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In a city renowned for its obsession with outdoing itself, it's only fitting that the first electronic act to headline the futuristic Vegas Sphere would debut in truly jaw-dropping fashion. Over the 2024 holiday season, Anyma delivered against even the loftiest of expectations, unveiling "The End of Genesys" in a breathtaking fusion of music and transhumanist art. Engulfed by the world's largest wraparound LED screen, he orchestrated a performance that felt less like a traditional dance music concert and more like a sci-fi opera set to the cinematic pulse of techno. From the moment his colossal robot visuals smashed through the digital "fourth wall," it was clear that Anyma didn't just just aim to dazzle spectators in the immediate moment—he sought to present an entirely new vision for what the future of electronic music performance could become. We were in the Sphere for both the opener of Anyma's historic residency as well as its climax: the New Year's Eve show. Read on to discover some of the most extraordinary revelations and moments from "The End Of Genesys," which is set to wrap up with shows January 10-11, 2025. Anyma performing his "The End of Genesys" show at the Vegas Sphere on December 29th, 2024.c/o Anyma Sphere's inner skyline: A fitting NYE countdownAs the final seconds of 2024 ticked away, the Sphere transformed into a canvas for one of the most unforgettable moments in its short but storied history. Anyma's iconic Afterlife humanoid burst through a wall of shimmering, digital glass—not into its usual abstract dimension, but instead revealing the real-life Las Vegas skyline in stunning hyper-reality. For a brief moment, it felt as though the Sphere’s dome had simply vanished, leaving the crowd exposed to the city’s glowing horizon. Fireworks ignited in perfect synchronization, flooding dazzling reflections across the venue's sprawling screen and the faces of the awestruck audience. It was a celebration of innovation, a moment where Anyma’s vision, the Sphere's bleeding-edge technology and the feel-good energy of the holiday season all contributed to a spectacle that could only be described as transcendent. View the original article to see embedded media. A symphony of robots and stringsThere’s a reason Anyma refers to his Sphere show as "a cybernetic opera." From the floor of the venue, a dual set of robot cellists flanked the artist, bringing the show's epic melodies to life. Each stroke of the bow became a meditation on transhumanism, a central theme in the Afterlife storyline. As the spectral tones intertwined with the steady pulse of techno kickdrums, the stage transformed into a shrine for the coexistence of humanity and technology. In the moment, Anyma and his mechanical counterparts seemingly merged into a single entity, reflecting the expanded potential unlocked when human creativity fuses with the technological tools of the future. View the original article to see embedded media. Virtual avatars redefine stage presenceIn "The End of Genesys," Anyma challenges the perception of what it means to be "present" onstage. Ellie Goulding’s likeness appears in a larger-than-life digital form, her face fragmenting and reassembling in time, synced to a haunting unreleased collaboration the two powerhouse artists have in the works called "Hypnotized." Though she was only physically present on opening night, her virtual presence at the venue is so vivid and immersive that it feels as though she's commanding the stage in real-time. Anyma himself also became part of the digital evolution, briefly morphing into a virtual avatar of his own within the Afterlife storyline. During a stunning performance of "Human Now," an unreleased collaboration with Empire of the Sun, an android transforms into the Italian superstar—tattoos and all—with stunning clarity. This pioneering integration of virtual and physical likenesses points to an emerging new frontier in live performance, one where avatars enhance, expand and redefine the boundaries of performative art. View the original article to see embedded media. View the original article to see embedded media. The continuity of crowd energyWhile the Sphere's groundbreaking visuals and Anyma's meticulously crafted performance were undeniable highlights, the energy of the crowd added its own irreplaceable dimension to the experience. That was partly due to the venue’s haptic feedback elements, including seats that vibrate in alignment with the onscreen action. Such design elements collectively created a unique sense of physical connection between the audience and the performance that's not often felt at large-scale venues. It was as though the audience members were plugged directly into Anyma’s cybernetic universe, but even so, many still felt inclined to get on their feet and dance. Regardless of how one chooses to enjoy the show, the crowd’s energy is palpable, with people audibly erupting in collective awe as the high-stakes production unfolded around them. The full-circle finale: Man and machine become oneAs the show draws to a suspenseful close, the spoken-word lyrics of "Eternity" ring into the void, tying the present pinnacle moment in the saga of Afterlife back to the brand's earliest origins. It's poetic, almost cyclical: "Eternity" and its associated humanoid robot visuals were the sparks that turned Afterlife into a bona fide global phenomenon, and now they served as the emotional anchor for the show's climactic conclusion. By returning to the very concept that first connected audiences with his vision, Anyma reminded us that even in the vastness of his cosmic carnival, there's a distinctly human vision and intuition that continues to bring it all to life. Follow Anyma:Instagram: instagram.com/anyma TikTok: tiktok.com/@anyma X: x.com/anyma_eva Facebook: facebook.com/anyma.ofc Spotify: tinyurl.com/2p976k79

Behind every groundbreaking performance lies innovation born from necessity, and Anyma‘s “The End of Genesys” at The Sphere is no exception. Originally a laid-back discussion in the coziness of an Ibiza summer, what started out as a simple performance interface for electronic music has developed into one of the most complex ones available for musicians to use live. What is TEILE Elektronik? The narrative starts with TEILE Elektronik, a passion project born out of the joint ideas of two inventors: Benjamin, a technical master with a vision for transforming performance technology, and Rampa, the revered DJ and co-founder. Rampa’s years of performance provide insight into what artists really need, so their collaboration exemplifies the ideal mix of technical knowledge and practical experience; Benjamin’s engineering ability brings these concepts to life. Anyma’s custom TEILE Elektronik controllers What is the custom controller used in The End of Genesys show? Anyma’s performance arrangement centers on their masterwork, a dual-controller system that pushes the envelope of live electronic music capability. Instead of compromising for off-the-shelf fixes, this custom-designed interface has two painstakingly created control surfaces with six precision knobs and faders. These controllers are the result of many hours of improvement, not only bits of hardware that guarantee every touch and movement exactly converts into sound. The arrangement has an equally arresting visual design. Designed in translucent acrylic, the controllers’ internal operations are purposefully revealed to produce an intriguing interaction between form and function. LED wires slink their way through the clean container to the DJ booth’s base, their soft glow accentuating the futuristic look that marks The End of Genesys exhibition. How does the controller integrate with The Sphere? The monitor running Ableton Live, the neurological hub of the whole performance, lies at the core of this technical symphony. This is about arranging a sophisticated dance between music and images, not only about running tracks. Every single component of the presentation is painstakingly timecoded to guarantee flawless alignment with The Sphere’s large LED display. Anyma sets off a sample or starts a track, and the whole room responds in perfect harmony to provide an immersive experience not possible a few years ago. The effect modules of the controller give hitherto unheard-of control over the soundscape. Every knob has been meticulously tuned to control particular settings – reverb, delay, release, and more – thereby enabling Anyma to design the sound precisely. For a facility like The Sphere, where the HOLOPLOT audio system demands perfection in every frequency, this degree of control is very vital. Anyma’s custom TEILE Elektronik controllers at the Sphere for The End of Genesys This arrangement is really innovative since it perfectly interacts with The Sphere’s sophisticated technical system. Every movement, every change, every trigger is a part of a bigger choreography beyond just sound. From the robotic performers to the huge canvas of LED panels around the audience, the unique interface commands a full digital orchestra, and not only controls the music. Who created this setup? The quick development from idea to reality tells volumes about the technical knowledge of the TEILE team as well as Anyma’s clear show vision. Rampa feels delight in how fast they were able to turn an aspirational vision into a working reality as he considers the path the project took from an Ibiza talk to its fruition at The Sphere. This is about reinterpreting the interaction between artist, technology, and audience, not only about producing a fresh piece of gear. Developed for The End of Genesys, the unique controller system marks a major advance in how electronic artists could interact with their surroundings during live events. It establishes a new benchmark for what is feasible when technical innovation meets artistic vision, therefore demonstrating that creativity alone will define the future of electronic music performance. The post Inside Anyma’s Custom TEILE Hardware Setup for The End of Genesys appeared first on The Groove Cartel.

Axtone, a name stamped in the minds of many electronic music lovers. The label has released some of the biggest house tracks ever and is well known for being founded by Swedish legend Axwell. Although, in the past years, the name has lost some of its power, with few releases and no anniversary celebrations, affecting the brand. Online, fans spoke out expressing their disappointment regarding the lack of involvement showed by those who run the business. Axwell’s current relation to AxtoneNow, it looks like Axwell has resigned from any role at the label. According to the UK Companies House website, the DJ left the director position on the 22nd of November, the same day that the Axwell‘s role of a person with any significant control in the label was ceased. The founder seems to have sold Axtone to Parham Benisi, partner in the investments team of Swedish company, Pophouse Entertainment. Who are ‘Pophouse Entertainment’Pophouse specialises in acquiring music catalogues and developing entertainment brands. Avicii, Swedish House Mafia, and KISS are among the artists whose catalogues are owned by the company. With Axtone being added to their list, a revival could be possible considering Pophouse‘s views to developing brands. Axtone’s LegacyAxtone was born in 2005 and since then has brought the world sounds like Axwell‘s “Centre of The Universe,” “Sunrise” by The Aston Shuffle and Tommy Trash, as well as D.O.D‘s hit, “Sleepless” and many others. Throughout time, the label has hosted stages at big festivals such as Tomorrowland and Creamfields, as well as parties during Miami Music Weeks. Besides this, it has also played a big part in launching new artists. Axtone NowIn recent years, less and less music has been published by the label. In 2024, only four songs were released on Axtone, and posts on social media have been rare, causing the label to lose publicity. With the new ownership in place, Axtone‘s legacy will hopefully get back on its feet, although without Axwell, it may never be the same again.

As most Forest Family know, Kevin Graves, 28, notoriously went missing at the 2018 installment of Electric Forest in Rothbury, Michigan. His family has been looking for him ever since, and with each new year, missing person flyers and nearby billboards resurface, serving as a painful reminder for friends, family, and festival attendees. Now, six and a half years later, two hunters discovered human remains on private property near the festival grounds, and Michigan state police have positively identified the remains as Kevin Graves. According to State police, it may take several months to determine the cause and manner of death, but there “are no indications of foul play at this time.” The hunters found the remains earlier this week (Monday, December 30th), and according to Gary Graves, Kevin’s father, they also found “his wallet, his phone, and he had a (festival) wristband on.” Gary and his wife, Kathy Graves, both residents of Howell, Michigan, previously provided detectives samples of their DNA and access to their son’s dental records. Electric Forest Festival Grounds The Nearly Seven-Year Search Kevin’s family spent the last several years looking for him, including several unsuccessful searches throughout the festival grounds and adjacent properties. The hunters were clearing land for a shooting lane when they discovered the remains, according to Gary. “With the dogs and everything they claim they had running around there looking, I can’t see how we missed him. But I can’t say for sure until I know exactly where it was at.” -Gary Graves, Kevin’s father At the time of his disappearance, Kevin worked at a coating company and lived with his then-girlfriend of nearly two years in Oakland County’s Highland Township, where she reported Kevin Graves as a missing person on July 3, 2018. Many rumors surrounding his mysterious disappearance circulated in the following years, including everything from him joining a cult to heading out West to work at a marijuana farm, Gary said. Gary also said he was present during an interview with a couple who camped next to Kevin Graves and his former girlfriend during the 2018 festival. The couple reportedly observed Kevin Graves crying and walking away after arguing with his girlfriend, Gary said. This occurred on July 1, 2018, and the festival concluded the following day. According to MLive via a Freedom of Information Act records request, police reports indicated Kevin’s last cell phone activity was a call placed to his father’s cell phone on July 1, 2018. Electric Forest Campgrounds What Comes Next The family suspects foul play; however, the cause and manner of death haven’t been determined yet by police and are pending the results of an autopsy. While Gary suspected Kevin might have died, the reality hadn’t set in until an Oakland County sheriff’s official pulled up to his house around 3:30 p.m. on Monday December 31. “We didn’t really want that answer… We were hoping one day he’d come walking up the driveway.” -Gary Graves Source – [H/T] The post Police Identify Remains Found Near Electric Forest Grounds As Kevin Graves appeared first on EDMTunes.

As we usher in the first Friday of 2025,dive into the electrifying debut single in the afrohouse genre: ‘All Good Things (Come To An End)’. Introducing AfroSalto, a fresh duo that has teamed up with Miami’s dynamic Mednas to deliver this captivating anthem. Start 2025 on a high note with this uplifting tune. Now available now on Spinnin’ Records—your soundtrack to an amazing year ahead! ‘All Good Things (Come To An End)’ The highly anticipated collaboration between AFROJACK and Dutch producer Gregor Salto has finally arrived. They delivers an unforgettable afrohouse track titled ‘All Good Things (Come To An End)’. Drawing inspiration from Nelly Furtado’s iconic hit, this vibrant track perfectly encapsulates the joy of reconnecting with loved ones and celebrating life’s fleeting moments. This remarkable tune blends deep storytelling with an infectious dance energy, making it a must listen. Its layered melodies evoke a captivating sense of nostalgia while ensuring a contemporary and progressive sound. With crisp percussion, lush pads, and a driving bassline, AfroSalto and Mednas exhibit their remarkable attention to detail, resulting in a polished and impactful song. ‘All Good Things (Come To An End)’ truly embodies this vision. Originates from a warm, irresistible groove where organic percussion mingles seamlessly with sweet rhythmic melodies, the melancholic essence of the track is expertly balanced by its deep club atmosphere. Both artists draw on their underground backgrounds and extensive expertise in classic afro house to elevate the experience. Miami-based producer Mednas infuses undeniable energy into the mix, creating a fresh groove that’s destined to captivate dance floors worldwide. AfroSalto Two of Holland’s most iconic DJs, Afrojack and Gregor Salto, embark on an exhilarating new journey, creating a dynamic collaboration AfroSalto. This partnership represents a remarkable fusion of talent, bringing together two artists who have profoundly influenced the electronic music scene. Initially dominating the Dutch music landscape since the early 2000s, they have since winning global audiences with genre-defining festival hits. Afrojack has been a driving force behind the EDM phenomenon. Well known for his legendary collaborations with stars like Pitbull, Ne-Yo, David Guetta, Eva Simons, and Steve Aoki. In parallel, Gregor Salto has carved out a unique niche with his winning Latin house sound,. He has earned acclaim worldwide through hits like ‘Can’t Stop Playing’with Dr. Kucho! and ‘Magalenha,’ featuring Sergio Mendes. As we approach 2025, the excitement builds around AfroSalto, where these two icons will revive their shared passion. Their aim is nothing short of revolutionary: to redefine afrohouse by weaving in emotional depth and irresistible grooves that will echo with fans. Enjoy this new track and stay tuned for an exciting new year with EDMTunes. The post AfroSalto x Mednas – ‘All Good Things (Come To An End)’ appeared first on EDMTunes.

A group of 16 to 20-year-olds were wounded in the incident Continue reading...

The late-night raver seems to be fading away. Major cities around the world have been reporting a decline in club culture. The closure of clubs has been cited as rising costs, declining tourism, Generation Z’s diminishing enthusiasm for traditional clubbing, and the growing popularity of music festivals as key factors behind its closure. These challenges reflect a broader trend reshaping nightlife across major cities, including Berlin, Barcelona, Melbourne, and New York. Club-goers are ending their nights earlier despite dance music’s growing global appeal. Between 2014 and 2024, the proportion of events running past 3 a.m. dropped in 12 of 15 international cities, according to a Financial Times analysis of Resident Advisor listings. More restrictive licensing regulations, particularly after COVID-19, have further strained clubs. While some cities had embraced initiatives like night mayors and “24-hour city” policies, pandemic-era oversight has led to stricter enforcement of late-night operations. Daytime events and festivals are also gaining popularity. Mike Vosters, founder of Matinee Social Club, noted that his early evening New York parties, initially designed for millennials seeking earlier nights, have seen growing interest from partygoers in their 20s. He attributed this shift to a cultural move away from “bottle service” clubbing and toward healthier, more balanced lifestyles. In Melbourne, often dubbed the world’s live music capital, the nightclub scene has sharply declined over the past two decades. Rising costs and shifting consumer habits, particularly post-pandemic, have led to over 100 club closures in recent years. Despite these challenges, electronic music continues to thrive. A report by the International Music Summit revealed the industry grew by 17% in 2023, generating $11.8 billion in annual revenue. Additionally, the number of venues hosting more than five events annually rose by 60% across 15 cities from 2014 to 2024, with artist bookings nearly doubling during that time. The post Late-Night Dancing Falls Into Global Decline appeared first on EDMTunes.

Riot police prevented over 6,000 ticketholders from​ entering the event on New Years Day, which was set to be headlined by Richie Hawtin and Luciano Continue reading...

Forget the resolutions and turn up the volume—2025 is all about discovering the next wave of electronic music stars. Get ready to watch these rising talents take the scene by storm. 1. Disco Lines This Colorado-native is a force to be reckoned with. From playing Ultra Miami main stage to securing a spot on the 2025 Coachella lineup, Disco Lines has had quite the year. And- he’s only going up. He’s known for his infectious house melodies infused with some future bass and disco-tinged pop. The 25-year old even launched his own independent record label last year- Good Good Records. 2. Jay Eskar Jay Eskar’s talent doesn’t go unnoticed. I’ve personally had the pleasure of watching him and his sound grow and transform over the years- and I think he’s about to strike gold. His future house music takes his listeners through an emotional journey, where he strives to help them connect with themselves deeper to unleash music’s limitless potential. While no upcoming tour dates have been set for this Mexican-native, we will hopefully be seeing him back in the spotlight real soon. 3. MISS DRE Sugar, spice, and some naughty and nice- that’s MISS DRE. She is house and techno’s unstoppable triple threat—DJ, producer, and vocalist. Hailing from the Bay Area, her sound is defined by gritty downbeats, hypnotic motifs, and an electrifying stage presence. Over the past several years, she’s been handpicked to support Green Velvet, John Summit, and Mau P– to name a few. MISS DRE’s career is just getting started, with a bright future ahead and a lot to promise as we head into the new year. 4. YDG In a short time, this South Korean artist has emerged as a standout name in the underground bass scene. His signature style- a combination of dubstep and experimental bass- has received nods from industry icons like Excision, Sullivan King, and DJ Diesel. YDG has even released tracks with Gryffin, Yellow Claw, Riot Ten, ARMNHMR, and more. From humble beginnings to making his mark on the main stage, YDG is a name you’ll want to follow. 5. Bleu Clair Bleu Clair has a truly unique sound like no other- in my opinion. He’s an Indonesian DJ and producer who debuted on MonsterCat with his song ‘Hit List’ back in 2020. Over the past few years, Bleu Clair has redefined dance floors around the world with his blend of tech and bass house, which radiates a dynamic energy and delivers a future-foward house music sound. He has also collaborated with some of the industry’s leading artists, like his song ‘Make You Mine’ with Martin Garrix‘s tech house alias, Ytram. If you haven’t listened to Bleu Clair yet- 2025 is the time to do it. 6. Jackie Hollander This young DJ almost gave up her music career entirely a few years ago- San Francisco-based artist Jackie Hollander remarked in a recent interview with DJ Mag. And we’re so glad she didn’t. Since then, Hollander has released melodic house and techno tracks that have landed on labels like Nervous Records, REALM and There Is A Light. She has made waves at nightclubs across southern California- and will soon be making even more around the world. The future is bright for Jackie Hollander and we’re excited to watch her make it happen. 7. Parisi PARISI is a Grammy Award-winning Italian music duo formed by multi-instrumentalist brothers Marco Parisi & Giampaolo “Jack” Parisi. You may have heard of them from their working relationship with Fred Again that resulted in co-production credits on his album ‘Actual Life 2’, as well as Ed Sheeran’s ‘Afterglow’. They’ve also co-produced and written for artists like Will.i.am and the Black Eyed Peas. Needless to say, PARISI is destined for greatness in 2025 and beyond, so be sure to keep an eye on them. 8. Riordan Think minimal deep tech house meets garage meets afro-house- that’s Riordan. This UK DJ and producer first burst into the dance music scene with his viral TikTok mixes, and has been on the rise ever since. He’s even become one of my personal favorites, with his tracks ‘Paco’ and ‘La Samba’ with Wax Motif on repeat. Riordan recently finished his North America tour late last year, with more shows on the way. Stay tuned to see what this talented artist is up to next. 9. MARTA She’s on the rise and she’s moving fast- she is MARTA. The Toronto-native stole the spotlight in 2024 with her unique blend of house music and techno. MARTA opened for EDM all-stars like Dom Dolla, Mau P, and Odd Mob, sold out to headline shows in Canada and the UK, and appeared on four different main stages in just one year. Fasten your seat belts and prepare for a major MARTA breakthrough in 2025. 10. Rivo We can’t have a Top 10 EDM Artists to Watch in 2025 post without mentioning Rivo. This French DJ and producer blew up on TikTok in 2023 for his unofficial remix of Disclosure‘s ‘You & Me’, which earned him a co-sign from Disclosure himself. Since then, Rivo has been taking the electronic music world by storm. He spent 2024 touring around the world, and is destined to grace some festival main stages heading into 2025.

Friends and family of former Pendulum vocalist and MC, Benjamin "Verse" Mount, have rallied around him through a GoFundMe campaign as he battles leukemia. The fundraiser has surged beyond its initial £20,000 target, currently surpassing £58,000 at the time of this writing. The campaign, launched last year by Mount’s brother Jeremy, was prompted by a series of daunting health crises that began in August with a severe, unexplained cough and culminated in an acute monoblastic leukemia diagnosis. Mount, once a staple on Pendulum's live tours, was first hospitalized in Spain for what doctors initially suspected to be tuberculosis. Instead, he was found in September to have a rare infection that led to him being placed in a medically induced coma. According to Jeremy, the infection mutated at a startling rate, prompting an international scramble by medical teams to identify effective treatments. Mount ultimately overcame this terrifying ordeal, but he soon faced another obstacle: a diagnosis of acute monoblastic leukemia. After more than four months in the hospital, he is continuing to endure chemotherapy treatment. The family’s GoFundMe campaign aims to address the incessant and extraordinary costs associated with Mount’s rehabilitation, including nursing care, childcare for his two young daughters and mobility solutions until the venerable MC can fully rise to reclaim the mic. Mount, who parted ways with Pendulum in 2017 to focus on his own production, began work on new music. His first track since the diagnosis, "Recovery" featuring Youngsta and Cimm, was released in late-December, signaling a creative spirit that refuses to be dampened by his present health challenges. You can find the GoFundMe campaign here. View the original article to see embedded media.

Michigan State Police confirmed Thursday that human remains discovered on December 30th, 2024 near the grounds of Electric Forest have been positively identified as Kevin Graves, who was last seen at the festival's 2018 edition. Dental records were used to confirm the identity, according to local reports, with assistance from Western Michigan University’s Homer Stryker M.D. School of Medicine. Investigators collected additional evidence from a "wooded area" near the Double JJ Resort in Rothbury, where the remains were found. Graves, 28, reportedly disappeared following a verbal altercation with his girlfriend on July 1st, 2018. He had told her that he was going to walk back to their campsite, but was never seen or heard from again. UPDATE: Detectives from the Michigan State Police (MSP) Hart Post have confirmed that human remains located Monday, December 30, 2024, are that of Kevin Graves, of Highland Township, Oakland County, who was reported missing to the Oakland County Sheriff’s Office in 2018 after… — MSP Sixth District (@mspwestmi) January 2, 2025 The discovery ends a nearly seven-year search by Kevin's family, who had tirelessly distributed flyers and even erected a billboard near the festival grounds in 2023, pleading for information. Search efforts after his disappearance in 2018 included a volunteer team combing the area near the festival grounds. However, dense terrain and challenging conditions made the search difficult. Kevin Graves.Oakland County Sheriff Department MSP stated that while the cause of death has yet to be determined, "there are no indications of foul play" at this time. They've also asked the public to keep the Graves family in their thoughts during this difficult time. "At least now we can have a little peace," Kevin's father, Gary Graves told FOX 17. "Now that we have positive identification of the remains at least the family has some closure on where he is and now hopefully the next steps can determine what happened," added Sheriff Michael Bouchard of Oakland County.

Anderson was responsible for providing vocals on hit tracks including ‘Good Times’ and ‘Le Freak’ Continue reading...

Deep in the fields of contemporary electronic music, where melodic techno meets experimental sound design, Zulhou‘s most recent work ‘War‘ stands as a masterclass in emotional storytelling via sound. Beginning with an intimate whisper and then rising into a full-bodied electronic experience, this song shows a nuanced awareness of tension and release. The trip starts with a deceptively basic rhythm under delicate, ethereal vocals pulsing like a heartbeat beneath. These close vocals drift across the mix with a softness that invites listeners into what seems like a personal confession. The production decision here is also important; the voices are handled not as a dominant instrument in the emotional palette but rather as another one. A perfect shaker pattern adds a delicate but vital rhythmic structure as the tune develops. Here is where Zulhou’s production skills really shine as mystical arpeggios start to swirl across the aural terrain, producing what seems to be a digital copy of old ceremonial music. Maintaining an organic, almost breathing character, the arpeggios move across octaves with mathematical accuracy. The first drop is when “War” really exhibits its technical excellence. Employing what many in the scene have come to know as the “Anyma-style” synthesis – defined by its pristine, metallic texture and exact modulation – the tension building is systematic and deliberate. These synth lines sharply contrast with the dreamy atmospheric aspects set in the opening segment by cutting across the mix with surgical accuracy. ‘War’ distinguishes itself in the present melodic techno scene by skillful balancing of technical innovation with emotional depth. Although many producers would mostly rely on the melodic or techno sides of the genre, Zulhou shows a great capacity to serve both masters equally. The song keeps its dreamy, ethereal character even as it provides the kind of forceful, crisp drops that techno aficionados want. We suggest you to check their previous release such as Anything New and Beat As One. The post In the Depths of ‘War’: Zulhou’s Latest Sonic Journey appeared first on The Groove Cartel.

Happy New Year everybody, we’ve missed you. If you haven’t visited the West Coast of the US recently, oh, boy have you missed lots of action. Las Vegas became an EDM hotspot this weekend as Italian Melodic Techno artist Anyma debuted his history-making show End of Genesys at the Las Vegas Sphere, including multiple headliners and special surprise performances. What we did not expect, however, was a surprise b2b with legendary Dutch DJ Tiësto, at the Fountainbleu Hotel inside LIV Nightclub. Anyma b2b Tiësto New Year’s Week went full throttle, not only did Anyma complete his first week with the awaited Sphere residency, but he also sneaked into two afterparty sets. The first one was this past Monday At XS Nightclub at the Wynn. The late-night set was a taste of what his surprise set would be. Tiësto was the only DJ announced for LIV Nightclub during NYE. However, the Italian tastemaker joined him to deliver an incredible and iconic back-to-back set. Moreover, singer Delilah Montagu (also known for her track ‘Delilah’ alongside Fred again..) hopped on stage for an impromptu performance of her collaboration with Anyma ‘After Love’. The night would end with a solo set from Anyma, taking us into closing. The duo took over the Sphere last night, with Afterlife label heavyweight Argy. Tiësto gave us his old signature melodic and progressive sound we all wanted from him for an Afterlife show, and he understood the assignment. Moreover, Anyma brought out Empire of the Sun as the special guest to sing their collaboration ‘Human Now’. Known for his Trance beginnings, we’re hoping that Tiësto and Anyma use this momentum to release a joint track, or perhaps another unique and soulful b2b this year. What’s Next? The End of Genesys creator is pausing for the weekend before the last two nights of the show January 10th and 11th. In the meantime, Tiësto will make a glorious return to the Terrace at Club Space on January 24th. Don’t miss your chance to see history in the making! The post Anyma And Tiësto Start New Year Strong With Surprise B2B appeared first on EDMTunes.

Dance music icon Armin van Buuren, popularly known for songs like ‘This Is What It Feels Like‘ and ‘Blah Blah Blah‘, and two-time Latin GRAMMY-nominated Brazilian music superstar and philanthropist ALOK, popularly known for chart-topping collaborations with John Legend, Ellie Goulding, Ava Max, and Bebe Rexha, have released their collaborative single, ‘Euphoria‘, with American singer-songwriter Norma Jean Martine and London-based DJ/producer LAWRENT. ‘Euphoria’ is a high-energy club anthem blending van Buuren, ALOK, and LAWRENT’s production with Martine’s soulful vocals and is available now via Armada Music on all streaming platforms HERE. The single marks the first time ALOK and Armin van Buuren have joined forces since they partnered with Vini Vici in 2018 for the single ‘United‘ on Armada Music. ‘Euphoria’ utilizes one of the most iconic classical compositions in Beethoven’s ‘Für Elise’ and Norma Jean Martine’s exquisite vocals, which are best recognized from top French duo Ofenbach’s hit songs, ‘Overdrive‘ and ‘Head Shoulder Knees & Toes‘. The single follows ALOK’s hit collaboration with fellow top Brazilian musician Anitta, ‘Looking For Love‘, and Armin van Buuren’s joint release with German singer-songwriter Natalie Gioia, ‘Viva l’Opera‘. The post ALOK & Armin van Buuren Team Up With Norma Jean Martine & LAWRENT On ‘Euphoria’ appeared first on EDMTunes.

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Established in 2007, Integral Records now hit their unique milestone of 17 years. The catalogue is a breadth of work that traces the timeline of proper underground, soulful drum & bass development from early days to now. Pouring over the discography, there’s countless, genuinely classic tracks: Zero T and Steo’s ‘Refusal’ at release 002 was crucial for both the label and the genre. Technicolour, Komatic, and LSB’s break-out track ‘Rotary Motion’ was a perfect storm of three young collaborators who would go on to dominate in liquid. Of course label founders Artificial Intelligence (A.I.) peppered the release schedule with their proverbial magic, too. That word ‘magic’ gets mentioned early and often in discussions with label co-managers Emma Green (Emma G) and Glenn Herweijer (half of A.I.) – otherwise known as liquid drum & bass’ power couple. They see it as the crux binding the variety of sounds together, as well as the benchmark to filter through what gets signed, versus passed-up. The Integral magic is intangible and not simple to define – but when you listen long enough, you start to pick up on it. And it’s taken them a long way so far. Celebrating 17 years of Integral with a VA compilation, the variety of talent and sounds they present is a perfect encapsulation of their time in the scene. From breaking brand new names like AudioDevice, through to keeping roster stalwarts like Phil Tangent and Satl, Emma’s and Glenn’s careful selection has always been about protecting the genre and pushing it forward. It was supposed to be a more conventional 15 year celebration, but the magic doesn’t adhere to a regular release schedule either. The North London couple are patient and persistent with their signings, and they’re happy to wait for several revisions of a track before slapping the crescent logo on it. GLXY have four different versions of their ‘Drowning’ remix which all could’ve made the cut. Zero T’s remix of Lenzman & Redeyes’ Integral classic ‘High & Low’ started as an original track sampling De La Soul’s ‘Stakes Is High’, before it made sense to turn it into an official remix for the VA. UKF sat down with Emma and Glenn to get an insight on the label’s history, the big new release, and of course, try to further break down the definition of the magic that pricks up their keen ears. What was happening when Integral was born? Glenn: Around the mid-2000s, we [Artificial Intelligence] were recording on a bunch of labels, making our name. We always had lots of people around us, especially in North London – Alix Perez was living here, Zero T was too. Lenzman was sending loads of demos before he’d properly broken through, Steve Survival was a close friend. We all used to meet up a lot, go to the pub or to Swerve nights. Around this time, Zula and I were thinking that we should try to get a label off the ground to showcase all of these cool friends, who’s tracks we were playing in our sets. The label wasn’t really built for us, it was built for the talent around us, who’s music we felt needed to be out there. Steve Survival’s ‘The Jam’ was the first track we signed. I remember, we were on a tour, I think in Tokyo at the time, when we decided to push the button on it. Which was really exciting. That was 17 years ago now, and it kind of just evolved from there. Emma: And Glenn and I met in 2009. A.I. were on tour in New Zealand, and I was supporting their show. The promoters asked if we wanted to hang out and help chaperone the guys. Me and my friend Jess were quite involved in the scene, we used to have a radio show on George FM, and we also ran a night at Fu Bar called Liquid Recreation – I guess we were the duo repping the soulful side of the genre, supporting all the deeper acts that would come through Auckland like Marcus Intalex, Doc Scott, and then of course A.I. Glenn and Zula were in town for about a week, so we got to know them really well. And we were actually DJing another show earlier in the week that Zula and Glenn came along to… Glenn: … And I just thought they were way better than us at DJing, and super passionate. At that time we were travelling around a lot, so we got to hear all the different resident DJs in different cities. Emma: Jess and I then sort of thought, we know a lot of people in the UK, let’s bite the bullet and move to London. I was working in fashion as well, so for me following my path in that industry, plus music, felt like the perfect move. And of course we kept in touch with Glenn and Zula, and started hanging out again as soon as we came over – then Glenn and I got together. So how did you get involved with the label, Emma? At that stage as well, Glenn and Zula were kind of thinking they didn’t have enough time to dedicate to running the label, amongst touring and DJing and producing. They needed someone to drive it forward. So they asked me to get involved and I took over the relationship with SRD who run our distribution, set up our independent webshop, and started getting into the whole visual design and creative direction side of the brand – I built the geometric pattern ident you see running through the artwork and album campaign, which has continued to evolve and features also in the new Seventeen merch we’ve just launched. Naturally I was also keen to get involved in the A&R side. There’d been a bit of a break on releases, and when I came on board the first release I worked on was number 26 – Phil Tangent’s first Integral EP, ‘Bedouin’. I’d always been a massive fan of Phil’s, as had Glenn and Zula, and he sent me some amazing demos. We thought Bedouin was so strong as an instrumental. But as I adore Steo, I thought I’d hit him up and see if he would be keen to add some extra magic, so that was my first opportunity to A&R. We had such an amazing group of artists around us already, but I was looking for new recruits, and so were Glenn and Zula – who picked up guys like Djah and Edlan. A real team effort. And the label is going strong… Emma: Yeah, and there’s a lot of hype and excitement around the label currently. We’ve got so much incredible music we’re sitting on, loads of nearly-finished EPs. But like us, our producers don’t want to put stuff out that they’re not 100% happy with. That’s partly why the compilation took so long to come out. And over the years, what’s been really cool to watch from my side is Glenn nurturing some of those new guys coming through, taking the time to mentor them – Satl being one of them, as well as many others. Our aim is to get the very best out of our producers – tunes to the level that we want to play in our sets, and then release. We want to help artists develop. And that’s just something that’s really nice that Glenn has always given to the label – because I don’t think many people have the time or energy to do that… … or the wisdom and experience. Can you walk me through A&R a little more? As in, what sort of sound are you looking for? Glenn: Well I guess we never want to be pigeon-holed. I know we’re known for the more soulful side, but I don’t think we want to be confined to that bracket. It’s just stuff we’re feeling, and it literally could be anything. That’s why some of the releases sound quite different to others. It’s always stuff that we connected with, and stuff that sounds good when we test it out. A big thing for A.I. sets – what we’re known for – is that there will be loads of new music, and most of that is stuff we’re testing for the label. Emma: Yeah I definitely think we’re quite committed to not being pigeon-holed, we don’t want to just be a liquid label because if you listen through, the catalogue has always been diverse. Like the Thread signing for example – I was so excited about that because it was some proper banging hard stuff with serious cutting-edge. We absolutely do love the full spectrum. Glenn: Thread is a big talent. We were DJing in Bristol not long ago when we met him, and he just seemed like a really nice guy. Really humble. He wanted to send me some tunes, which I’m always open to. So the next day I put his demo on, and I wasn’t expecting it but when I pressed play it was like “oh that’s pretty decent” and then “oh, jesus!”. So I had to hit him up straight away, and asked for all of the tracks. Loved his production, really tight and mature already. I just thought he had it all. So that was a big moment for him breaking through, and now obviously everyone’s playing his tracks. Halogenix has been a supporter, and Workforce signed one of his tracks. That makes me really happy to bring someone up to that level of recognition, because he deserves it. That’s what happened with Alix [Perez] and Lenzman back in the day. Alix was passing me CDs when we were out at Movement or Swerve, and Lenzman also when we were over in Holland. And when Lenzman gave us ‘Ever So Slightly’ that became one of the main tracks that broke him, which is also a classic for us in the catalogue. That’s always been something we try to tie into the journey of the label. Is there any specific things you’re scouting for or adding that aims to make the Integral sound unique? Emma: The way that the label has evolved musically has been completely organic. And really it just comes from those very humble beginnings of Glenn and Zula just being around those artists and friends in London who were all on a similar vibe. Glenn: Yeah it’s never been that we need a certain frequency of releases per month, it’s always just once everyone is happy, and the tracks are ready, lets get them out there. Sometimes there could be huge gaps, sometimes we’d do two or three releases at once. I originally got that whole ethos from Marcus Intalex. These are the sorts of conversations we always had with Soul:r, and that’s what’s always been in my mind, even before starting a label. If I’m not feeling anything, f*ck it, it’s gonna wait. I’m not treating it as a business and forcing releases, it has to feel right. We’ve put our foot on the gas a little more in the last year or so. But we’re sitting on a lot of music again, so we can be more proactive now. Emma: I think with some of the younger guys, they’re obviously influenced by A.I. And the sound of Dawn Wall and Mohican Sun, I think there definitely is an Integral sound, but it’s hard to describe as it’s diverse. A lot of our producers who are working on EPs for us do write specifically for us. Like HLZ for example – he works for a bunch of different labels, but the tunes we’ve signed of his he made specifically to be housed on Integral. Even though our sound is diverse, there’s definitely a frequency our artists and aspiring artists tap into. Yes. There definitely is an Integral sound. Tough to describe really though… Emma: There is, but of course the artists have their own unique sound too – and the amalgamation of all of the music across our catalogue somehow just works. Going back again to some of the earlier releases, there is so much diversity there. That System release still sounds off the charts, number 16, ‘Sy-Fi / Springy’, I think you had a story about that one Glenn… Glenn: Yeah, Mark [System] came around to mine in Archway. At the time he was one of those elusive guys to track down. He was a nightmare, ha! He writes so much music, but he finds it hard to release them. Anyway, he came around with about 80 tracks, plugged-in and played through loads of little clips. I would’ve taken all of them, but I narrowed it down to four, and then I had to get back on his case to finish them all up. It was really long, but I ended up getting those two tracks. It was at a time where it was really hard to get anything from anyone, but I liked it. It made it more exciting. It wasn’t just people sending you tracks, it was a lot harder work, and it felt so good when you finally got those tracks. Back then you had to go around to people’s houses or studios, or you wouldn’t get anything. Do you have any personal favourites from the Seventeen release? Emma: They all have a special place for me, but every set I play, ‘Demons In The Dark’ goes off – and that’s by a new artist called AudioDevice. He’s a DJ from Vienna who’s just turned his hand to production. I’m really excited about what’s to come next for him and how he evolves as an artist. A.I.’s ‘Twisted Love’ is another personal favourite. It’s not that I’m at all biassed! It’s just I’m sure you’ll agree, A.I. music is just so timeless and prolific. I was just listening back to all of ‘The Series’ – such a beautiful body of work. But yeah that Twisted Love track, we’ve been sitting on that for several years now and I’ve played it in so many sets now, so it’s great to finally have it out in the world. Every track on the album has been selected and tracklisted so carefully. And that’s also why the album kept being delayed. Which was a bit frustrating, but again it’s a case of good things really do take time. We wanted full representation, and everyone to be happy with their contribution – not just a bunch of extra tracks that didn’t make it onto artist EPs. The strategy was really that each track could stand as a single in its own right. Yeah it’s loaded top to bottom, with new and veteran names, and a variety of styles. Glenn: I love what GLXY have done too on their remix of ‘Drowning’. They did about four different versions of that before we landed on that one. Emma: That was version 5.9 I think! Glenn: Yeah, the one before this I particularly liked. A darker, more rolling style. Sort of in that 1985 style. Unbelievable. But yeah we ended up going with this one, that they loved the most and fit best in the compilation. What do you think of drum & bass right now? Glenn: I think popularity-wise, I think it’s been bubbling away for a while now. The commercial side is bigger than ever at the moment. But at the same time, it always has brought in new fans, new generations. I think that’s important for all sides. Especially what we do, the more soulful stuff – people start digging a bit deeper, and they tap into where we are. There’s a lot of good music out there, a lot of new artists, and a lot of artists from our generation too – they’re still making loads or they’re inspired again, we’re all talking. It’s exciting times. And how about club nights and DJing? Emma: Nights are harder for various reasons. The landscape has obviously changed a lot. The way that nights are put on now, a lot of it is now down to the numbers – likes on social media etc. Promoters do take less risks on line-ups these days and I think as festival culture has really taken over, naturally it’s become a little saturated out there. But it is nice to see that there is still plenty of love, passion, and dedication to our scene. We go down to Phonox regularly to see Lenzman’s nights. And I’ve just played Fabric, which was amazing to go out and not have to conform to playing harder. People are still making the effort for nights that we feel represent the sound we’re into. I’m definitely feeling the love in the general community – from doing my Kool show and my DMs. No matter what’s playing on commercial radio, there’ll always be a place for our style of music, and there is plenty of fresh talent bubbling as Glenn mentioned, which is great. We just went to Fabio’s 60th recently, and all the old heads there were still buzzing. Half of the Seventeen album went down at the party which was great to hear, and everyone was still just super passionate about the music as always. Man, the genre has some years behind it! Glenn: Yeah you’ve got three generations there – all turning like 50 or 60, then you’ve got us in the middle, and then there’s the younger talent where there are so many names now. So much amazing music. So in that sense, we’re all inspired amongst each other and we’re all supportive of each other. I quite like being placed in the middle. Looking up to the father figures who got us into it originally… Emma: … and now you’re a father figure for the new guys coming through. The demos have gone through the roof lately. And the level of production we’re being sent is just getting better and better. Glenn: Yeah definitely. But they need to have the magic. It’s one thing having the high end production, but you need to be able to utilise it in the ways to create that magic. And that’s when you get the really special stuff. Which I guess has always been the way, but we recognise it more than ever now with such a high volume of demos. Emma: Yeah – if anything our quality control has gotten much higher out of necessity. I’ve heard music from lots of up and comers, who we feel are not quite ready for us as we remain about quality over quantity release wise. But it’s encouraging, and we’re as encouraging to them as we can be. I’ve always thought that’s what makes our catalogue special, because every release has to reach that level between us all, we all have to really feel it and believe in it, and want to play it in our sets. If we don’t, then there’s no point. No matter how nice the person is, or how great their production is, if that magic isn’t there then it doesn’t make the cut. We’re known to be really picky, but I think that’s a good thing. Definitely a good thing. And I agree the scene is in a great place with you guys, TNQ, 1985, Gemini Gemini… Emma: We’ve all been devoted to it since we were youngins. And I feel like I’ll be rocking out to drum & bass as a granny, you know? Ha! Did I just say that? It’s one of those things where you’re just so connected to the music. Within electronic music, there is just this thing about drum & bass, it’s magnetic and once you get drawn in, you never leave. I actually listen to drum & bass all the time. I never tire of it. A lot of producers and DJs I speak to say they never listen to it in their free time. Glenn: That’s me! There’s lots of other music that I’ve grown up listening to and I’m a big fan of. With my general work, drum & bass is probably the last thing I’d press play on, other than A&Ring and just keeping up with the scene you know. Emma: But when Glenn goes out to a drum & bass night, he’ll come home at like 4am and write an amazing tune in a couple of hours, and then crawl back into bed. That’s when the magic happens for him. He hears some new music from our peers, gets really inspired, and then goes “I’m gonna one-up you!”. Ok so you’re pretty close to the scene in New Zealand. Are you getting submissions from there? Do you think the scene is healthy? Emma: NZ has always had strong foundations in D&B and of course we’d love to release Kiwi music. I’m a big Tokyo Prose fan and have been since the guys started out, before Sam took it solo, and Azifm is one of the latest recruits making some very cool waves we’re into. Glenn: Yeah he’s wicked. I saw him a couple of years ago, during covid, I bumped into him in Dunedin – he came up to me and gave me a few tracks and I thought “this guy is cool, man. This is experimental stuff”. You can hear how he’s honed into his sound now. He’s done really well. I’d love to find some more Kiwis though. I mean the scene over there has gone a little bit commercial too. But we’ve been touring there every single year for the last 20 years or so. And there’s always been an amazing scene. Every night has been brilliant 99% of the time. Tokyo Prose, as Emma says, is obviously sick too. Emma: Yeah there are a few people out in NZ doing really cool stuff but the more underground New Zealand scene is a little bit tough right now. After some of the main D&B clubs closed down sadly – Fu Bar in Auckland, Sandwiches in Welly, Bath Street in Dunedin, things started to change. It was probably around the time George FM started playlisting a more commercial sound. But things are always evolving. And Alix Perez is definitely flying the flag for us down there. His nights are amazing and always sell out. Chicorelli too, he’s definitely championing our kind of music, and he’s doing a great job. His Liquid Lowdown nights that we play at are always a vibe, and he and Tali have a massive entourage down there. New Zealand has always mainly liked it hard and heavy, but again there’s always been appreciation for the deeper stuff, too – Doc Scott was out in NZ recently, as was Satl who had a great time. A lot of the bigger radio stations and promoters only seem to be pushing the more commercial, usual suspects – and that filters down to creating what’s popular among the next generation of New Zealand ravers which is why festival line-ups need to truly represent – but the world wide web will always be around and humans will always be curious – and that’s what kept me going back in the day before I came to the UK – always on the hunt for the more obscure listen, regularly tuning into Marcus Intalex’s RBMA radio show and of course Fabio and Grooverider on Radio 1. Before we finish up, let’s touch on the biggest moments through Integral’s history. Glenn: The first big moment was probably our second release – ‘Refusal’ by Zero T & Steo. At the time I think it was just one of those tracks everyone was playing. From Andy C, to Calibre, to Bukem, to Hype. It was then remixed by Calibre for release number 10, and that was even played on Christmas day, right in the middle of the day on Radio 1 by Colin Murray. Emma: What about ‘Rotary Motion’? Glenn: Oh, yeah! Yeah they were both sending me loads of music individually [Technicolour and Komatic] – and then this track came along and I was like…. Emma: … SIGNED! Glenn: Ha, yes exactly. It was perfect for that moment in a set for that euphoric, big, melodic soulful sound. Just before we released it, LSB came on board and said “let me try and just give this a little bit of magic”. So it ended up being the three of them together, and ended up being the final version. But that tune took about two years to come together, from Technicolour and Komatic sitting in the studio to LSB giving it that final club edge. And straight off the back of it they sent in ‘Serenity’. And both of those tracks, to me, are timeless. We’re really proud of that release. We repressed it twice, and then fans kept asking for another repress but we wouldn’t do that now. If you look on discogs it’s probably about £100. Stone cold classic. Emma: One of my favourite big moments was headlining Fabric Room 1 a few years back. That was a really great honour and an absolutely wicked night that sold out. Oh, and being asked to do a series of Integral shows on Radio 1‘s Wind Down series. And looking forward now – what’s coming in the future? Glenn: Without getting too specific – there’s about 7 or 8 EP projects that we need to finalise that are on the way. Emma: But before that we’ve got a smaller follow up EP coming out called Seventeen to round off the album project – between the LP being specifically locked to 17 tracks and with multiple artist contributions, remix options and a couple of tunes that didn’t quite make it, there are tracks that just need to come out as part of the chapter, so look out for that shortly. We’ve also just released some new merch, which is exciting, because the last batch was around the ten year mark! But basically we’re just gonna keep doing what we’re doing. As Glenn said, we’ve been sitting on a lot of music with a few core crew members, and there’s some more new artists too that we’re keeping tabs on. I think that’s what we’ve always just been about, finding new talent and keeping our sound alive, kicking, and out there. Get Integral’s Seventeen Here

Armin van Buuren ft. Alok, Norma Jean Martine, LAWRENT – Euphoria Armin van Buuren joins forces with Alok, Norma Jean Martine, and LAWRENT for ‘Euphoria,’ a trance-inspired anthem brimming with emotional depth and electrifying energy. Norma Jean Martine’s powerful vocals pair perfectly with the euphoric melodies and driving beats, creating a track that bridges trance and melodic house. It’s a feel-good anthem perfect for festivals and late-night sets. Afrojack & Gregor Salto presents: Afrosalto ft. Mednas – All Good Things (Come To An End) Afrojack and Gregor Salto, under their Afrosalto alias, reimagine Nelly Furtado’s iconic hit with Mednas. ‘All Good Things (Come To An End)’ transforms the nostalgic melody into a groovy house track, featuring tribal-inspired percussion and soulful vibes. The rework blends nostalgic charm with modern house energy, making it a standout for both old-school fans and new listeners. Tiësto – Lethal Industry (Rose Ringed Remix) Rose Ringed takes on Tiësto’s legendary ‘Lethal Industry’ with a mesmerizing remix. This version maintains the haunting violin melody of the original while layering in atmospheric synths and pulsating basslines, giving it a fresh yet nostalgic vibe. It’s a reimagining that honors the classic while appealing to today’s house music fans. Pierro – Heartbeat Swedish DJ and producer Pierro wraps up 2024 with his captivating new release, Heartbeat. Building on the success of his previous melodic techno single Cubicon, Heartbeat blends melodic techno’s emotional depth, progressive house’s uplifting energy, and trance-inspired nostalgia. Featuring a haunting male vocal layered over warm textures, gritty synths, and trance-like plucks, the track takes listeners on a dynamic and introspective journey. Supported by industry giants like Tiësto and Above & Beyond, Pierro continues to solidify his reputation for delivering exceptional, genre-blurring music. Malóne – THE B SIDES Malóne closed 2024 with his debut EP on WHYNOTUS, The B Sides. It kicks off with “Real Love,” which weaves together female Latin vocals and crisp percussion. Up next is “Como España,” a collaboration with Jesse Bravo and Kapoh, powered by infectious Spanish lyrics and blends unique sound effects like alarms. The third track on the EP is “Back 2 Da” with Lucati, a heater that is primed for the dance floor. This is followed by “That’s Perfect,” where Malóne cranks up the energy with a fast-paced bassline and the sampling of a recognizable vocal phrase. Closing out the EP is “The Energy” which pours out a groovy concoction of crisp percussion and tells listeners that “you cannot f*ck with this energy.” Stream all these tracks and more in our New EDM Friday playlist – follow here.

Our favorite DJ Superstar showed off dance music at its finest on New Year’s Eve. While on Anderson Cooper and Andy Cohen’s CNN’s New Year’s Eve special, Diplo was asked “I’m so curious, what’s the most conventional place that you’ve done LSD?” Diplo took no time to hesitate and stated “Right now...I did some on the helicopter, on the way here…I’m not even lying.” It is very Diplo-like to be tripping on live TV and have no one be able to notice. The co-hosts burst out laughing as Diplo clarified that he was showing some restraint. “It’s like a light trip,” he noted. It must have been a microdose, because Diplo was able to perform at three shows in Los Angeles on New Year’s Eve. Anderson Cooper sounded impressed with Diplo’s approach to work and play. “I wish I was Diplo,” the CNN anchor admitted. “I got to say. I just think he has a fun, cool lifestyle. Can you imagine his lifestyle?” I think we all wish a little we were Diplo. This is not the first LSD Diplo encounter as last year he ran a marathon while tripping. We truly hope Diplo can continue to give us incredible moments like these in 2025. The post Diplo Admits To Being On LSD Live on New Years appeared first on EDMTunes.

Spotify has officially launched its anticipated Partner Program, a comprehensive initiative designed to assist creators in expanding their audience reach and monetizing their content effectively within the platform’s ecosystem. The program, initially unveiled on November 13th during Spotify’s Now Playing event alongside a suite of creator-focused features (namely video clips, enhanced analytics, and improved video discovery), aims to position Spotify as the leading platform for podcasts on the Internet. Since the program’s announcement, Spotify has reported a 60% enrollment rate among eligible shows and networks, signifying a strong early adoption by the creator community. The Partner Program unlocks multiple revenue streams for participating creators, including audience-driven payouts from paid subscriptions, advertising revenue from free accounts, and cross-platform monetization. Eligibility for the Partner Program requires creators to host and upload their podcasts through Spotify for Creators while meeting the following criteria: Achieve 10,000 streamed hours within the past 30 days on the Spotify platform. Garner streams from at least 2,000 unique Spotify users within the past 30 days. Maintain a published catalog of at least 12 episodes. The Spotify Partner Program is currently accessible to creators residing in the United States, United Kingdom, Canada, and Australia. Spotify has yet to announce plans for expanding the program’s availability to other regions. Consequently, the anticipated timeline for a potential global rollout remains undetermined. [H/T] Neowin The post Spotify Kicks Off Partner Program For Podcasts And Content Creators appeared first on EDMTunes.

Iconic DJ and producer Fatboy Slim, known for timeless hits like Praise You and Right Here, Right Now, has opened up about his evolving relationship with music production. In a candid interview with The Sun, the legendary artist revealed that he no longer feels the same drive to create new music. “I’ve sort of lost my passion for making music,” Fatboy Slim admitted. While he expressed no bitterness, he acknowledged that the era when he felt compelled to make records has passed. For now, his focus is firmly on DJing and delivering electrifying live sets, a passion that remains undiminished. you can’t make music unless you’re absolutely passionate about it and it drives you from the moment you wake up in the morning..I just don’t seem to feel like that any more. I feel like that about DJing and about putting on things like this Shifting Priorities in a Storied Career Fatboy Slim, born Norman Cook, has left an indelible mark on electronic music and the Big Beat genre, which he helped popularize in the late 1990s and early 2000s. His Grammy-winning albums and genre-defying tracks made him a household name, but the artist now prefers curating and performing music over producing it. Reflecting on this shift, Cook remarked: “I think there’s a time in every artist’s life when they have to realize they’ve said what they wanted to say through their music.” Rather than forcing creativity in the studio, he channels his energy into delivering unforgettable DJ performances—a space where he continues to innovate and inspire. Still Thriving on Stage Despite stepping back from production, Fatboy Slim remains a revered figure in the global electronic music scene. His dynamic live shows, often described as euphoric and unifying, draw crowds worldwide. Cook’s ability to connect with audiences through his DJ sets proves his enduring relevance, even in a rapidly evolving industry. In the interview, Cook noted that while he no longer feels compelled to produce new music, he still thrives on the thrill of performing. He also spoke about how the DJ experience allows him to interact directly with his audience in a way that studio work never could. For five years, I tried to beat myself up about it…But then I thought, ‘Well, everybody likes my DJing and I enjoy that more, so I’ll do that’. Legacy Beyond the Studio Fatboy Slim’s honesty about his changing relationship with music production offers a refreshing perspective on the career arcs of creative professionals. By focusing on what brings him joy, he continues to build on his legacy, proving that evolution is key to longevity in the music industry. For fans, his decision to step away from creating new tracks does not signal an end but rather a new chapter. As he reinvents himself through live performances, Fatboy Slim remains a testament to the power of adaptability and passion in an ever-changing world of music. The post Fatboy Slim Reflects on Losing Passion for Music Creation appeared first on EDMTunes.

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L.A.-based DJ/producer Skellytn teamed up with bass veteran artist Boogie T for their highly-anticipated collaborative track, ‘Choppa’ featuring Gravity. Recently released on December 18th via Boogie T’s Drama Club Recordings record label, the track strongly emphasized the duo’s innovative music styles as it perfectly combines the auditory production talents of Skellytn, with Boogie T’s bass-heavy vibe. That combination then results in a bass anthem that has plenty of vibrant artistic layers and awesome energetic sounds that are vividly present starting from the first second to the last. ‘Choppa’ has the groovy and at the same time, gnarly musical style of Boogie T with the rhythmic deep basslines of Skellytn. ‘Choppa’ also allows the producers to showcase their innovative sounds and will providing them to the opportunity enhance their colorful musical repertoires. This dynamic fusion brings together the best of both artists in a brand-new way, especially as the producers are about to enter 2025 with a huge bang. Click ‘Play’ on the Spotify link below to stream ‘Choppa’, a track that is a definite fire-sure top banger to open up the New Year. Skellytn expresses joy at the collaboration on ‘Choppa’ “I’m stoked to join forces with the legendary Boogie T and MC Gravity on Choppa. 140 deep dub meets breaks in an epic collision of bass, rhythm, and energy that’s sure to make waves. Can’t wait for everyone to hear this one and feel the vibe we’ve cooked up.” Boogie T describes excitement about the track’s release “I’m amped to drop this track with one of my favorite artists and people, Skellytn. I’ve been a fan since she submitted her ‘Cybernetic Ritual EP’ to my label over three years ago, and she’s been crushing it ever since. “Choppa” is the ultimate genre blender, and it’ll definitely get you hyped – big shoutout to MC Gravity as well for jumping on the track and taking it to the next level.” The post Skellytn and Boogie T Throw Down the Bass on ‘Choppa’ appeared first on EDMTunes.