messy. What’s your next collaboration, if you can tell us more about it. My next release is a collaboration with SNAJDER, and it’s a true progressive house track, very melodic and powerful. If you’re into the classic sounds of Martin Garrix and DubVision, you’re definitely going to feel this one. We really focused on big emotions and high-energy drops. This is all for now. Thank you for your time answering our questions. Where can our community find out more about your music and your future releases? You can find all my music and updates on Spotify and Instagram. Also, my mix series ”THE VAULT” is available on 1001Tracklists and SoundCloud if you want to hear more of the sound I’m building. Thanks again for having me! Stream Link – https://open.spotify.com/track/2AnEYHGbSmSlawzgRqtV9b?si=jR3S6VFBS4i0e0ZdTe3AZA Spotify: https://open.spotify.com/artist/28gYOX8tw3wSJB4WYjnxmv?si=IceMgxMuTqC6bEzvEMktjA Instagram: https://www.instagram.com/marqusofficial?igsh=cjgxNGJtYTd3aG1j&utm_source=qr SoundCloud: https://on.soundcloud.com/H2b1NkUBdNxvOmxHDl 1001Ttracklists: https://www.1001tracklists.com/dj/marqus-dk/index.html The post MARQUS Talks More About ‘SOUND OF THE BASS’ Collaboration with NOTID appeared first on EDMNOMAD. View the full article

The beats that once filled the corridors of ICON Collective may have fallen silent, but they will pulse anew for one night after alums of the shuttered electronic music production school organized a tribute event in downtown Los Angeles. Scheduled for June 5th at 1720 Warehouse, "ICON Forever" will transform grief into groove as the community gathers to pay homage to two decades of ICON. The beloved school, which counts NGHTMRE, SLANDER and many more EDM superstars as alumni, permanently closed in late-May after filing for Chapter 11 bankruptcy protection. "RIP Icon Collective," dubstep star Kompany said at the time. "That school changed the course of my life and career. Forever grateful." "ICON Forever" will feature performances from a slew of instructors and artists who learned their craft at the LA-based school, including Gigantor, Petey Clicks and a b3b set from Warden, Vito and Whyel. Special alumni guests will also take the decks. You can purchase tickets to "ICON Forever" here.

Michael Smith, the individual accused of masterminding a $10 million+ streaming fraud scheme, has tapped a high-powered Diddy law firm for representation. Photo Credit: Kier in Sight Archives Still plodding through discovery, the federal fraud case against Michael Smith is now set for an early August status conference. Meanwhile, the alleged royalties scammer has tapped newly minted Diddy law firm Harris Trzaskoma LLP for representation. Technically, two of that firm’s attorneys, Justine Harris and Anna Estevao, started repping Smith shortly after his indictment last year. But in early May 2025, Harris and Estevao notified the court that they’d officially signed on with Harris Trzaskoma. About one week later, the self-described “Manhattan-based litigation boutique” put out a press release celebrating its formal launch. Counting as partners Harris, Estevao, Theresa Trzaskoma, and Allegra Noonan, the firm is said to rep “clients in a wide range of high-profile commercial and white collar matters.” One of those clients happens to be Diddy, Harris Trzaskoma underscored in a May 15th release. “Partner Anna Estevao is among the nationally celebrated criminal defense lawyers Sean Combs tapped to defend him in his high-profile federal criminal case in the Southern District of New York,” the firm emphasized. Despite this noteworthy link between two of the industry’s biggest criminal cases, the connection has received negligible coverage thus far. Also flying under the music-media radar is the precise status of the fraud claims against Smith. As initially mentioned, continued discovery delays mean we’ll have to wait a bit longer for the case to kick into high gear. Previously, a status conference was expected to take place on June 5th. But earlier this week, with the government joining in the request, Smith attorneys sought an adjournment. Judge John G. Koeltl then rescheduled for August 5th. “As the Court knows, discovery in this matter has been voluminous,” Smith’s counsel wrote when seeking the conference delay. “Over 5.5 million files have been produced to date, and the Government anticipates producing any remaining discovery within the next month. The adjournment is needed because Mr. Smith needs additional time to review this discovery, as well as make decisions about potential motion practice.” Upon requesting a 60-day adjournment of the same status conference – scheduled at the time for March – Smith’s legal team pointed to 2.84 terabytes’ worth of government productions. In other words, there are quite a few moving parts in play. That won’t exactly come as a surprise to those who have been following the case and are familiar with the streaming space’s complexities. Facing possible decades behind bars, Smith is accused of pumping out hundreds of thousands of AI tracks (with the help of co-conspirators – more on this later), creating thousands of streaming accounts, and then directing a multitude of bot plays to the appropriate works. Pressing questions remain about which platform(s) paid out the over $10 million in allegedly fraudulent royalties – and how the scheme managed to fly under the radar for years. Additionally, who’s to say similar stateside royalty scams aren’t in full swing right now? As things stand, the music world is heavy on intrigue and light on answers. But stay tuned – DMN has teed up a series of updates exploring heretofore uncharted angles of the case and streaming fraud itself. View the full article

After years of energizing dancefloors with a steady stream of flips and edits, Tape B is pressing pause on his long-running "Driptapes" mix series to make room for something new: his debut album. The sixth installment of "Driptapes," released earlier this week, may be the last for a while, according to the EDM.com Class of 2025 artist. Built from recent crowd favorites and a few selections pulled from "CarTunes Vol. 4," the new mix gives fans a final batch of edits before Tape B pivots toward solely original material. But the bigger news lies in what comes next. In a candid Instagram post, the Turkish DJ and producer revealed he's writing his debut album and shelving his "Driptape" series indefinitely. "As for now this will probably be my last Driptapes for quite a bit or until I find some new inspiration, I feel like I’ve remixed most of the songs I’ve wanted to and want to take a break from all that so I can focus on writing an album," Tape B wrote. "For the first time I feel like I actually have a very clear vision for my project and I really want to spend my time focusing on creating originals." Though he mentioned the possibility of a "VIP tape" in the near future, the primary focus now is making something fully his own. Beloved for his balance of old-school dubstep sensibilities and modern bass music, Tape B's move toward an album marks a turning point many fans have long anticipated. You can listen to "Driptapes Vol: 6" here. View the original article to see embedded media. Follow Tape B:X: x.com/tapebbeats Instagram: instagram.com/tapebbeats TikTok: tiktok.com/@tapebbeats Facebook: facebook.com/tapebbeats Spotify: tinyurl.com/mwvmuh8v

OSMIUM stretches the concept of a band to its furthest limits. They fit the traditional description of a small group of artists creating music together under one name — but nothing else about this collaboration is at all conventional. Three of the four members — the lauded experimental musicians Hildur Guðnadóttir, Sam Slater, and James Ginzburg — built their own instruments for the ambient project. Slater crafted a self-oscillating drum with a feedback system developed with the Berlin-based instrument manufacturer, KOMA Elektronik. Ginzburg designed an apparatus that expands upon an ancient stringed instrument called the monochord. Guðnadóttir uses the Halldorophone, which combines her primary instrument of cello with an attachment that catalyses feedback from the strings and outputs it into a new sound. READ MORE: Moby at Cercle Odyssey: The closest I ever came to floating through space The band’s vocalist, Rully Shabara, is being studied by an Indonesian university because he can make sounds with his voice that humans aren’t supposed to be able to make. Last, but not at all least, there is a fifth member of the band: a set of robotic beaters playing the custom instruments through automation. “You’ve got a mechanically sequenced band. If we step away from our instruments, they’re just going to sit there and play,” Slater says. “A conversation that we’ve kind of jokingly had is that it’s better to be friends with the robots.” Through their individually impressive careers, the members of OSMIUM have certainly befriended technology. Ginzburg is a member of the multiplatform art project Emptyset and the boss of the electronic label Subtext Recordings. Slater and Guðnadóttir, as husband and wife, have created experimental synthetic music for various projects, including video games such as Battlefield 2042 and television programs such as Chernobyl. OSMIUM is the next phase of their experimental journey, and the latest instance of being surprised by music. “You could actually make a project entirely based on a ‘What if’?’” Slater says. “It’s always really exciting when you stumble upon a new process, or even a new set of sonic relationships that create something unexpected,” Ginzburg adds. “Obviously, as time goes on, it becomes more challenging to be surprised by music and sound. But that doesn’t stop us from having that spirit of exploration. Creating situations where unexpected things can happen is the primary interest in approaching projects like this.” That situation is built around OSMIUM’s robotic counterpart. Slater and Guðnadóttir had experimented with automated mechanical beaters in previous works. For OSMIUM, they refined the process with the other members, using the patterns to create the traditional idea of a piece of music. The way the beaters engage with the instruments is consistent for every performance because Ginzburg, Slater, and the other members program the sequences in advance. As this robotic framework performs the pieces, all of the instrumentalists engage with their instruments individually to expand upon the piece. They create a conversation within their own mechanical sequences and with each other, almost like a jam. Then, Shabara contributes his intriguing and almost inhuman vocal tones. “You can play counter rhythms or you can not play at all. Each one of those ways of agitating the strings creates a different outcome as it interacts,” Ginzburg says. His reimagined monochord is a stringed instrument, and so he has the option to play with bows or his beaters. “I can bow while it hammers. If I hit something, and then the hammer hits it, that mutes what I just hit. So you get very, very strange interactions happening.” “Honestly, there are points where I can’t really add anything,” Slater continues. “As musicians, we come along and join in. We try and affect what’s going on. We alter the dialogue, we add counter rhythms. We might play along the same rhythm as the machine and enjoy the fact that humans are just shitter than the mechanized thing.” The result of this amalgamation of musical conversations is a mass of clanging, scratching, rhythmic noises and enduring ominous tones. When listening to a recording, it’s unclear at any point which member is making any particular sound. Each instrument is generating its own sonics while also creating feedback at various frequencies. According to Slater, audience members have come close to vomiting during OSMIUM performances because of resonant feedback at low frequencies around 30 Hz. “In this whole project, there are two quite strong variables. One is the ability to deal with chaos. We have live feedback from instrument to instrument going on, and the only thing that is guaranteed is the hammers are going to come down at the same time,” Slater says. “You have a really rigid structure on one side, and you have chaos on the other side. You have to be quite a specific kind of musician to enjoy that process.” When it was time to record their debut, self-titled album, they used the same specific process. Slater, Ginzburg, and Guðnadóttir visited a studio called Bunello in Berlin and set up their instruments to track live, capturing the musical conversations in the moment. Each instrument has its own direct input, and they also populated the space with room mics to balance the individual sounds with the combined sounds. They set aside three days for recording, but, unfortunately, Guðnadóttir’s Haldorophone “blew up” on the first day. With the time it took to get hold of a new one, they ended up only having one full day for instrumental tracking. Shabara was in Indonesia during this session, so Ginzburg recorded him at a later date in his home studio. Ginzburg used multiple mics, distortion chains, and “exotic” compression in processing. To maintain the conversational dynamic of the group, Ginzburg set up multiple reverb returns that he would adjust while Shabara was vocalising. Essentially, he was performing the mix in response to Shabara’s foreboding noises. “It was very intense because when he gets into it, he goes somewhere else,” Ginzburg says of Shabara. “I followed him, and then you sort of snap out of it and you’re like, ‘Oh, I guess we should go eat some noodles or something.’” To finish off the recordings, they edited down the raw takes into listenable sections and implemented automation to let different sounds move through the background and foreground. For the final, granular mixing process, they approached it similarly to how Ginzburg recorded Shabara: adjusting parallel processing in the moment to perform the mix. “Everything can have some kind of organic interactions imprinted on them ex post facto,” Ginzburg says. “Organic” is an interesting word given the highly mechanical nature of OSMIUM. But these four experimentalists prove that no matter how advanced or idiosyncratic technology becomes, humans can harness it into something new and exciting. The post “It’s better to be friends with the robots,” OSMIUM on jamming with robots for their debut album appeared first on MusicTech. View the full article

Melodic Techno fans are screaming internally worldwide as the major label Afterlife whispers at the reappearance of the immaculate “Falling Man”. After an incredible residency at the Sphere in Vegas, Co-founder Anyma, may be returning to the decks alongside counterpart MRAK. Together as Tale of Us, they broke boundaries within the EDM scene in terms of audio-visual showcases, setting the bar sky-high for other artists and collaborators. Thus, the “Falling Man” has become a beacon of transcendence and a leading symbol of a generation of artists and musicians. While we don’t expect a reunion of the duo at this point, it’s encouraging to see that there is a nostalgic look back at the golden age of melodic techno. Afterlife Festival With an outstanding lineup split between two stages from June 13th to June 14th, Afterlife is taking over the Circuit de Barcelona in Catalunya. Although Anyma and MRAK will not be playing as Tale of Us, each one of them have curated their own selection of tastemakers and hard-hitters. Anyma’s lineup on friday include Mind Against, Kevin de Vries, Recondite (Live), Kasia, Pacs, Rebuke, Woo York (Live), Baset, Stylo, and Laherte. On the other hand, MRAK selected Camelphat, Gordo, Layla Benitez, 19:26, Omnya, 8Kays, Alfa Romero, Asal, Oostil, and Earthlife. The “Falling Man” More than just a logo, the “Falling Man” became the face of the brand on the early stages of Afterlife. The symbol represents transcendence and the connection between the physical and spiritual world. Surrendering your physical self into the infinite is a recurring topic in the Afterlife catalog, with tracks that provide an elevated experience. Together with its visuals, the brand has evolved into a superpower within the Melodic House and Techno scene, opening the door for future generations of artists within the realm. This time around, it seems like the “Falling Man” will take up his physical form this time, and add a 3D element to the already spectacular audiovisual experience. The post Afterlife Teases Nostalgic Return of an Icon at Barcelona Festival appeared first on EDMTunes.

Timescape is a bold new UK woodland weekender that will run from July 18th to 20th at Abbots Ripton Estate, Cambridgeshire. Centered around Trance, House, and affordability, this new addition to the UK’s summer festival circuit takes over the former Secret Garden Party site. It offers a diverse electronic lineup that blends iconic names with rising talent, creating a fresh, accessible experience for clubbers. Founded by a collective of seasoned industry professionals and presented in collaboration with leading international brand Unkonscious and Peach Club, Timescape promises a high-quality festival experience rooted in connection, nature, and community. The event highlights that great and impactful production and lineups shouldn’t come at a premium price. The team behind Timescape is primed to deliver a fresh offering to the UK festival landscape. Attendees can expect an intimate and affordable Trance and House gathering that’s dedicated to music lovers and community. Capped at 2,000 people, Timescape will offer a boutique-style alternative to the larger-scale festivals currently dominating the market. Rick Ford, Festival Organiser comments “Timescape is about connection through music, nature, and community. We wanted to bring something truly special to the UK, an intimate, outdoor gathering where everyone feels part of the story. It’s all about the people, the music, and the environment, with affordability at its core. Set amongst the scenic forests and lakes of Huntingdon, one of the UK’s most idyllic regions, the multi-day experience will be shaped by connection, nature, and a diverse soundtrack spanning the spectrum of dance music. Across three days, over 60 DJs and live acts will perform, navigating across Trance, House, and Techno and set to create a unique and immersive experience. Headliners include iconic Trance names like Lange, Slipmatt, Indecent Noise, Dave Pearce, and Sneijder, alongside UK-exclusive performances from Rinaly Presents Rina Mirai, David Forbes pres, Seebrof, with a back-to-back special featuring Lange & The Space Brothers. Carly Wilford also joins the lineup following from her Tomorrowland debut set. Weekend camping tickets start at £137.50 including booking fee’s with day tickets from £25 + booking fee, with a limited number of early bird offers available. Timescape is actively aiming to reset the UK festival landscape, becoming one of the most affordable and accessible festivals this summer. Options for camping, glamping tents and motorhome/caravan pitches provide a range of accommodation choices for festivalgoers. Whether attendees bring their own tent, campervan or opt for a furnished glamping setup, Timescape provides options to suit all budgets and preferences Timescape Festival July 18th – 20th 2025 Limited Early Bird Tickets https://timescapefestival.com/#section-tickets Find Out More & Follow Timescape Festival Website | Instagram The post New UK Festival Debuts with Forest Setting, Electronic DJs & All-Female Stage Spotlight appeared first on Electric Mode.

Canadian rising star Stirling returns with a new Tech House cut on the revered Farris Wheel Recordings. ‘Testify’ is a bold, high-octane statement primed for peak-time impact. Set to drop June 6th on, the single marks his first collaboration with poet and vocalist David LeSal. Following the breakout success of his debut single ‘All That Really Matters’, Stirling’s rise has been swift, mirrored by a growing string of international performances. ‘Testify’ is a fierce, groove-driven Tech house weapon that fluently combines rumbling low-end power with crisp percussion and an undeniably catchy vocal hook. The track instantly grabs attention and engages from the first drop. Backed by a diverse roster of tastemakers including Jaguar Skills, Sam Divine, Tini Gessler, Amine Edge & Dance, Jaxx Inc., Don Diablo, Paco Osuna, IO Supastar, Johnny Dangerous, and DJ Harvey, the raw, uplifting track is gaining traction across global dancefloors and airwaves alike. With roots in London and Ontario’s underground scene, Stirling’s musical evolution has been driven by passion, purpose, and a relentless work ethic. Turning heads with his fresh, floor-focused sound, he’s carving a space for himself in the current House music landscape. ‘Testify’ marks his second release in a schedule of forthcoming material from the burgeoning artist. His dedication to his craft and feel for infectious rhythms instantly sets him apart from the masses. The unique collaboration is crownedby New York’s poet David LeSal. Universally known for his distinct voice and vivid lyricism, he first made waves in the hardstyle scene with the track “Tonight” by Headhunterz & Wildstylez vs. Noisecontrollers. His writing was a standout across the Return of Headhunterz album and has since appeared on numerous top-charting tracks in the genre. Now turning his focus to the House music scene, he’s worked with names that include Pretty Pink, Return Of The Jaded, Ben Hemsley, Burnr, and Sian, now adding Stirling to his extensive roster of musical collaborations. Landing on the iconic Farris Wheel Recordings, the new single is set to capture the attention of a diverse audience. Founded in Chicago by Gene Farris in 1998, the label is deeply rooted in the city’s underground house scene. Renowned for early releases from artists like DJ Sneak and Greenskeepers, Farris Wheel has built a legacy of championing both local and international talent and now, Stirling joins its ever-evolving roster. ‘Testify’ drops on all major streaming platforms June 6th, further solidifying Stirling, David LeSal, and Farris Wheel Recordings’ place in the electronic music scene. Stirling ft David LeSal – Testify Released 06/06/25 Presave: https://ffm.to/fwr363 Find Out More & Follow Stirling Instagram | TikTok | Official Website David LeSal Instagram | Soundcloud Farris Wheel Recordings Instagram | Facebook | Beatport The post Stirling Delivers ‘Testify’ Featuring David LeSal On Iconic Farris Wheel Recordings appeared first on Electric Mode.

Meet elx, also known as dj elixir – an award-winning producer and DJ whose roots in the underground dance scene stretch back to the late ’90s. With a sound steeped in techno, UK bass, and breaks, his music bridges cinematic depth and club-ready energy. Whether in the studio or behind the decks, elx crafts immersive sonic journeys grounded in emotion, rhythm, and rave culture. Introduce yourself in one paragraph: I’m elx, an electronic music producer and DJ who’s been immersed in the underground dance scene since the late ’90s. Whether I’m behind the decks as dj elixir or in the studio crafting hypnotic grooves, my mission is the same—channel emotion and energy through sound. My music blends techno, UK bass, breaks, and a touch of nostalgia, all driven by deep rhythms and late-night moods. With a couple of FVMA Electronic Artist of the Year awards under my belt, I’m continuing to push into new sonic territory while staying rooted in the rave spirit that got me here. Were you connected with music from a young age, or anyone in particular inspired you? Yeah, music has always been part of my life. Growing up, I was that kid recording late-night radio mixes to cassette and digging through old records. My parents were deeply involved in musical theatre, which had a big influence on me early on—everything from dramatic storytelling to sound design left an impression. I’ve been drawn to electronic music ever since I got my first synthesizer. The idea of using samples, cutting tape, and building your own sound from scratch fascinated me. When I discovered the rave scene in ’96, everything clicked. Artists like Fatboy Slim, Pablo Gargano, and Marino Stephano had a huge impact on how I approached music and energy. What first kickstarted your musical career? Seeing a group called Link in the late ’80s was a turning point. They had about seven members, each on different gear, building immersive soundscapes live. It was the most incredible thing I’d heard or seen, and it planted the seed. Later, discovering tracker software in the mid-’90s lit the fuse. That, combined with a growing obsession for the rave scene, led me to DJing and eventually to building out my own studio. Tell us more about your sound and how it has evolved. My sound is rooted in groove techno, breaks, UK bass, drum and bass, and house—all filtered through a cinematic, emotionally driven lens. Early on, I was drawn to high-energy breakbeats and trancey builds. Now, it’s more about layering textures, bending sounds in unexpected ways, and finding hypnotic rhythms that carry meaning. It’s still about movement, but now there’s a deeper undercurrent. Any words you want to share to encourage other artists and producers? Don’t wait for perfection. Just start. Finish projects. The more you make, the more you learn. And don’t forget: your weirdest idea might be your best one. Networking, consistency, character—how do you approach industry relationships? I show up with honesty, humility, and a solid body of work. I stay active in the local and online scenes, always ready to contribute and support others. Real relationships come from shared values, not just shared stages. Is there anyone specific you’d like to thank? Massive gratitude to the crews I came up with—Hullabaloo, Destiny, PureRave, and the broader Canadian rave scene. They gave me stages, support, and a sense of community. And to my wife Camille, who’s been my anchor through every high and low. Also, shoutout to all the friends who listened to my half-finished tracks and gave real feedback—you know who you are. Name 3 albums or labels that have inspired you most: Meo Lorenzo – Dream’s K90 – Deliverance Anything on Telica or React Favourite piece of studio gear or software? FL Studio is my go-to DAW. I use VST synths like Massive, Sytrus, and Hive, but the Access Virus B is a standout—bass-heavy and bold. I also love the Future Retro 777 for its acid soul and modern control. Favourite club or festival in the world, and why? Lakes of Fire in Michigan, and Mooseman, Boreal Canoe Trip, and Harvest Festival in Ontario—they’re community-driven and grounded in connection. Burning Man also left a deep impression on me with its openness and creativity. On the flip side, WEMF (World Electronic Music Festival) helped shape me—massive, but still full of magic. Name an outlandish rider request: Pablum rice cereal with a side of brown sugar. Comfort food, always. Oh, and Aussie-style Lemonade Monster Energy drinks—gotta balance the weird and the wired. If you could play any venue, where would it be and why? The main stage at the 2012 Time and Space Festival in Tulum, Mexico. It was held at an abandoned beachfront resort under the ruins—unreal setting, amazing crowd, and perfect sound. One of the most inspiring environments I’ve ever experienced. Music is… …a portal. A place to escape, connect, and return with something new. It’s memory, emotion, and possibility all wrapped in rhythm. One song you couldn’t live without: The Orb – Little Fluffy Clouds Name drop your favourite tunes, artists or DJs: Meo Lorenzo, Pablo Gargano, Marino Stephano, early Tiësto, and Fatboy Slim. All brought different energy—melodic, emotional, rhythmic—and all left a deep mark on my journey. What was your first real music opportunity and how did it fuel your fire? Early ambient gigs with the OM Festival crew in Ontario let me experiment with samples, tape decks, and synths. A booking agent once told me, “If you want to play more, play something with a beat.” That pushed me into hardcore and eventually trance. Joining Hullabaloo taught me how to pivot and stay hungry—every challenge became part of the story. Tell us more about your future plans. With Groove Echoes out now, I’m working on a remix EP and a new live show that blends DJing with hardware performance. I’m also looking to get into scoring indie games and short films—bringing stories to life through sound. Any final advice you’d like to share? Stay curious and adaptable—both in music and life. Be open to change, trust your instincts, and build real connections. Most importantly, create for the love of it. That passion is what lasts. The post Get To Know: elx, the Prolific Producer Recreating 90s Rave Soundscapes appeared first on Electric Mode.

elx, the alias of veteran producer and DJ Jory Bice, is set to unleash Groove Echoes, a electrifying new album hitting all platforms on the 6th of June, 2025. This genre-blending masterpiece weaves together breakbeat, techno, tech-house, house, and UK-bass, crafting a sonic journey that captures the fleeting magic of a night out. Groove Echoes is a love letter to dance culture, born from late-night energy and the echoes of a party’s peak moments. Each track channels a distinct phase of the nightlife experience, anticipation, connection, chaos, and the introspective comedown. Tracks like Brand New Record and Dance All Night burst forth in a creative flow state, while Slow Drip and Out of Time were meticulously shaped to hit their emotional mark. Crafted entirely in elx’s personal studio, this solo project is a hands-on, unfiltered reflection of his vision, free from outside influence, driven by machines and grooves. Jory Bice, known as dj elixir in the studio, has been a force in electronic music since the late ‘90s. Starting with rudimentary trackers and hardware samplers, he honed a sound that blends classic rave energy with cutting-edge sound design. His 2024 release Madness and Melody explored jungle and halftime, earning critical praise for its depth and intensity. Now, Groove Echoes pushes further, delivering hypnotic grooves, tactile textures, and unexpected twists that bridge club bangers and introspective listening. elx’s career is a testament to his passion for transformation through music. From residencies with iconic promoters like Hullabaloo and Destiny to sharing stages with legends like Paul Oakenfold and Chris Liberator, he’s carved a unique space in the underground. A two-time winner of the Fraser Valley Music Awards for Electronic Artist of the Year (2018, 2022), elx’s work has been hailed as genre-fluid and emotionally anchored, equal parts rave and ritual, by Canadian music outlets. His alias, elixir, reflects his mission: to create music that uplifts, energizes, and resonates long after the final beat. Influences Marino Stephano, M-Zone, Fatboy Slim, Chemical Brothers, Lange Support elx on Social Media Instagram | Twitter | Facebook The post elx Drops Electrifying New Album ‘Groove Echoes’ appeared first on Electric Mode.

Global music icon DJ Snake debuts the music video for “Patience,” a deeply personal project featuring his reimagination of Amadou & Mariam’s celebrated 2008 song “Sabali.” The title holds profound meaning, as “Sabali” is the Bambara word for both “patience” and “immortality.” The video’s compelling storytelling sheds light on the realities of migration, offering a sensitive and humanizing portrayal of those compelled to leave their homeland in pursuit of a better future. Shot in Senegal with stunning cinematography by Valentin Guiod, the music video immerses viewers in the emotional journey of its main character, allowing them to experience migration through an empathetic lens. DJ Snake, who was born in Paris to Algerian immigrant parents, felt a deep personal connection to this theme: “Each time, I try to explore new vibes, new inspirations, different parts of the world, and I had never really touched on West Africa. I thought of Omar [Sy], and I talked to Omar about it… And everything came together naturally. It took us almost a year and a half to get here today, in the suburbs of Dakar, Senegal. What’s funny is that ‘Sabali’ means patience.” The music video features special cameos by acclaimed French actor Omar Sy, whose parents are West African immigrants, and by the legendary Malian duo Amadou & Mariam—the original artists behind “Sabali”, who were so moved by DJ Snake’s reimagination of “Sabali” that they enthusiastically chose to take part in the music video themselves. The release comes just weeks after the passing of Amadou, lending even more poignancy to this tribute. Omar Sy immediately connected with the project when DJ Snake reached out to him: “He told me about the theme he wanted to explore, and at that moment, he also told me that he wanted to do it in Africa, in Senegal. Obviously, that resonated with me, and I could definitely help in that regard. So, that’s how we started.” As casting discussions progressed, DJ Snake envisioned a younger actor for the lead role, and after watching Tirailleurs, he was inspired by the performances. “He brought up the scene because he had seen Tirailleurs and thought it was a good idea. And as things unfolded, we thought, ‘Why not a little cameo as well?’ And here we are.”, says Omar Sy. The film has already received critical acclaim on the international festival circuit, having been selected for the Grand Angle section at Festival Côté Court (Césars qualifying), and winning Best Music Video and Best Cinematography at the Aesthetica Short Film Festival (BAFTA qualifying). It competed in official selections at Bogoshorts (Oscars qualifying), Indianapolis Indy Shorts (Oscars, BAFTA, Goya qualifying), and Festival du Film Court de Villeurbanne (Césars qualifying). It also won top honors at the Berlin Music Video Awards and the 1.4 One Point Four Awards, where it received the Gold award for Best Music Video – Long Form. At the Kinsale Shark Awards, the film took home the Grand Prix, along with awards for Best Direction, Best Cinematography, and Best Electronic Music Video. Beyond the music video’s artistic significance, “Patience” carries a powerful message of advocacy. DJ Snake has partnered with SOS MEDITERRANEE, an international maritime and humanitarian organization dedicated to saving lives at sea. Founded in 2015 in response to the humanitarian crisis in the Central Mediterranean, the NGO’s mission underscores the urgency of the issues explored in “Patience”. The music video features performances by Omar Sy, Massane Diong, Anna Thiandaoum, Amadou Mbow, Ibrahima Mbaye, and Amadou & Mariam. It was written and directed by Valentin Guiod and produced by Birth, with music by DJ Snake and Amadou & Mariam. “Patience” can be streamed here and the music video can be watched here The post DJ Snake Unveils Powerful New Music Video: “Patience” appeared first on Electric Mode.

A call has echoed across oceans, traveling through tide and jungle, rhythm and silence, until it reached a stretch of sacred coastline in northeastern Brasil—where ritual drifts on the current and time melts into the sea. It is here, on the enchanted shores of São Miguel dos Milagres, Brasil, that Damian Lazarus will bring Day Zero to inscribe its next chapter, defined by a mission of global expansion. Infused with the brand’s storied blend of immersive experience and spiritual energy, Day Zero Milagres will honor the profound connection between ancient ritual, natural beauty, and local culture—set against one of the planet’s most vibrant landscapes. Day Zero’s ethos has always been about harmonizing with the land it inhabits, forging an experiential dialogue between local traditions, timeless spiritual currents, and a celebration of renewal. Every edition is crafted as a living homage to the region’s heritage: whether through the sacred Mayan symbolism of Tulum or the desert mysticism of Masada. For its Brasilian chapter, São Miguel dos Milagres emerges as a synergetic vessel. Nestled along Alagoas’ picturesque coastline, where crystalline tidal pools meet lush jungle, the region pulses with Indigenous heritage and hypnotic rhythm. Here, emerald canopies part to reveal turquoise waters, and every grain of sand feels steeped in ancestral memory. In this sacred setting, Day Zero will weave together the natural majesty of Brasil’s northeast with its own signature ceremony—creating a communal rite that honors the land, its people, and the enduring spirit that binds them. In Damian Lazarus’ own words on Day Zero’s expansion to Brasil, “after a long and thoughtful search for the perfect location to begin a new chapter of Day Zero, we’re thrilled to introduce the world to São Miguel dos Milagres, on Brasil’s breathtaking northeast coast. This region—rich in mysticism, natural beauty, and cultural depth—offers both a spectacular setting and the infrastructure to welcome our global community. We’re also proud to be collaborating with some of Brasil’s most experienced and respected event partners, whose vision and expertise have shaped many of the country’s most iconic gatherings. 2026 is going to be a very special year for Day Zero as we embark on incredible new adventures.” Day Zero has always been a beacon at the edge of sound—where avant-garde electronic music unfolds and daring artists craft worlds yet unheard. Each gathering is a ritual of sonic exploration, a pilgrimage into uncharted frequencies that challenge the dancefloor and awaken the spirit. Brasil’s cultural richness extends far beyond its sun‑kissed beaches. It is a cradle of musical innovation—where samba, forró, and maracatu collide in a kaleidoscope of sound and movement. Brasil’s rhythms have long shaped the global soundscape; today, a new wave of electronic experimentation is emerging from this fertile ground, with producers, DJs, and collectives pushing boundaries and forging distinct sonic identities rooted in tradition. Day Zero has long maintained a commitment to showcasing local talent, first started with its El Teatro stage in Tulum, an all Mexican artist stage. Day Zero Brasil will be no exception, becoming a crossroads between global underground currents and the raw, rhythmic heartbeat of Brasil. Day Zero Brasil will be held in collaboration with local partners Entourage Live, Plus Network, Tamo Junto, Gaz Events, and BOMA. Join us at Day Zero as a new miracle unfolds in São Miguel dos Milagres. Let every beat be a heartbeat; every dance, a prayer; every moment, a celebration of Brasil’s soulful abundance. Register for Day Zero Brasil here. Connect With Day Zero Website l Day Zero Milagres Instagram l Day Zero Instagram The post Damian Lazarus Announces Day Zero International Expansion with Day Zero Milagres Brasil: The Coast Of Miracles appeared first on Electric Mode.

Liverpool UK’s multitalented SG LEWIS brings his event brand/label FOREVER DAYS to Chinois, for one night only on 22nd July. SG LEWIS, singer/songwriter/DJ/producer, hadn’t long been professionally DJing when landing a DJ residency at Liverpool’s Chibuku Club became a launching pad to signing to Virgin EMI, releasing with Nelly Furtado, and playing his rich blend of deep house, synth pop, funk, disco, and alt R&B at the likes of Coachella and Printworks, plus regular BBC Radio support inc. Essential Mix, co-hosting shows, Hottest Records in the World… Paying it forward and exploring yet another talent, Lewis founded Forever Days in 2024, with the mission to release his and others’ music ‘strictly for the dancefloor’, to ‘create euphoric moments’. Forever Days soon released tracks including ‘Back Of My Mind’, ‘Simple Times’ with DJ Seinfeld, and collaborations with Chloé Caillet and Loodsbefore spreading the word and the sound at events like this one worldwide. Glaswegian DENIS SULTA has his own sought-after Sulta Selects label/party brand. His masterly melodic house has brought him multiple accolades: Mixmag & DJMag covers, a ‘best DJ’ award from the latter, a BBC Radio 1 Residency show & Essential Mix, venues like DC10, Berghain, Amnesia, Printworks, and huge streaming stats, e.g. 5 million for his 3 Boiler Room sets. Australian LUKE ALESSI (solo artist and 1//3 of Not Without Friends outfit) is one of the hottest names in dance right now, thanks to support from the likes of Jamie xx, The Blessed Madonna, Bonobo, Chris Stussy, and a wealth of brilliant cuts, inc. a new collaboration with Chloé Caillet already being called the hit of the summer. He’s known for bringing real energy to the dancefloor so this Chinois stop is not one to miss. STORM MOLLISON, underground star, uses her London-born, Florida-raised background to combine Chicago house/disco with UK Garage at the likes of KOKO, Glastonbury, fabric… with regular radio support from BBC’s Jaguar, Tom Ravenscroft et al, plus a Beatport ‘On Our Radar’ nod. DAVID JACKSON has released on Forever Days and Sulta Selects, as well as the likes of EMI Records. His track ‘Up Up Up’ has a 90s house piano vibe, while ‘Broken Heart’ has more of an 80s disco/funk feel, so expect an energy injection when he hits the decks. Come down and experience Forever Days at the Marina for a thrilling line-up of truly cool and diverse sounds at Chinois Ibiza. Connect with: Chinois – @chinoisibiza The post SG LEWIS Announces FOREVER DAYS at Chinois Ibiza this July appeared first on Electric Mode.

Campo Sancho, the beloved boutique festival from Sancho Panza, with roots in London’s underground party scene, reveals its full lineup for 2025. Lovingly curated by founders Jimmy K-Tel and Matt Brown, this year’s edition promises another eclectic mix of audio treats from house, disco, nu-disco and electronica, to soul, funk and reggae, played by legends, rising stars, and everything in between. Optimo DJs (Twitch and Wilkes) at The Berkeley Suite, Glasgow, for DJ Mag. April 2022. Get ready for scintillating sets from Optimo, the pioneering duo of JD Twitch and JG Wilkes, known for their genre-defying sets and revered selector Luke Una, the founder of Manchester’s much-loved Homoelectric parties. Underground legend and Adonis/NYC Downlow resident Grace Sands makes her much-anticipated debut this year, as does London DJ, producer, and good vibes ambassador Aroop Roy, and Tia Cousins, whose adventurous, genre-blurring DJ sets and expertly curated radio shows have earned her reputation as one of the most exciting rising DJs on the scene. Returning favourites include Crazy P founding members Chris Todd and Jim Baron who will deliver a DJ set showcasing their signature blend of soulful house and disco, rising London star Tigerbalm who returns to Campo Sancho with a club-focused set having impressed last year on the daytime stage, and Faith House music maestro Stuart Patterson. There are plenty of guaranteed party starters in the mix too, including Lisa Loud, Pete Herbert, Serge Santiago b2b David Parr a.k.a. Stompa Phunk Sound System, DJ Louise (Billion $ Babes), and Sophie Lloyd, along with Adam Romo, Andy Wilson, Anouck, Beatbodger, Dicky Trisco, Freddy Love, Junior Richards, Marco de Marseille, Mr Shiver, Roy the Roach, Si Kurrage, and Teo. All this, plus joyous gospel, soul and pop sounds from the Get Gospel Choir, and unmissable extended sets from the much-loved Sancho Panza founders and residents, Matt Brown & Jimmy K-Tel, who will bring their infectious energy and uplifting vibes to proceedings as always. New for 2025: Upwoods Campo Sancho introduces “Upwoods” for 2025, a brand-new secluded woodland area, showcasing a diverse range of soundscapes to complement the main stage energy. Local collective Listen Here curate Friday’s lineup, which features Aidy West, Damian Gee, Harvey Skipper and Ninjō. Brighton’s Camp Bliss take control on Saturday, bringing relaxed vibes by day and block party by night; an eclectic mix of Camp Bliss favourites, including Eames, BIG RED AL, Alistair from Loft55, plus other musicians, poets, immersive performers and DJs to be announced. Sunday’s lineup, curated by Sancho Panza, brings sets from Emma Noble, Ronnie Turner, Dan The Drum, and Stuart Patterson. Expect laid-back beats alongside signature cocktails and a truly magical atmosphere. Family Adventures As well as a sterling line-up, there’s plenty to entertain younger Campo campers. including Panic Family Circus, roaming performers, a full arts programme at the Kids Factory, Teen Spirit with a plethora of activities and games, kids entertainers throughout the weekend, plus a kids disco with special guest Lisa Loud! From the Underground Up Campo Sancho is more than just a music festival; it’s a community gathering with a rich history born from an unwavering passion for dance music, its legendary early 90s warehouse parties and a 20-year reign as the largest and most beloved house music sound system at Notting Hill Carnival. Fuelled by a DIY ethos and an unwavering passion for music, sound, magical dancefloor moments and pushing creative boundaries, this passion propelled Sancho Panza to dominate Notting Hill Carnival for two decades, drawing crowds of over 10,000 with their expertly curated lineups and powerful Funktion One sound systems, personally tuned by founder, Tony Andrews. Today, Campo Sancho continues this legacy as a boutique festival haven. In a festival landscape saturated with repetitive lineups and a dwindling sense of intimacy, Campo Sancho offers a truly refreshing alternative. It’s where discerning house heads and their families escape the crowds, reconnect with the true spirit of house music, and experience a unique blend of music, arts, and activities for all ages – it’s the ultimate Country Cuddle! Campo Sancho 2025 takes place at Walkern Hall, an hour north of London, from July 25-27. With its stunning location, diverse lineup, and family-friendly environment, Campo Sancho 2025 is set to be the most unforgettable edition yet. Tickets on Sale Now Tickets for Campo Sancho are flying out the door, with Early Bird tickets already sold out. Don’t miss out on this landmark celebration of music, love and sound system culture. Tickets for Campo Sancho 2025 are on sale now at campotickets.sanchopanza.org. The post Campo Sancho Festival Announces Complete 2025 Lineup appeared first on Electric Mode.

Paharas Musica, the renowned independent UK dance music imprint, celebrated for its “Balearic by day and Upfront by night” ethos, announces its latest summer release, “Falling.” Led by acclaimed UK DJ and producer Ridney, the label continues to deliver high-quality, authentic, genre-defining tracks. In true Balearic spirit, “Falling” is emotive, deep, and melodic house music, featuring a sublime, dreamy vocal and beautiful piano melody. This release brings energy and atmosphere, effortlessly fitting into any sunset DJ set, sunshine dancefloor moment, or summer playlist by the pool. Premiered live at ADE 2024 to an overwhelmingly positive audience reaction, Alec Sun Drae’s heartfelt performance elevated the track, positioning it as an instant classic and signaling its release. The beauty of “Falling” lies in its authenticity and exceptional production, the result of a collaboration between three talented artists: Flambe, Inner Spirit, and Alec Sun Drae. With extensive experience in music production, each artist brings their unique influence, resulting in a piece that “just works.” “The musical journey and production process with this track has seen flourish a genuine friendship and bond between all three songwriters and the label,” said Flambe. Flambe, a seasoned UK DJ and producer, has spent three decades creating unforgettable dancefloor experiences across the UK, earning a loyal international following. Inner Spirit, also known as Richard Earnshaw, is a celebrated producer with releases on Duffnote, One51, and Guess, as well as over 4 million Spotify streams for his track “White Isle Memories.” Alec Sun Drae, an accomplished vocalist and songwriter, has an impressive catalog of releases with labels such as Toolroom, Defected, Azuli, Kingstreet, CR2, and Purple Music, among others. The post Flambé, Inner Spirit & Alec Sun Drae Release Sublime Summer Track ‘Falling’. appeared first on Electric Mode.

Dance music royalty will take centre stage at Hopetoun House Sessions this summer as the legendary Armand Van Helden is confirmed to headline the Sunday 3rd August line-up – marking his first Scottish appearance in over two decades. A true icon of the global electronic scene, Armand Van Helden has been behind some of dance music’s most enduring anthems, including You Don’t Know Me, My My My and I Want Your Soul. With a genre-defying catalogue that bridges house, hip hop, garage and electro, his rare appearance at Hopetoun House is set to be a landmark moment for Scottish club culture. Also announced for Sunday’s bill is one of Scotland’s most celebrated electronic exports, Ewan McVicar. Known for his high-energy sets, his breakout hit Tell Me Something Good, and his commitment to pushing the underground forward, McVicar’s rise from Ayr to global recognition has been unstoppable. His return to home soil for this open-air summer showcase will be a highlight of the season. The Sunday session also features a stacked line-up of cutting-edge talent from across the electronic spectrum. Notion, a leading force in the UK bass and garage scene, brings his high-impact sound and crowd-ready energy to the Hopetoun stage. Rising star Saint Ludo delivers her bold fusion of hard-hitting club styles and global influences, making her one of the most exciting DJs on the circuit right now. A special back-to-back set from Oppidan and Todd Edwards promises a genre-spanning journey, pairing one of UK garage’s most talked-about new talents with Todd Edwards – a house legend, Daft Punk collaborator and Grammy Award winner whose influence on the genre is unmatched. Rounding off the bill, Glasgow’s Swatt Team bring their raw, high-octane party energy and loyal following to what’s sure to be one of the weekend’s wildest moments. Set against the breathtaking backdrop of Hopetoun House – an iconic stately home just outside Edinburgh – Hopetoun House Sessions is a brand new addition to Scotland’s summer music calendar. Presented by EE Live, the team behind large-scale events including Terminal V Festival and doof in the Park with Hannah Laing, the two-day open-air event promises panoramic views, world-class electronic music, and immersive production in one of the country’s most unique outdoor settings. The Sunday date follows the previously announced Saturday 2nd August event, headlined by FISHER, whose full supporting line-up will be revealed soon. Tickets are on sale now for Boiler Room at Hopetoun House Sessions here, with FISHER tickets also available here. The post Armand van Helden to Headline Hopetoun House Sessions on Sunday 3rd August. appeared first on Electric Mode.

After raising the bar with its latest and most memorable season, Pacha ICONS makes a much anticipated return with none other than world renowned techno legend, Carl Cox playing Playa Pacha, FIVE LUXE (Dubai) on 17 October 2025. Playa Pacha at FIVE LUXE is now a world renowned and striking beachfront destination located in the vibrant and iconic neighbourhood of JBR. With a unique twist of magical Ibizan charm, it has become the region’s go-to destination for music lovers who want a high-thrills and truly immersive electronic experience with the world’s most celebrated DJs. Set against the dramatic backdrop of the hotel’s sleek architecture, the unique venue features three glistening pools, a beach, and one of the largest LED screens in the region projecting dynamic visuals that complement the music and elevate the overall atmosphere to unprecedented levels. Already in 2025, indelible memories have been made with standout sets from innovative and internationally recognised talents such as Black Coffee, Marco Carola, Solomun, Rampa, Mochakk, CamelPhat, and many more. Now, the countdown is on for the world’s best artists to return for another sensational new season. This party restarts on 17 October, with British legend Carl Cox showcasing his famously infectious energy, legendary mixing skills and blend of cutting edge sounds. With roots in acid house and techno, his sets are powerful journeys that blend classic cuts with new school innovation at the world’s best clubs. This party is an essential experience in Dubai and is backed by 50 years of party expertise from the legendary Pacha Ibiza, and offers an unparalleled experience in the region. The post Pacha ICONS Makes a Highly Anticipated Return with Carl Cox’s Middle East Comeback at Dubai’s Playa Pacha, FIVE LUXE appeared first on Electric Mode.

PreSonus has introduced the latest version of its DAW, Studio One Pro. Version 7.2 includes a variety of new features, including virtual instruments, tuners, transcription tools, and more. “Recording is gaining more popularity than ever – especially with guitarists,” says Arnd Kaiser, General Manager of Software at PreSonus. “Studio One Pro 7’s latest update offers powerful tools for guitarists and music creators of all types. Our goal with this and future updates is to continue improving our DAW while giving our community the tools they need to feel inspired.” READ MORE: HEDD Audio’s Type 05 A-Core monitors are practically perfect PreSonus is owned by Fender, so many of the new updates are geared towards guitar players, the company says. Incidentally, Fender also recently launched Fender Studio, an a new app-based DAW that we dubbed “the closest thing to Studio One in your pocket”. First up among the new additions in Studio One Pro 7.2 is a new virtual instrument, Sub Zero Bass, which opens possibilities for all manner of low-end creativity including synth basses, bass guitars, bass textures and more. The instrument was designed by the established film scoring team, The Solos. Studio One Pro 7.2 also features an updated tuner – Tuner² – which now has over 30 presets for guitar with the ability to save both open and custom tunings. Whichever tuning you prefer, just save it in there, click a button and start tuning up. 7.2 also now features the Nashville Number System, a method of transcribing music which denotes the scale degree on which a chord is built, designed to simplify and speed up any transcription you do within Studio One Pro. Additionally, users can now use a footswitch to punch in and out manually or use Auto Punch – now with the ability to use adjustable Post-roll, Pre-roll and Auto Punch in any combination. A feature which PreSonus says has been widely requested by users and now added in Studio One Pro 7.2 are continuous cursor options, which mean the play cursor can now be fixed either to the centre or the left-hand side of an arrangement, with Parts and Events scrolling continuously underneath. Studio One Pro 7 came out back in October, which added Splice integration and AI-powered stem separation among many other add-ons. Studio One Pro 7 is priced at £118.99 for new users, with existing users able to update to 7.2 for free. Head to PreSonus to check out the full range of new updates in Studio One Pro 7.2. The post PreSonus launches Studio One Pro 7.2, with a new sub bass instrument and transcription features geared towards guitarists – here’s everything you need to know appeared first on MusicTech. View the full article

There are artists who dabble in different genres, going off-piste with different vibes and flavours every once in a blue moon, and then there is SALO: a singer, songwriter, pianist and producer living in multi-genre, crème de la crème, sweet-spot world of drum & bass, soul and jazz. And yes, it is as delicious as it sounds, but wait, there’s more… The mancunian vocalist and resident Bloc2Bloc DJ – known for her work with the likes of Chimpo, GLXY and Sustance – is creating interchangeable drum & bass/soul tracks that when flipped, work seamlessly in both worlds. Her latest release ‘Give Me Time’ is the perfect example of this. Simultaneously, it is a record that encapsulates SALO entirely as an artist. With a sweet melody, buckets of depth and a catchy chorus, she showcases a performance of absolute certainty. This is SALO as her raw and unadulterated self and she’s here to stay. With the pending release of ‘Set Me Free’ – a track that fuses jungle choruses with soul verses – and her live session of ‘Give Me Time’ finally dropping on YouTube, it was time to bring her in for a natter. SALO! Talk to us about your new, jazzy number ‘Give Me Time’ I’ve always loved jazz but it’s hard getting band members in when you don’t have a band, so I composed the track on Ableton originally, with the aim of bringing it to people to play it live. That was my intention when making it. The tune is about me being in a relationship. You know when you realise you’ve got a few things to work on within yourself and it’s causing stress on the relationship? You love the person you’re with so you’re willing to work on the red flags within yourself to be with them. That’s what it’s about. I actually sent it to the person it’s about and he replied saying ‘This is sick. Definitely one of the best tunes you’ve written so far!’ He was proper buzzing over it and so was my team, so I thought, I need to release this. I need it to play it live. So I self-released it, sent it to BBC Introducing, filmed a live session too, which was sick. It was insane hearing the track come to life as I produced it in my bedroom. The live session looked amazing! That was a proper big production and I funded it all myself. I got a recording engineer called Jonny Opo and these sick videographers called Dan Hyde and Dave Lawson from Hyde Productions in.The band was sick too. Such talented musicians. We had George Wright on trumpet, Mike Baines on guitar, Lewis Kennedy on drums and Arik Ross on bass. I was singing and playing piano. I actually took inspo from the Pa Salieu video when he filmed ‘Allergy’, it inspired me. I wanted it to be similar but in my style. I just think people haven’t seen me with a band yet. I want people to see that side of me. Sounds like everything came together really nicely for this one. That’s the dream situation, right? How does it feel when that happens for you? I always describe it as a jigsaw puzzle in my brain, and when I figure out the right melody or I hear a sound, it’s like another jigsaw piece fitting together. The tunes that I write in a day are the best. It feels like I’m channeling something, it comes out really naturally. I’m not forcing anything. That’s how I know a track is good. Have there been any projects you’ve worked on that perhaps haven’t clicked at the start, that ended up being something you really loved? This tune I’m making with 4AM KRU at the moment, they sent it to me a few weeks ago and I was like, it needs to be better than the last one I did. I put a lot of pressure on myself. I was trying different things every other day, trying to put a melody on it and I was like ‘It’s not sounding right! What’s going on?’ I tried everything to get the creativity back. I had 30 audio tracks of different ideas, but then I sat down and came up with a verse, a bridge and a hook. It worked, but then I listened to another tune I made – a soul tune – and someone very close to me was like ‘Why don’t you use some of the ideas from the soul tune for this tune?’ and it fit perfectly! That’s the first time a tune has taken that long to make. I always thought that with every tune I make, it has to be on the spot. That’s the only way it can be great, but that one showed me you can actually work on a tune over a few weeks and it still be good. I think I was struggling so much coming up with an idea for it because the idea had already been written but on another project. You’re so versatile with your music, and yet you’re so aligned as an artist. Across everything you do, what’s the common thread for you? I think it’s the melodies and emotion behind the tracks I make. I love writing soul and jazz but I also love writing and making drum & bass. Sometimes if I can’t make a soul tune, I’ll make a drum & bass tune, but the kind of melodies that I use always link the two together. For example, the tune I made with 4AM KRU called ‘So I Stay’, that was initially a recording I made on Instagram. It was originally supposed to be a soul tune, but then 4AM KRU flipped it into a jungle tune. They actually sampled the Instagram video. I re-recorded the vocals after, but the piano was sampled from that. It worked both ways. Because of how I make my music, I can turn drum & bass tunes I’ve made back into soul tunes. You do so many things musically, you sing, you’re a pianist, producer and DJ… What was your first love? Which one pulled you in? I’ve been playing the piano since I was 7. I was classically trained so I’ve always played classical music, but I started to not really enjoy it that much anymore. It wasn’t creative enough for me. I used to pour loads of emotion into it and make it my own in that sense, but it wasn’t enough. I wanted to be with people my age. People with similar interests. I didn’t really fit in. So, I went to college and started raving! It was amazing, but I remember one night standing there thinking ‘I know how to make this better.’ That’s when I learnt how to DJ. I actually started off DJing bassline and jump up, which is so far from what I do now. I’d lock myself in a room for 10 hours a day and teach myself how to mix. I loved it. When it came to my singing and songwriting, I was always too shy to sing in front of people. I used to do covers and put them on instagram, that’s it. Even five people in front of me was too much. I think the DJing was me training myself to perform in front of a crowd in that sense. When I turned 21, that was when I started working with Chimpo. He was like ‘You’ve got a sick voice, I think we should make a tune.’ That’s how ‘Keep U Round’ came about. After that, I wanted to go back to piano. I’ve always loved the 60s so I wanted to go back to that sort of time and incorporate the underground into it. I love DJing and going to raves, but jazz is definitely taking the lead now. I get a different feeling when playing live, especially now that I have a live band now. I like intimate vibes. I like feeling like I’m talking to a mate in my room. It’s like people are watching me in my room practicing. They’re the shows I like doing. The hype stuff vocally isn’t me. I’m definitely not much of a drum & bass host. As a songwriter, drawing from personal experiences is part of the craft. This must be both therapeutic and difficult at times – how does songwriting affect you personally? That’s all I can write about. I’m always a bit jealous of people who can write stories about other people and make up stories or go into detail about a miniscule thing. I have to properly feel it, understand the feelings and write about it. The way they used to write in the 60s, people like Etta James, it’s like you’re in the moment with them. They’re describing everything bit by bit. Few metaphors sprinkled in there but mostly it’s ‘This is what I’m seeing, this is how I’m feeling.’ I love writing in that way. I’m giving my life a melody. Sometimes it’s been too hard to write about things that have happened. And for some reason, for proper heavy stuff, I don’t like putting words to paper, so I’ll write a piano piece instead. I think that speaks more in my head anyway. It helps me get over things. I’ve written a few piano pieces like that, when things have been really hard. The beauty is that only you will know how you were feeling or what you were going through when you wrote it. Amazing. Exactly. Do you know what’s really mad? I wrote a piano piece when I used to live at Bloc2Bloc. I was in a tiny little room and I squeezed this big 88 key keyboard into it, I couldn’t go anywhere without it. The way I’d write, I’d balance my laptop on it, and have my mic just squashed up next to me. One night, I was really going through it and I wrote this piano piece. There was this storm going on outside. I was there with my piano looking out the window. I’m hearing strong, angry wind winds. It was raining proper hard. I showed my mum this piece when I’d finished it and didn’t tell her anything about it. She listened to it and said ‘I feel like it’s like a storm or something.’ She could feel the weather and the rain! I’m making an EP currently that is vocals and piano based, and that’s one of the songs. It’s mad cause I’ve played it out at events and been worried that because I’m not singing, people won’t listen as much, but I think it actually had the biggest applause in the whole show, which has put more confidence in me to release more of this sort of stuff. I’m proper excited about it and some other bits I’ve been working on too. I can’t wait for people to see what’s incoming next.

€599 each, hedd.audio Berlin-based manufacturer HEDD Audio stands out from the competition with its innovative and accurate audio products. Now, it’s bringing two new active monitors to its portfolio, which promise unparalleled quality in their price range. The larger of the two, the Type 07 A-Core, features a seven-inch mid/bass driver, while the smaller Type 05 we have here comes with, you guessed it, a five-inch unit. READ MORE: IK Multimedia iLoud Micro Monitor Pro: Superb for on-the-go producers and for creators with poor acoustics The Type 05 A-Core has a small footprint ideal for home producers and creators with limited space, but would be equally at home sitting atop a console, for near-field monitoring in a professional studio. Although these are new products, they are essentially analogue-only versions of the company’s coveted DSP-enhanced MK2 monitors. For those who aren’t interested in the digital capabilities of the MK2, you get all the benefits of the MK2’s sound without the added expense of the DSP system. As such, the new A-Core series offers a more affordable entry into the prestige HEDD line-up. Like all the brand’s products, these new monitors are designed and hand-assembled in Germany. The hand-built AMT is an electrodynamic transducer that works on the principle of a folded Kapton diaphragm, with the multiple folds offering an effective driving area over three times higher than moving coil drivers and planar-magnetic and electrostatic types. As well as providing a superb transient response, the larger area avoids high excursion, with vanishingly low distortion, especially at the lower end of its operating frequencies. As it is, the AMT crosses over from the mid/bass driver at 2.5 kHz and extends all the way up to 50 kHz. Having such a quick tweeter is all very well but, unless the woofer can keep up with the pace, the sound can become disjointed. Thankfully, Type 05 A-Core’s mid/bass unit is made from a stiff yet lightweight honeycomb compound material, which pairs extremely well with the tweeter in terms of both speed and timbre. It digs pretty deep for such a small driver, reaching down to 43 Hz, so it can reproduce the lowest notes of a bass guitar, for example. The low-end is supported by two front-firing ports and if you monitor at high SPLs, you can feel a gust of air from them, so you know they are working hard to reinforce the bass produced by the little five-inch mid/bass driver. Each driver is powered by a dedicated 100-watt Class D-ICE amplifier, enabling a maximum SPL of 112 dB, ample for any real-world monitoring situation. Without the fine sonic tuning available from the DSP-equipped MK2, Type 05 A-Core features simple bass and treble controls for those who find them useful. They are located on the rear panel, either side of the larger volume control, so it’s easy to make level and tone adjustments if you are unable to see the knobs you wish to turn. Also on the rear panel are input sockets for unbalanced RCA connectors as well as balanced XLR and TRS cables. The IEC mains power socket and switch are located here also, however, a physical standby switch appears on the front panel for convenience. Tonally, the monitors are beautifully coherent from top to bottom, with no emphasis on any part of the audio spectrum. Low-end response from the five-inch driver is quite remarkable, sounding far deeper than you might expect. Bass quality is superb too; aside from digging deep, the bottom end is delivered with great agility, keeping things tuneful and making bass lines easy to follow. Upper bass and low-mids are super clean, without a hint of muddle or muddiness, and integration into the broad midrange is seamless. There are no audible peaks or troughs in the crossover region as the mid/bass driver mates with the AMT tweeter, so you don’t get the impression of two speakers coming out of one box with a mismatch in timbre or timing. In terms of treble accuracy, HEDD’s AMT unit is up there with the best ribbon and electrostatic designs, sounding crisp yet sweet with no rough edges or sharpness. Cymbals, percussion and other sounds with plenty of high-frequency content are reproduced naturally and realistically, with none of the clangorous hardness of inferior designs. The way that these monitors express atmospherics is extremely impressive, giving mixes a hear-through quality. This makes creating ambient cues, such as reverb and delay effects, intuitive. Set up with the right amount of toe-in, the Type 05 A-Cores are able to deliver an almost 3D holographic image with a real walk-around quality. While they are capable of great delicacy, sounding enchantingly ethereal with the right material, they also pack a powerful punch when monitoring more aggressive rock or electronica. It’s only when dealing with tracks that rely on a foundation of sub-bass that you might crave a larger monitor or a system comprising a subwoofer. While there’s more low-end weight and extension than you might expect from monitors of this size, you can’t, however, defy the laws of physics. I am extremely impressed with HEDD’s new and most affordable monitor. Individual sound sources are reproduced faithfully, and constructing complex mixes is made easier by both their top-to-bottom coherence and their deep, immersive sound staging. They don’t flatter recordings to the degree that mixes then sound flat and lifeless through domestic equipment, yet they aren’t as ruthless as, say, Yamaha NS10s, which become tiresome during lengthy mixing sessions. You can work with the Type 05 A-Cores all day and exclusively, not just to check mixes created with larger monitoring systems. HEDD’s MK2 range is rightly regarded as class-leading monitoring with all the brilliant onboard DSP technology and, more crucially, superb sound. So if you require simple, accurate analogue monitoring, without the need for added digi-tech, be sure to lend an ear to the Type 05 A-Core. It’s a fabulous near-field monitor that, for most bedroom producers and small studio set-ups, could be everything you need. Key features HEDD Air Motion Transformer tweeter 5-inch honeycomb woofer Dual 100 watt Class D amplifiers High and low shelving EQ Frequency range 43 Hz – 50 kHz Max SPL: 112 dB Inputs: RCA (unbalanced); XLR & TRS (balanced) 5-year warranty Dimensions: 308 x 180 x 245 mm The post HEDD Audio’s Type 05 A-Core monitors are practically perfect appeared first on MusicTech. View the full article

Photo Credit: Pop Smoke / YouTube UMG allegedly threatened to nix Pop Smoke’s posthumous debut album over their belief that a guest verse by Pusha T featured a Drake diss. Just after Pusha T dropped a bombshell claim that Def Jam urged him to censor a Kendrick Lamar guest verse on Clipse’s forthcoming album, his manager drops another. According to Steven Victor, who manages Pusha T and signed Pop Smoke to his imprint, Victor Victor Worldwide, UMG wanted to censor a Pusha verse from Pop’s posthumous debut album, which they believed featured a diss aimed at Drake. “What happened on the Pop Smoke song is that UMG thought that he was dissing Drake on that song,” said Victor. “He wasn’t, but they thought he was. Pop Smoke was released on my label, and obviously, I managed Pusha. So they came to me and said, ‘We’re not going to put this out now, unless you get Pusha to change these lyrics.’ Even though it has nothing to do with Pop Smoke, they’re like, ‘Either he changes these lyrics, or we’re not putting the album out.’” “First of all, he’s not dissing Drake,” argued Victor. “But how do you tell him to just change his lyrics or you’re not putting this album out?” Ultimately, Pusha was taken off the song, “Paranoia,” which was released on Shoot for the Stars, Aim for the Moon without his contribution. But the song in its original form leaked online, and led many fans to believe that Pusha’s lyrics were, in fact, taking aim at Drake. Meanwhile, Young Thug also called out Pusha for the nixed verse. “I don’t respect the Pusha T verse on the song with me and Gunna, ‘cause I don’t have nun to do with y’all beef nor does Gunna, and if I knew that was about [Drake] I would’ve made changes on our behalf.” “Don’t feel bad, nobody knew what the verse was about,” Pusha replied. “The label heads that stopped it didn’t even know. They only assume because [Drake] told them. The same way he told about the Ross ‘Maybach 6’ verse. And if he’ll tell record executives about rap verses, God knows what else he’ll tell. I don’t deal in police work, police rappers, or police n—as!!” View the full article

Photo Credit: Subtronics.net Subtronics makes his triumphant return to Los Angeles this December with a record-breaking five-night stand at the Shrine Expo Hall. The DJ’s first LA appearance since selling out the Kia Forum in 2023, this impressive run marks the second-highest number of sold-out shows by an electronic artist at the venue, just behind Fred again…’s historic nine-night streak. Subtronics’ 360-degree shows, which put him in the center of the Shrine Expo Hall, run from Wednesday, December 3 through Sunday, December 7. Remaining tickets are extremely limited for the December 3 show, while December 4, 5, 6, and 7 are already sold out. A touring juggernaut, Subtronics (whose real name is Jesse Kardon) has successfully brought his unique sound design to continuously sold-out major events. These include the annual Miami Music Week “Deadbeats vs Cyclops” event in March, his Cyclops Rocks at Red Rocks in April, and most recently, the launch of his 2025 Wynn residency in Las Vegas. Subtronics is appearing at the Shrine in support of his latest release, the EP Fibonacci Part 1: Oblivion. The project will unfold as two parts and converge into an album when the second part releases later this year. The eight tracks on Fibonacci Part 1: Oblivion are geared to connect with fans in live sets, while Part 2 will be an entirely different listening journey. Hailing from Philadelphia, Subtronics’ musical journey began with a fervor for his drum set and an appreciation for Radiohead. Discovering dubstep in high school ignited his passion for music production, which has propelled his artistic trajectory. In the past decade, Subtronics has honed his skills to create his signature sound design, which pushes the boundaries of electronic music. Known for his live performances and advanced mixing abilities, he has cultivated an ever-growing fanbase, headlining such festivals as Lollapalooza, Bonnaroo, Ultra Music Festiva, Electric Daisy Carnival Las Vegas, and more. Having sold out every headline tour since 2018, Subtronics inked a groundbreaking national tour deal with Live Nation in 2023. Notably, he has curated festival-level events at venues like Red Rocks, The Kia Forum, Tacoma Dome, The Armory Minneapolis, Hampton Coliseum, Barclays Center, and arenas around the country. He also holds his bi-annual, three-day festival, Cyclops Cove, in Boca Raton, Florida. Subtronics recently made the debut of his 2025 residency at Wynn Nightlife in Las Vegas during EDC Week. View the full article

RÜFÜS DU SOL ‘s Inhale / Exhale returns in a new form with Inhale / Exhale Remixed, as the Grammy-winning trio invite a global group of underground selectors to reinterpret their 2024 album. Known for balancing festival-scale emotion with late-night intimacy, the band hands over the keys to their world— resulting in a sprawling 15-track remix collection. Released via Rose Avenue / Reprise Records, the album sees the Sydney-born, LA-based band tapping into their roots. While we also see them extending a hand to the next generation of global talent. This album brings together a wide range of producers from across the electronic spectrum. Each artist offering fresh takes on the band’s most recent material. 15 Artists Put Their Spin on Inhale / Exhale Every track on the remixed album is reimagined by a unique artist. It includes contributions from producers spanning different scenes and sub-genres. Carlita opens the project with her take on Inhale. While Francis Mercier injects deep Afro-house flair into Levitating. Sofia Kourtesis reworks Standing at the Gates into something brighter and twitchier. Meanwhile, Swiss duo Adriatique lend their signature hypnotic pulse to In the Moment, an already-viral remix that predates the full release. In addition to highlights from Andrea Oliva, Enamour, Nitefreak, Maxi Meraki, and Emanuel Satie. Each remix offers a new portal into RÜFÜS DU SOL’s evolving sound. From the Studio to the Stadium—and Back Again Inhale / Exhale Remixed arrives as RÜFÜS DU SOL continue their world tour across North America and Europe. With nearly every date sold out—including stadiums in Los Angeles, New York, and Sydney, the Inhale / Exhale World Tour is now officially the best-selling solo electronic tour. It’s a massive flex for the genre. A clear indication of just how far they’ve pushed the boundaries between live performance, electronic production, and emotional storytelling. While the tour leans into spectacle, the remix album does the opposite—it narrows the lens. The intimacy of these reworks, many drawn from late-night after-hours aesthetics, restores RÜFÜS DU SOL’s music to the club spaces that first made them famous. The Art of Curation Part of the remixed album’s strength lies in its diversity—not just in geography but in sound. You’ve got Afro-tech pioneers (Nitefreak) and melodic house artist (Enamour). Also, Peruvian futurists (Sofia Kourtesis), and sonic sculptors like Samm and Moeaike all contributing. It’s a cross-section of where electronic music is headed right now —global, genre-fluid, and rooted in strong artistic identity. In an industry where remix albums often feel like afterthoughts, Inhale / Exhale Remixed stands out for its cohesiveness and range. This album doesn’t dilute the original— but it deconstructs it and rebuilds it for entirely new contexts. Inhale / Exhale Remixed by RÜFÜS DU SOL is streaming now on all platforms. Whether you caught them on tour or are just discovering the depth of the remix culture they support, this release is worth your attention. Best played loud, long after midnight. The post RÜFÜS DU SOL Releases 15 New Tracks: Inhale/Exhale Remixed appeared first on EDMNOMAD. View the full article

Photo Credit: Jimmy Buffett and Jane Slagsvol / Jimmybuffett.com Jimmy Buffett’s widow and his former business manager sue each other to remove one another from the administration of the late star’s estate. Jane Buffett (née Slagsvol), Jimmy Buffett’s wife of 46 years, and Rick Mozenter, his former business manager, are seeking to remove one another from the administration of the late singer-songwriter’s estate. Both parties have launched court actions against each other, each accusing the other of hostility and mismanagement of a trust containing $275 million worth of assets. Buffett’s wife became the sole beneficiary of a marital trust holding the bulk of the legendary hitmaker’s assets upon his death in September 2023. Her court filing says these assets, which include real estate and a 20% stake in his island-themed hospitality company, Margaritaville, are worth around $275 million. She was made a co-trustee of the marital trust alongside Rick Mozenter, an account at the business management firm Gelfand Rennert & Feldman. However, the relationship between the two parties has soured, with both pursuing litigation to remove the other from their administration roles tied to the estate. Mozenter’s petition, filed on Monday (June 2) in Florida, claims he was Jimmy Buffett’s “trusted financial advisor” for over 30 years. He further asserts that Buffett intentionally limited Jane Buffett’s control of the trust out of concern over his wife’s “ability to manage and control his assets.” “Other than serving as a non-controlling trustee, Jane has no ability to manage the trust,” write Mozenter’s attorneys. “This fact has made Jane very angry. As a result, Jane has repeatedly acted in a hostile manner toward Rick and has been completely uncooperative with Rick in his attempts to administer the trust.” Attorneys for Mozenter, from the law firm Comiter Singer, say Jane has refused to meet with him or otherwise assist him with “key duties” involved in managing the trust. Instead, Mozenter claims she has interfered with his work, namely by ousting her husband’s longtime law firm and harassing his former boat captain to such a degree that the trust was forced to pay a large settlement. But Jane tells a different story. Her court petition, filed in California on Tuesday (June 3), alleges that Mozenter has been “openly hostile and adversarial” while blocking her access to key information about the late singer’s financial portfolio. “Mr. Mozenter has failed to perform even the most basic tasks required of him in his role as co-trustee, including providing Mrs. Buffett with information concerning trust assets and finances, which has left Mrs. Buffett in the dark with regard to the state of her own finances,” write her attorneys, from the firm Sullivan & Cromwell. “Mr. Mozenter has belittled, disrespected, and condescended to Mrs. Buffett in response to her reasonable requests for information she undoubtedly was entitled to receive.” Jane Buffett’s court filing says she met with Mozenter a month after Jimmy’s death in October 2023, asking how much income she should expect to receive annually from the trust. According to Jane’s filing, Mozenter “dragged his feet” for 16 months, repeatedly ignoring her requests for an answer. In February 2025, Mozenter finally provided the requested estimate, but the results were “shocking.” Jane was told she would see less than $2 million in annual income, which her lawyers argue is not enough to cover her expenses and is “a remarkably poor return for a trust with an estimated $275 million in assets.” According to Jane’s lawyers, that estimate is even more surprising given that the trust had received over $14 million in distributions from Margaritaville over the previous 18 months. As a result, Jane became concerned that Mozenter was mismanaging the trust. She requested additional financial information from him, and claims he once again stonewalled. Further, Jane’s filing claims that in addition to being “unprofessional and combative” toward her, he refused her request to sell a piece of real estate in the Bahamas—despite the Buffett family rarely using the property, and the fact that it costs over $300,000 a year to operate. Both Jane Buffett and Rick Mozenter are seeking to nix the other from the marital trust’s administration and have a new co-trustee appointed. Mozenter’s petition also asks that the court remove Jane as the personal representative of Jimmy Buffett’s estate. View the full article