Ravebot

Photo Credit: Spotify Spotify unveiled major advertising updates at its Spotify Advance event in NYC earlier this month. The detailed changes led to online speculation that Spotify Premium members would begin receiving advertisements—sparking calls for cancelation if that happens. Spotify has flatly denied the rumor. Spotify Advance detailed several new changes to how Spotify will deliver ads on the audio platform. They include a new programmatic marketplace that enables real-time bidding for audio, video, and display ads across Spotify’s logged in users. Spotify also detailed new Gen AI ads allowing for the use of AI to create ads that leverage Spotify’s listener preferences. Several tweets circulated over the last few days following the event suggested that Spotify would follow in Netflix’s footsteps by introducing ads on paid plans. The rumor suggested the current $11.99 monthly Premium plan would see limited ads introduced, while Spotify would introduce a higher-paid tier for continued ad-free listening. “There is a rumor circulating that Spotify is putting ads into premium music listening,” Spotify tweeted to address the rumor. “This rumor is false. Premium music listening is and will remain ad-free.” Despite the denial, some users have reported encountering ads despite having a paid Premium subscription. Spotify has chalked up those issues to a technical glitch. But the social media backlash to a Premium tier with ads showcases how much people are paying to avoid ads—rather than support artists. “I hope Spotify knows that the only reason I use them is for Spotify Wrapped and I don’t need it. So the minute I hear a whisper, a hint, a concept of an ad, BYE!” reads one angry tweet about the potential change. These rumors gained traction among Spotify’s rumored upcoming ‘Music Pro’ tier, which is expected to offer higher-fidelity audio and additional features for a higher price—with speculation that ad-free listening would be bumped to this tier. View the full article

Driven by a desire for "uptempo catharsis", the London-born artist says the 10-track project was inspired by a "turbulent time" in her life Continue reading... View the full article

Driven by a desire for "uptempo catharsis", the London-born artist says the 10-track project was inspired by a "turbulent time" in her life Continue reading...

Bass Canyon headbangers, the moment you’ve been waiting for is almost here! To build some hype for this year’s lineup, Bass Canyon has prepared a city-wide scavenger hunt that will have you diving deep into the Bass Canyon universe. Get ready to put your detective skills to the test and unlock the first pieces of the highly anticipated lineup all throughout the country. This Wednesday and Thursday, Bass Canyon has prepared a series of thrilling scavenger hunts across 8 select cities, each leading you closer to the heart of Bass Canyon. Participating cities include New York, Chicago, Denver, Las Vegas, Los Angeles, Austin, Chiago, and Pheonix. Here’s the lowdown: Bass Coordinates: Before each hunt commences, we’ll drop “Bass Coordinates”—precise locations within each city. Simply input these coordinates into your favorite map app and embark on your quest! The Prize: The first intrepid headbanger to locate the hidden Bass Canyon poster and successfully complete the accompanying prompts will score a coveted Bass Canyon 2025 ticket! Yes, you read that right! More Prizes Await: Don’t fret if you’re not the first! Fans who arrive within the designated “time slot” and complete the prompts will be entered into a draw to win exclusive Bass Canyon merch, VIP upgrades, and other epic surprises. Hidden Surprises: They’ve also sprinkled in a few extra surprises along the way, ensuring that every participant experiences a unique and unforgettable adventure. The post Bass Canyon Announces 8 City Scavenger Hunt Series ‘Decipher the Drop’ appeared first on EDMTunes.

Levity and NITTI have joined forces for their first collaboration, "Like This," fusing trap with twisted basslines for a high-energy anthem. Out now via Ultra Records, "Like This" kicks off with a hard-hitting beat and provocative vocals that command attention. The collaboration wastes no time, quickly charging toward an explosive drop that melts into a chaotic bassline. Here, Levity’s funky bass style and NITTI’s boundary-pushing production shine through a relentless onslaught of playful wubs and distorted sound design. For Levity, "Like This" serves as another preview of their upcoming EP following the success of their single "Postman" and sold-out "Full Circle Tour." With performances lined up at Bonnaroo and Shambhala, among other major festivals, the EDM.com Class of 2024 trio are reinforcing themselves as one of the today's most exciting acts in electronic music. Listen to "Like This" below and find the new single on streaming platforms here. Follow Levity:X: x.com/levitymusic TikTok: tiktok.com/@levitymusic Instagram: instagram.com/levity.music Facebook: facebook.com/levity.music19 Spotify: tinyurl.com/y84m6cv2 Follow NITTI:X: x.com/nittimusic TikTok: tiktok.com/@nittimusicofficial Instagram: instagram.com/nittimusic Facebook: facebook.com/nittimusic Spotify: spoti.fi/2KfPAO1

RaveDAO dawns the deserts of Terra Solis Dubai on May 1, 2025. This time, not as a newcomer, but as a movement with momentum. Born in April 2024 as a crypto-conference afterparty, it quickly evolved into a global initiative fusing electronic music, blockchain, and philanthropy. Now, during TOKEN2049 Dubai, the RaveDAO one-year celebration lands at Terra Solis by Tomorrowland, where sonic meets the systemic. The event is co-presented by RaveDAO and Terra Solis. With staging worthy of Tomorrowland’s legacy and a unique desert venue, this experience reflects the next phase in RaveDAO’s evolution—no longer defined by last year’s Nightopia series, but looking ahead with sharper intent. This isn’t just a celebration. It’s a glimpse of what music culture could be: tech-forward, collaborative, and built with purpose. Guests who purchase tickets through PLVR will receive an NFT as proof of attendance, marking the intersection of rave energy and blockchain identity. This is where music meets technology. An atmosphere buzzing with Web3 leaders, global creatives, and passionate music lovers ignites conversations that go far beyond the dancefloor. The Frequency Is Feminine: Decentralizing Sound, Rewiring Power The night belongs to the music—but the message runs deeper. RaveDAO’s May 1 event doesn’t simply feature women—it centers them. Each artist carries a distinct sonic identity, shaping the night’s energy from open to close with intentionality and force. The full line-up and set times have been revealed: 9:00 PM – 10:30 PM: Jiayu opens with future-facing rhythms weaving Eastern motifs into experimental sound design. Her set will set the tone for a night where presence and atmosphere matter as much as tempo. 10:30 PM – 12:00 AM: Pretty Pink, Spotify’s Female Electronic Artist of the Year, builds melodic arcs that blend emotional warmth with precise control. 12:00 AM – 1:30 AM: Nifra, celebrated for her Tomorrowland mainstage performance, drives the night into trance-powered momentum with clarity and conviction. 1:30 AM – 3:00 AM: Lilly Palmer drives the event home with raw industrial precision, emotional tension, and her signature blend of mechanical and mystical energy. Together, they don’t just headline the night—they shift its foundation. Each set reframes what sonic leadership looks like in spaces historically dominated by men. In both Web3 and electronic music, this event signals something more than visibility. It’s a blueprint for cultural production that moves beyond aesthetics. It’s infrastructure—built through rhythm, resonance, and power shared in real time. Terra Solis by Tomorrowland: A Stage Made for the Future Set in the sweeping Al Marmoom Desert Conservation Reserve, Terra Solis is Tomorrowland’s open-air gem—a fusion of serenity and scale. The venue’s aesthetic details, stage production, and remote setting create a surreal atmosphere where sound feels sacred. On May 1, this desert sanctuary becomes RaveDAO’s ultimate expression—a night that blends intention with immersion. There won’t be elaborate installations or flashy distractions. The experience lies in the music, the staging, and the synergy between the crowd and environment. Guests securing access via PLVR will receive an NFT included in their ticket—a digital proof of participation that anchors each attendee in the story of the night. Music meets technology here—not for novelty, but for meaning. RaveDAO – Purpose Beyond the Dancefloor RaveDAO has always combined celebration with contribution. Previous events helped fund over 400 cataract surgeries through Nepal’s Tilganga Eye Centre and supported mindfulness education at Seattle’s Nalanda West. For the Terra Solis edition, the next chapter of giving is still unfolding. The team is currently exploring causes centered on women’s empowerment, leadership, and access—extending the message behind the music into actionable change. What makes RaveDAO’s approach different is its integration. This isn’t philanthropy as branding. It’s infrastructure. By embedding giving into the event’s DNA, RaveDAO transforms raving into ripple effect. At its core, RaveDAO isn’t just organizing another night out. It’s designing a model—one where music, technology, and impact form a living ecosystem. In the deserts of Terra Solis, RaveDAO and its vision comes alive. Be part of the magic and secure your tickets via PLVR.io. The post RaveDAO Marks Jubilant First Year With Lilly Palmer In The Terra Solis Desert appeared first on EDMNOMAD. View the full article

Miami Music Week serves as the ultimate launchpad for summer music festivals, uniting music lovers who have endured harsh winters or lingering post-holiday blues. On the second day of Ultra, EDMTunes caught up with Joel Corry, an English producer and dedicated fitness enthusiast. Known for his infectious house music and chart-topping hits, Joel exploded onto the scene with his breakout track ‘Sorry’, in 2019. Since then, he has crafted electrifying dance anthems like ‘BED’ with David Guetta, ‘Out and Out’ with Jax Jones & Charli XCX. Join us on an exciting journey as we delve into Joel’s impactful musical journey thus far. I’m Scott from EDMTunes here with Joel Corry at Ultra Day Two. How does it feel to be here? Feel’s so good, just came off Main Stage. That was my first solo Main Stage debut set and it was insane. Unbelievable. Joel, you’ve played at Ultra a few times before, and this is your first time on Mainstage as you mentioned. How does it feel from a smaller stage to the biggest stage? It’s amazing man. The first time I came here, I actually came with David Guetta. I just jumped up on for one song he premiered our track ‘What Would You Do’ and I got a little taste of it. I was on the Mainstage and at that moment, I said to myself I’ve got to get myself here on my own set one day. And fast forward three years, and it happened. Moments like that stay with you forever and it was definitely a big moment in my life. Over the years at Miami Music Week, you have played at all different types of venues, pool parties, and now festivals. What have been some of your standout moments over the years here? When I was 19 years old, I went to the University of Miami for a study abroad program. I spent a year living in Miami for university, and during that time, I had a fake ID that allowed me to get into nightclubs, including Mansion (now M2) and all the clubs on the strip. Miami means a lot to me because that year was a significant period in my life; it was my first time living away from home and my family, having moved from London. I remember hustling to get into those clubs and onto guest lists. Now, when I play my headline sets at venues like LIV, it feels like a full-circle moment for me every time I’m back in Miami. How has Miami changed since you were here as a study abroad college student to now? I feel like Miami hasn’t changed that much. It’s good vibes, party central. You can’t not have a good time in Miami. I love coming here and if I ever move to the U.S., Miami is where I am going to live. So have you seen a sunrise at Space or Factory Town? I have tickets to Space for the closing party and I go to that every year. All the work is done now, and it’s time to party. I love Space, and I have had some amazing big nights there. In terms of music, what do you have coming up this year? What are your plans? I just debuted a new track that I played on the Mainstage called ‘Daydream’, that is coming out this summer. Aside from that, I have big collaborations coming this year with some unbelievable artists. I don’t want to say their names, but watch this space as I have a big year coming up. I am really excited about some of the music coming. Would you say your sound is staying with what you’re familiar with or would you say Joel Corry’s sound is branching out? I believe it’s essential to keep evolving because trends and tastes are constantly changing. I was discussing this with someone the other day. When I first started producing music in 2014 and 2015, the sounds I created were quite different from the music I’m known for today. It’s fascinating how every artist experiences this evolution. Over the years, their tastes shift, and the music they release changes as well. As a DJ, it’s crucial to stay updated on current trends. We have the privilege of playing music for dance floors every weekend around the world, allowing us to observe what works and what doesn’t. We can use these insights as inspiration when we’re in the studio. Two years ago we caught up on Groove Cruise and you played a techno set. Is that something you’d like to explore more? I am a raver at heart and a huge fan of techno. After this interview, I’ll be heading to the Resistance stage. I also enjoy playing techno in my sets. As you mentioned, you saw me perform a full techno set on Groove Cruise. Whenever I get the opportunity to do extended sets, like the five-hour set I played at Ministry of Sound in London recently, I love to incorporate techno. The last two hours of that set were packed with techno bangers. For my Mainstage set at Ultra, I wanted to include the records that people know me for, so they can sing along. However, I was thinking about how I can adapt those tracks to bring that energy to the Mainstage. I added some techno drops and made edits to those records specifically for this Ultra set. What Ultra set are you excited to see on Day Two? I am excited to catch Anyma back to back Solomon on the Mainstage. Also looking forward to seeing Carl Cox Live on the Resistance stage. Some people don’t know that you actually started off as a fitness influencer. Then you moved into DJing and put the fitness content to the side for a bit. Now you seem to be merging the two worlds. Tell me your thought process there. Is that something you want to do more of? Fitness and DJing have been my two biggest passions in life. They started as hobbies, but I eventually turned them into careers. In my early 20s, I took fitness very seriously. I participated in competitions, attended expos, created fitness videos, developed an app, and secured sponsorships. However, as my music career began to take off, I had to prioritize it above everything else. You can’t fully invest in every aspect of life, and music and DJing became my top priority. Once I started seeing progress in my music career, I committed to it entirely, and fitness transformed back into more of a lifestyle and hobby for me. It’s no longer solely about physical performance; it has become a mental benefit as well. When I go to the gym, I feel great, especially while touring, dealing with jet lag, and the party lifestyle. I want to maintain my fitness by training hard, as it helps me be the best version of myself—not only in fitness but also in my DJing. Scott: It’s a great example to set for all the artists out there, dealing with burnout. This is the best way to be. Hope you readers got to know more about Joel Corry. Catch his Ultra set below and let us know what you think. The post EDMTunes Chats with Joel Corry at Ultra Music Festival appeared first on EDMTunes.

We're counting down the results from 2025's Top 100 Clubs poll live here from 15:30 BST

The group's last studio album, 'Not Music', came out in 2010

The pair played a mix of original songs and cover songs that included their take on Charli xcx

Vassel‘s “Fading Gold” is a gripping mix of melodic techno and progressive house, where feeling and rhythm come together to make a hypnotic sound journey. The deep, pulsing bassline of this track draws you in from the very first note. It’s like a steady heartbeat under ethereal sounds that shimmer like faraway stars. The tunes build with a bittersweet beauty that moves between sadness and happiness, like the beauty of its name, gold, which slowly fades into twilight. The way the track builds with textured pads, haunting voice whispers, and complex arpeggios that spiral into the unknown makes it sound like a movie score. The production has the dark, immersive energy of artists like Anyma and ARTBAT, but Vassel’s signature touch is clear—the way the bassline breathes, the small details in the groove, and the careful balance between deep reflection and dancefloor drive. Fading Gold does best in the hours between midnight and dawn, when you can get lost in the moment. This is the kind of song that wraps you up on a late-night drive, pumps through a foggy club at 3 AM, or plays in the background while you take a quiet walk in the city at night. It’s not just a song; it’s a feeling trapped in sound. It’s hypnotic, electric, and deeply emotional. The post Vassel unveils synth-driven melodic techno ‘Fading Gold’ appeared first on The Groove Cartel.

There are fewer than 100 of the Yamaha GX-1 synthesisers in existence

The experimental hip hop group spoke out against the “rumours and hearsay” Continue reading... View the full article

The experimental hip hop group spoke out against the “rumours and hearsay” Continue reading...

There were reportedly at least 300 people in attendance at the concert for merengue singer Rubby Pérez

The artist’s latest single, featuring Proxy Fae, is a reflection on gentleness, rhythm, and the transformative power of the dance floor. This single is a deep, emotive exploration of the balance between self-compassion and the urgency of life, encapsulated within a soundscape that invites listeners to both reflect and move. Available now on Beatport. Vallechi, an artist known for his ability to merge introspective themes with dance rhythms, has released his latest track, “Go Easy.” This collaboration with the duo Proxy Fae, featuring Nico Eon and Clau the Witch, serves as the first glimpse into Vallechi’s upcoming EP Cherry, scheduled for release in mid-2025. “Go Easy” carries with it an urgent plea for gentleness amid the relentless pace of modern life. Its lyrics, “Go easy on me, take it slow,” evoke a universal desire for relief and connection. The track blends Vallechi’s distinct club sensibilities with an introspective lyrical narrative, offering both depth and accessibility. At its core, the song is about finding peace within oneself while navigating a world that demands constant action. The collaboration with Proxy Fae is the next evolution of Vallechi’s ongoing artistic journey. Having worked with Nico Eon in the past, including contributions to Vallechi’s previous work, this partnership has grown into a creative kinship. Proxy Fae’s hauntingly pure vocals, led by Clau the Witch, anchor all the tracks on Cherry, ensuring a cohesive sonic experience throughout the EP. Together, the trio crafts a sound that speaks both to the mind and the body, blending emotional resonance with the driving rhythms of the club. Listen now! Vallechi’s journey as an artist has always been informed by a desire to shift the narrative around electronic music. He has often pondered a central question: What if clubs became spaces where people could find themselves, rather than lose themselves? This question has influenced much of his creative output, including Go Easy. The track reflects Vallechi’s aspiration to re-enchant the dance floor, transforming it from a place of escape to one of personal transformation and connection. The creative process behind “Go Easy” was instinctive and fluid, with Vallechi beginning the melody on his mobile phone using the Korg Gadget. From there, the track developed, its rhythm and emotional tone shaped by a need to convey strength and gentleness simultaneously. “The idea was that kindness didn’t need to be soft to be real,” Vallechi explains, adding that “Go Easy” was shaped by a desire to explore how care could manifest through rhythm and motion, not just stillness. The track also represents Vallechi’s exploration of new textures and musical references. Drawing on influences from UK club culture, ambient sounds, and devotional music, “Go Easy” is more than just a song — it’s an experiment in blending different genres and emotional responses. With contributions from Clau the Witch on vocals and a careful arrangement of synths, basslines, and electronic percussion, the track strikes a balance between vulnerability and the pulse of the club. Vallechi’s use of Ableton Live and Korg Gadget allows for an expansive, yet intimate sound that invites listeners into a deeply personal yet universally relatable space. “Go Easy” marks an important milestone for Vallechi. It’s a continuation of his exploration of music as a vehicle for self-expression and emotional depth. As he reflects on his work, Vallechi notes, “Music should be a place where we can breathe, where we can be vulnerable without being overwhelmed.” With his latest track, he invites listeners to slow down, take a breath, and embrace the gentleness within — all while celebrating the power of movement and connection. Looking ahead, Vallechi’s Cherry EP promises to further explore the themes of self-discovery, gentleness, and the transformative power of music. Following “Go Easy,” Vallechi is set to release his next single, “Sometimes,” on April 30, 2025, before unveiling the full EP later that year. With his evolving sound and vision, Vallechi continues to push the boundaries of what electronic music can convey, inviting both the listener and the dancer to experience something more profound on the dance floor. Vallechi’s “Go Easy” is a testament to the artist’s ability to merge introspection with club energy. It’s a song that speaks to those seeking connection, calm, and a gentle yet rhythm-driven space for self-exploration. As he continues to explore these themes in his upcoming EP, Vallechi’s music remains a reflection of his journey — one where the dance floor becomes a space of personal growth, compassion, and transformation. The post Vallechi’s New Track ‘Go Easy’ Marks a Step Toward Self-Discovery and Connection in Electronic Music appeared first on Electric Mode.

"WAV has been my soundboard of last year and I hope that people can feel the raw energy that comes from this album"

Emergency responders in Santo Domingo fear the death toll could rise as the search for survivors continues Continue reading...

Emergency responders in Santo Domingo fear the death toll could rise as the search for survivors continues Continue reading... View the full article

Pioneers of ambient and electronic music, Marconi Union announce their twelfth studio album, The Fear of Never Landing, set for release on June 6th via Just Music. Following the mesmerizing first single Eight Miles High Alone, the Manchester duo now shares Silence Is Gliding on April 16th, accompanied by the official music video. The Fear of Never Landing is a 55-minute sonic journey presented as one seamless piece divided into nine movements. The album captures the tension between fear and freedom, blending delicate pulses and atmospheric soundscapes to explore the complexities of modern life. The latest track Silence Is Gliding embodies the idea of letting go, with the duo adding: “It’s the idea of switching the engines off and freeing yourself from the noise of everyday life.” Creating the album was no easy feat. During the two-year process, Jamie Crossley and Duncan Meadows faced creative struggles, even questioning the band’s future. A turning point came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion at The Yard in Manchester. The experience reignited their passion, leading to the creation of ‘Eight Miles High Alone’ a hypnotic, sequencer-driven track that helped shape the rest of the album. Formed in 2003, Marconi Union gained global recognition for their 2011 track Weightless, scientifically proven to reduce anxiety and dubbed “the world’s most relaxing song.” With over 900 million streams, the track remains iconic. The duo’s distinctive sound has been praised by The Quietus, The Sunday Times, and Brian Eno, who invited them to perform at Norway’s Punkt Festival. Silence Is Gliding is out now, offering a glimpse into The Fear of Never Landing—an album that promises a deeply immersive and atmospheric experience. The Fear of Never Landing releases June 6th via Just Music. Pre-order here TRACKLIST 01 – Through The Heat Waves 02 – Eight Miles High Alone 03 – In Motion 04 – Inhale 05 – Crystalline 06 – Exhale 07 – One More Rush 08 – Silence Is Gliding 09 – Cloud Surfing The post Marconi Union are back with their twelfth studio album, The Fear of Never Landing appeared first on Decoded Magazine.

Pioneers of ambient and electronic music, Marconi Union announce their twelfth studio album, The Fear of Never Landing, set for release on June 6th via Just Music. Following the mesmerizing first single Eight Miles High Alone, the Manchester duo now shares Silence Is Gliding on April 16th, accompanied by the official music video. The Fear of Never Landing is a 55-minute sonic journey presented as one seamless piece divided into nine movements. The album captures the tension between fear and freedom, blending delicate pulses and atmospheric soundscapes to explore the complexities of modern life. The latest track Silence Is Gliding embodies the idea of letting go, with the duo adding: “It’s the idea of switching the engines off and freeing yourself from the noise of everyday life.” Creating the album was no easy feat. During the two-year process, Jamie Crossley and Duncan Meadows faced creative struggles, even questioning the band’s future. A turning point came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion at The Yard in Manchester. The experience reignited their passion, leading to the creation of ‘Eight Miles High Alone’ a hypnotic, sequencer-driven track that helped shape the rest of the album. Formed in 2003, Marconi Union gained global recognition for their 2011 track Weightless, scientifically proven to reduce anxiety and dubbed “the world’s most relaxing song.” With over 900 million streams, the track remains iconic. The duo’s distinctive sound has been praised by The Quietus, The Sunday Times, and Brian Eno, who invited them to perform at Norway’s Punkt Festival. Silence Is Gliding is out now, offering a glimpse into The Fear of Never Landing—an album that promises a deeply immersive and atmospheric experience. The Fear of Never Landing releases June 6th via Just Music. Pre-order here TRACKLIST 01 – Through The Heat Waves 02 – Eight Miles High Alone 03 – In Motion 04 – Inhale 05 – Crystalline 06 – Exhale 07 – One More Rush 08 – Silence Is Gliding 09 – Cloud Surfing The post Marconi Union are back with their twelfth studio album, The Fear of Never Landing appeared first on Decoded Magazine.

Photo Credit: HBO / Max Sean ‘Diddy’ Combs’ lawyers have subpoenaed Warner Bros. seeking raw, unedited footage from the HBO docuseries, ‘The Fall of Diddy.’ His lawyers sent the subpoena back in March to Warner Bros. asking for “all recordings, including raw and unedited footage” from the interviews with two accusers who appeared in the series. The docuseries aired on HBO/Max in January. The subpoena also contains a demand for any notes or journals the accusers gave the documentary’s producers and records of financial payments made to the accusers in connection to their involvement with the project. Warner Bros. is fighting the subpoena in court as Diddy’s trial looms in May. Lawyers for the studio asked a federal judge overseeing the sex-trafficking case to squash the subpoena in court today. A nine-page filing cites “reporter’s privilege” and calls Combs’ efforts an overly broad “fishing expedition.” “Mr. Combs seeks outtakes from interviews with two persons featured in the docuseries,” Warner Bros. lawyer Thomas B. Sullivan writes to US District Judge Arun Subramanian. “The interview outtakes it seeks are protected by the reporter’s privilege that applies to unpublished newsgathering materials,” the lawyer continues. Mr. Combs has not met, and cannot meet, his burden to overcome that privilege.” The Warner Bros. filing does not directly name the two accusers whose notes and outtakes Diddy’s lawyers want to see. Instead, the filing describes them as Individual A and Individual B. “Individual A is Mr. Combs’ former personal chef,” the document reveals. “She is featured in the docuseries speaking about how Mr. Combs treated her when she was employed by him, as well as various rumors she heard about his behavior during her time in his orbit.” Meanwhile, Individual B is called a “former romantic partner of Mr. Combs.” The lawyer’s petition says she was featured in the docuseries discussing the origins and path of her relationship with him, including one alleged incident of sexual assault.” Warner Bros. lawyers argue that Combs’ “fishing expedition” is an attempt to find something to use against those two accusers should they testify against him at trial. View the full article

Photo Credit: DMX by Mika Väisänen / CC by 3.0 The DMX Estate secures a victory in an ongoing lawsuit challenging their sole ownership of the late rapper’s copyright and IP rights. DMX’s estate has secured a major victory in an ongoing lawsuit that challenges the estate’s sole ownership of the late rapper’s copyright, trademark, and other intellectual property rights. The judge issued a decision and order on Monday (April 7) that rejects the claims by DMX’s ex-wife, Tashera Simmons, that she co-owned his IP rights accrued during their marriage and is entitled to 50% of all revenue generated. The decision reinforces that the estate, represented by Kurzman Eisenberg Corbin & Lever, LLP and Manatt, Phelps & Phillips, LLP, is the sole owner of all such rights. Tashera Simmons’ rights, therefore, are limited to a portion of record and music publishing royalties generated by musical works that her former husband released during their marriage. “[The Estate] is the sole owner of all intellectual property rights (including all copyrights and trademark rights) that [DMX] acquired during his marriage to [Simmons], as well as any and all trademarks and intellectual property rights that belonged to [DMX] at the time of his death; except as specifically set forth in five Letters of Direction signed by [DMX],” wrote Judge David F. Everett. “[Simmons] has no income interest and is not otherwise entitled to any monies of any kind generated by or attributed to services rendered by [DMX], and/or to copyrights and trademark rights […] acquired during his marriage to Plaintiff.” DMX, real name Earl Simmons, who began rapping in the early 1990s, passed away on April 9, 2021, at only 50 years old. His influence on hip-hop is undisputed; his aggressive style and violent lyricism helped popularize the horrorcore genre. Throughout his career, he won an American Music Award, a Billboard Music Award, and was nominated for six Grammy Awards. DMX was the first artist to have their first five albums consecutively debut atop the Billboard 200. By 2021, he had sold over 75 million records worldwide. His international hit, “X Gon’ Give It to Ya,” released in 2002, saw a resurgence in popularity in 2016 when it was featured in the Marvel film Deadpool and its trailers. DMX’s eighth and posthumous studio album, Exodus, was released a month after his passing, on May 28, 2021. View the full article

There was a time when Bondi Beach didn’t just have a lacklustre shimmer under fireworks on New Year’s Eve, it raved into the future. From the turn-of-the-millennium madness of NYE 1999/2000 to the epic Shore Thing era featuring The Chemical Brothers, Fatboy Slim, and Skrillex, Bondi wasn’t just a postcard, it was an epicentre of global club culture. Now, after more than a decade of silence, it may finally return to the most iconic beach in the world. Waverley Council has officially opened expressions of interest to bring back a New Year’s Eve festival on Bondi Beach, reigniting hopes that Shore Thing, the legendary party that ended in 2014, might be reborn for a new generation of ravers, music lovers, and sun-soaked dreamers. Australia has thrown some wild parties, but NYE 1999/2000 on Bondi Beach is still spoken about with reverence. That night, more than 20,000 revellers danced through the new millennium under a technicolour sky, powered by an all-star electronic lineup. It was a defining moment in Australian dance culture, placing Bondi firmly on the international map. Throughout the 2000s and early 2010s, Shore Thing brought dance music royalty to Sydney’s most iconic beach. The Chemical Brothers, Snoop Dogg, Fatboy Slim, Calvin Harris, and Skrillex all lit up the sand, backed by massive production and a crowd that knew how to party. It wasn’t just a beach event, it was an annual pilgrimage for lovers of electronic music from across Australia and the globe. Fast forward to 2025, and Sydney’s nightlife is still recovering from a tough decade of lockouts, red tape, and COVID-related shutdowns. But the desire to bring back Bondi’s beach festival is about more than nostalgia—it’s about reigniting Sydney’s soul. “Sydney needs to come alive again,” says Damion Pell, Editor of Decoded Magazine. “We need to remove restrictions, embrace our culture, and become a truly international city once again. Reviving Bondi Beach on New Year’s Eve is a powerful statement—it’s not just about the music, it’s about reclaiming our identity as a city that celebrates life after dark.” Waverley Councillor Michelle Stephenson, who attended Shore Thing herself in the 2000s, agrees. “Live music is one of the key factors we want to utilise to bring energy back to Bondi. Post-COVID, locals were feeling a lack of connection to the community and each other. This is how we bring that back.” The council has already re-engaged Fuzzy Events, the producers behind Field Day and past Shore Thing editions, to take over Bondi’s Mardi Gras beach party, signalling a potential return of serious festival expertise to the shoreline. And the industry is watching. Olly Arkins, Managing Director of the Australian Festival Association, recently addressed the council in support of the plan. “Events like this create unforgettable experiences for audiences and provide huge cultural cache for our city. Having an event on Bondi Beach during New Year’s Eve… I can’t think of anything more Sydney than that.” It’s not just about international acts either. Arkins stresses that a new NYE festival would be a golden stage for emerging Aussie artists. “Festivals are one of the few opportunities for up-and-coming local artists to get in front of large audiences. A 15,000-strong crowd on Bondi Beach? That’s career-changing.” Cr Stephenson already has her dream lineup. “Homegrown heroes like Dom Dolla and Fisher would absolutely destroy that stage, but artists like John Summit, Barry Can’t Swim, Vintage Culture, and Peggy Gou would take it to the next level. The list is endless.” She’s not wrong. Bondi deserves a lineup that reflects the city’s status as a global capital of culture, music, and sunshine. And with Sydney already hosting Field Day on January 1, the idea of a NYE blowout on the beach followed by a recovery party in the Domain sounds like a dream double-header. While Australia’s festival circuit has taken a beating—Splendour, Groovin the Moo, and even Bluesfest facing cancellations or scaling back—Bondi Beach is uniquely poised to revive not just a party, but a cultural movement. As we approach 2025’s NYE, one thing is clear: Sydney is ready for its moment. It has been waiting. And if Bondi Beach is anything like it used to be, when that needle drops again, it’s going to echo across the world. Decoded Magazine will keep you updated on the progress of Bondi’s NYE resurrection. Summer in Sydney might just be about to get legendary again. The post Waverley Council wants New Year’s Eve festival to return to Bondi Beach appeared first on Decoded Magazine.