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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.

Danny Tenaglia, SOSA and Tinlicker will join already confirmed names including Âme, Kitty Amor, Nicole Moudaber and Sam Divine for the five-day festival on the idyllic Caribbean island Continue reading...

Local farmers in Pontypool reportedly charged £20 to tow attendees' cars Continue reading...

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.

We couldn’t start off the New Year without the releasing our annual Ones To Watch list. The up and comers our editorial team think you need to know about in 2025. Enjoy! ONHELL Logan Sasser ONHELL is a rare breed. He’s a creative whose musical output also coincides with several other endeavours, including his wacky, off-the-wall “ONHELLParties” which often include all-gender strippers, nail techs, and… homemade salsa? That’s right, ONHELL has his own salsa brand. And it’s just as spicy as his late night/early morning warehouse parties. Of course, his music is great too. His most recent EP, juntos, which was released with Deadbeats in September, captures a perfect synchronicity of hard-hitting, bass-forward bangers (“Grime On Steroids” with Chef Boyarbeatz), and goofy, lighthearted party tracks (“Dubstep For Kids”). Because the cow does indeed go moo, and the bass does indeed go WOMP. Considering ONHELL has supported several legendary dubstep icons like Eprom, and sold out shows at iconic venues like New York’s House of Yes, the momentum ONHELL has going into 2025 is undeniable. Whatever insane, over-the-top antics he has planned for next year, we’re here for it. Just Jane Ant Mullholland The multi-genre selector Just Jane has been making waves in the electronic dance scene, parading an abundance of dubstep, grime, bass, uk garage, and electro sounds that have allured a plethora of new fans with her slick mixing and heavy chopping – becoming one of the most accomplished technicians behind the decks. In 2024, the London-based artist has performed at iconic venues such as Village Underground, Phonox, Outernet, supporting the likes of Oblig, Conducta, Tim Reaper, and Interplanetary Criminal. Making a Boomtown debut, as well as playing sets on Rinse FM (with the eclectic Riz La Teef and G33), Balamii, and BBC Radio 1, it’s safe to say that Just Jane is only just getting started. With her own productions being teased in some of these radio sets we can be sure to expect even more from the skillful DJ in 2025. Salo Lurie Charlesworth Salo is an artist everyone should be keeping an eye on at the minute! This Manchester based Georgian singer, pianist, producer and DJ is making her mark on the scene with her gorgeous and distinctively raspy voice. We’ve seen her collaborate many times with Manchester’s finest Chimpo, along with artists like Sustance, L-Side and Sully, but it’s her pending solo projects that excite me the most. A queen on the mic and a versatile artist that I have no doubt has an incredible career on the horizon. Watch this space. Nikita The Wicked Logan Sasser Nikita The Wicked busted into the spotlight in 2024 thanks to a fun, dance-oriented approach to bass music that serves a simple purpose: to light up the dancefloor with easily digestible song structures and fantastic sound design. The narrative that ties it all together, led by the statement “Dance music has many heroes. Now it needs a villain,” adds a certain cinematic flair to his brand that earned him a remix for NGHTMRE’s “In Your Eyes”, several viral tracks (“YA BODY” and “Like Me”), and even a spot on the acclaimed UTA artist roster. This represents the new generation of rising dance music stars with authenticity, passion, and a forward-thinking approach to dancefloor bangers, which is what makes Nikita The Wicked such a fun project to root for. He can easily be classified in bass music’s new generation next to Levity and Tape B, and there’s endless potential to build out his villain persona as the project continues to expand. Next year, Nikita The Wicked will complete his world domination. No dancefloor is safe. Origin8a & Propa Ant Mullholland The jungle and hardcore duo Origin8a & Propa have individually been in the scene for a long time. Eventually coming together five years ago for their first ever release on their label Hardcore Energy. However, their standing as a pairing has been on the rise for the last few years involving standout tracks like ‘Shine On’ and ‘Harmony’. This year has been monumental, with an iconic stack of releases in 2024, including the ‘90’s Baby’ EP & ‘For The Sake Of E’s’ EP which have both been standout projects within the underground community, we can assume that 2025 will be a year where we are treated to even more hardcore anthems from the pair. Throughout the scene, they are considered as one of the most authentic artists to grace the dance – consistently capturing the epitome of British rave culture during their wide range of sets. The Hardcore Energy label they run alongside Hypershe has been a shining light for the jungle and hardcore community and have had arguably their most influential impact yet this year. Xeonz Sam Yates With his first drum & bass releases dating back to 2020, Xeonz has slowly but surely found his form within the scene. With releases across Blackout, Overview, Pilot, MODUS, and now The North Quarter, he’s certainly shown a range of production ability. But whether it’s a big, dramatic neurofunk banger like he’s done with ‘Apollo’ on Blackout’s Evolutions 10 V/A, or a something much more mellow and musical like his ‘Echo’ single on Pilot – there’s a consistent quality and style emerging. He uses big synths and atmospheres to get this dreamy effect throughout his productions; case and point being his brand new North Quarter Single ‘Without You’ that’s getting plenty of play among the liquid crowd as we close out 2024. Expect more variety from Xeonz next year, early and often. Lokal Sagar Deshmukh The way this Manchester-based trio has been steadily making waves over the past couple of years, it feels like 2025 will be the year they do the inevitable and explode on to the bass music fraternity as one of their favourites. It’s crucial to emphasise the phrase ‘bass music fraternity’s favourite trio’ because Lokal’s versatility truly sets them apart in the scene. Over the years, they’ve managed to carve out a sound that resonates across a broad spectrum of bass music, producing tracks that span some of the most prominent genres of the spectrum. Lokal’s style of production is a dynamic blend of fun, intensity, and rowdiness, with moments of introspection thrown in. No matter the mood they choose to explore, they deliver with full force and authenticity, capturing every vibe with precision. It all started with the ‘Open 4 Business’ EP in 2023, which showcased the trio’s ability to traverse genres like drum & bass, jungle, UK Garage, and dubstep, offering fans a peek into their unique creative vision. Fast forward to this year, and they’ve taken it up a notch, seamlessly blending these styles and more. Some of their standout releases include the raucous remix of DJ Gaw’s ‘Scatter,’ the high-energy collaboration with Freddy B on ‘Nah Man’ for Delta9 Recordings, and their latest ‘Illicit Trade’ EP on Incurzion Audio. They wrapped up the year with a grimey remix of Qwirk’s ‘K.O.,’ further cementing their ability to effortlessly hop between genres and deliver fresh, dynamic sounds. The prospect of more Lokal music is definitely an exciting one, and 2025 feels like the year they’ll fully bring it to life. But for now, it’s well-earned break time. Once they return, expect them to unleash everything they’ve been working on and make 2025 arguably their biggest year yet.

The turn of a year —a time to reflect, celebrate, and look back on an explosive year for bass music. 2024 has been nothing short of monumental, with our favourite genres breaking new ground, dominating festival stages, and even cracking mainstream charts. From mind-blowing sets at global events to underground anthems redefining the sound, bass music has proven once again why it’s a powerhouse in electronic music. As we step into 2025, the UKF editorial team has compiled a list of the artists who truly owned 2024. These are the innovators, hitmakers, and scene-shapers who kept us moving and inspired all year long. So, whether you’re reminiscing or gearing up for one last dance, here are the artists who made 2024 unforgettable. Hamdi Ant Mullholland Hailing from Oxford, Hamdi has had a 2024 that has catapulted him to the very top of the electronic dance music world.The eclectic producer has successfully executed a range of bass-heavy projects including groundbreaking ‘Push’ in collaboration with Skrillex, TAICHU, and OFFAIAH, becoming the sound of the world renowned Apple for their iPhone 16 advert. Furthermore, the likes of Sammy Virji, Simula, and Taiki Nulight put their spin on one of Hamdi’s biggest tracks to date in ‘Counting’, showcasing the strong influence he possesses across the board in the underground community. Playing an array of sets around the world, it’s been a real joy watching his bass and dubstep fused sound reach a multitude of fans from different scenes, bringing a refreshing flavour of electronic prowess to a more global audience. The winding synths and heavy drops synonymous with his profiling has helped evolve the sound design behind many new artists, paving the way for an exciting future in bass-influenced dance music. It’s important to mention that with a new craze around dubstep reigniting, Hamdi has been a key component in reintroducing this sound to a new audience. Other accolades this year have included iconic sets with Boiler Room and many headline shows around the globe, whilst also being nominated for DJ Mag producer of the year. It’s safe to say 2024 has been a standout period for this truly multi-talented artist. Freddy B Sagar Deshmukh Bursting onto the scene in 2022, finding his groove in 2023, and absolutely smashing it in 2024, Freddy B has been quietly setting the drum and bass world alight. He’s been working under the radar, yet his impact has been undeniable, positioning him as the voice to watch out for in 2025. Taking his recipe of profound and razor-sharp lyricism, the Manchester-based MC and producer has weaved his way through some of the most respected labels in the game—Overview Music, Sofa Sound Bristol, Critical Music, Yamatai Records, and Love For Low Frequencies, just to name a few. Freddy B kicked off the year teaming up with Tweakz for a rumbling dose of low-end madness on Love For Low Frequencies. From that moment on, it was clear that those deep, resonant basslines were the perfect playground for his commanding, electrifying voice. But what really sets Freddy B apart is the sheer variety in his bars—switching effortlessly between intense, hard-hitting flows and more atmospheric, nuanced deliveries. This versatility shone through in standout collaborations with Thread and Emperor, leading up to a powerful finale with QZB on Critical Music, delivering yet another razor-sharp minimal banger. It’s tempting to call this just the beginning, but at the pace Freddy B is setting, it won’t be long before he cements himself as one of the most distinctive and respected voices in drum and bass. Tape B Logan Sasser In 2023, the Tape B domination had already begun. But 2024 proved that his momentum is continuing to materialize into what can only be categorised as dubstep superstardom. This year, Tape B embarked on a headline tour with over 30 consecutive sold-out shows across North America, including a 2-night run at Denver’s acclaimed Mission Ballroom. He also released the highly-celebrated “Trippy Land” with Mersiv and Juicy J, and “Gas Pedal” remix with Subtronics and John Summit. The secret to his success? A light-hearted, slightly nostalgic take on the classic dubstep genre, combined with hard-hitting flips from hip-hop’s “mixtape era.” Considering Tape B’s recent Brooklyn Mirage headline announcement, it’s safe to say next year is shaping up to be even bigger for the young producer. Tim Reaper Ant Mullholland Jungle legend Tim Reaper has consistently been spoken about as one of the leading pioneers of this new jungle sound. This one-of-a-kind producer, amongst a select few, has led the way in pushing the boundaries sonically within the scene as a whole. With another relentless year of releases, working with a wide range of labels and producers, as well as a monumental year of releases with his own renowned label Future Retro London, it’s safe to say that Tim Reaper has had a year that has once again put him in the conversation as one of the UKs leading underground artist – not only within jungle music but also in the wider electronic sphere. His year has included standout collaborations with the likes of Dwarde, DJ Sofa, and Coco Bryce on exciting projects releasing projects with Hardcore Energy and Globex Corp. His slick mixing ability on the decks, as well as a killer break infused production has created an artist that very few can compete with on the circuit. Underground music fans everywhere know they’re in for a colossal show when Tim Reaper steps up to play a set, illustrated through his nomination for DJ Mag’s best DJ of the year. With a stellar album out this year to show for, in collaboration with Australian-born Kloke, ‘In Full Effect’ was released on the notorious Hyperdub – of which was their first ever jungle project. We were treated to a hardcore breakbeat flavour that is consistent throughout the album, paying homage to a 90’s sound that he himself has been key in reintroducing to the modern day rave scene. More recently, he’s linked up with Critical’s Kasra to form experimental music label ‘Best Intentions’ showcasing how much respect he’s gained from the likes of Kasra who’s head of established powerhouses Critical Music. In what is undoubtedly Tim Reaper’s most prolific year to date, what will 2025 hold in store for the jungle king from London? [IVY] Whisky Kicks A princes of positivity and good intention [IVY] has firmly established herself as a standout artist in 2024. She doesn’t care where the box is and she definitely doesn’t care to squeeze herself inside it, seamlessly blending 4×4 rhythms with drum and bass to create a distinctive and electrifying sound. Her performances at this years biggest shows, have captivated audiences and showcased her innovative approach to the genre. It’s not only UKF who’ve had our eyes on her, this year, [IVY] received a nomination for ‘Best Breakthrough DJ’ DJ Mag’s Best of British Awards, reflecting her significant impact on the UK’s electronic music scene. Beyond her musical endeavours, she is also the owner of the fashion brand Jazzy Garms (iridescent mushroom dress anyone?), demonstrating her multifaceted creativity and entrepreneurial spirit. Levity Logan Sasser Levity is an act that’s impossible not to route for. In addition to their come-up being one of the most heartwarming stories of the year (they quickly skyrocketed to stardom after filling in for an artist who canceled last minute at Electric Forest in 2023), they also routinely host free community events and pop-ups, as well as charity shows and merchandise drops. Oh ya, and they’re making some of the catchiest dubstep around. Their fun, sparkling take on radio classics like Britney Spears’ “Toxic” and Tame Impala’s “The Less I Know The Better” scratches that nostalgic itch perfectly while providing some classic high-energy dubstep sounds that get the crowd amped up every time they step on stage. If nothing else, their come-up will go down in dubstep history and be studied by aspiring artists for years to come.

Today marks the release of the highly anticipated ‘I’m Tim’ documentary which follows the life of Avicii and provides an in depth look behind the scenes with lots of private footage from his early years to his final days. The documentary provides a very personal look into Avicii’s career and upbringing showing both the highest of highs and the lowest of lows told through the words of those closest to him including friends, family and collaborators. It’s an emotional rollercoaster that makes you smile while bringing a tear to your eye with stories of how the timid kid from Stockholm Sweden who would skip school to work on music in his room, became a music sensation revered by everyone in the music industry. Along with the release of this documentary, Netflix have released Avicii’s final live performance from Ushuaia in 2016. This also includes clips from the studio and some wonderful words from Coldplay’s Chris Martin that tell of the incredible talent Avicii had, and the wonderful spirit he was. ‘I’m Tim’ is a must watch for any Avicii fan and is a great celebration of his life that serves as another reminder of how unbelievably gifted he was and how much of a loss he is to the world. A forever humble legend of music who even at his peak, when asked who he was simply answered ‘I’m Tim.’

The year 2025 is approaching and many Dance/Electronic fans worldwide are eager to see what tracks will come out in this coming year, especially tracks that are from rising artists in the industry. Of course, at the same time, looking forward to 2025 allows one to reminisce about how far EDM has come and think about the legends that had left their mark in past years. One cherished name that always appears in music history books and records is Avicii, whose music continues to resonate worldwide even after his passing in 2017. In fact, recent online leaks just showed that Avicii had two long-lost tracks that had not come to light until now. The long-lost tracks of Avicii are titled ‘Black And Blue’ with ‘Wake Me Up’ singer Aloe Blacc and Mac Davis, and ‘Let Me Show You Love’, which features vocal and music production support from Nervo. The first track would’ve followed up shortly after the now-unforgettable smash hit, ‘Wake Me Up’, and this track has an amazing acoustic guitar riff that perfectly complements Blacc’s memorable vocals. The second track incorporates more synth and leads, especially with the added firepower coming from Nervo, and this track feels like an early 2010s house banger that many fans have come to love and appreciate. These two tracks have shown that even though the iconic Swedish producer is no longer here physically in this world, his music will always stay strong and beloved for many generations to come. Both long-lost tracks are available for all to download on the ‘Avicii Unreleased Library’ YouTube channel. The post Two New Unreleased Avicii Songs Have Been Leaked Online appeared first on EDMTunes.

We’ve made it! This is the final and perhaps the most exciting poll thus far. EDMTunes proudly brings you our top 10 Breakout Artists of 2024. This list showcases the absolute monsters of the industry that have ravaged the dancefloors and have sent their respective charts into mayhem. This list represents our favorite acts that are establishing their long-term brand and have had an incredible year. Some of these names have been in the scene for a really long time, but made 2024 entirely theirs. Let’s get to it! Top 10 Breakout Artists 10. ALLEYCVT The North Virginia native blew our minds this year and begins our breakout artists list. A rising star in Bass music, the DJ released bangers such as ‘ONE FOR YOU’ alongside Levity, and ‘Stratosphere’. Her fresh sounds and flow took her on a journey for her Feel It Tour all around the US. Besides, the success of the tour opened up the door for the spring portion, starting in February 2025. We will headbang alongside ALLEYCVT every step of the way! 9. Levity The iconic Bass Trio from the Midwest jumped into the spotlight with their surprise performance in Electric Forest 2023, when they subbed for an artist who couldn’t make it to their performance. Since then, they have influenced the industry with their take on Dubstep, Trap, and Future Bass. Their debut EP ‘Escapism Vol I’ truly encapsulates their brand and what’s yet to come. Moreover, they were able to headline Electric Forest but this time officially, for a set that took us above and beyond. They say three is a crowd but we feel it’s the right number for Levity. 8. ANOTR Relax my eyeeees, I see flashing lights, but we’re not aloooneee (insert string arrangement riff). After a two-year hiatus from producing, the Dutch duo came full throttle for 2024. Sold-out shows, and the reintroduction of No Art events brought ANOTR back into the spotlight. The duo who blends Disco, Jazz, and Soul into their tracks breaks all rules to provide us with euphoric experiences each time. No Art took it upon making the no-phone statement a relevant option for events, bringing connection and music back to the forefront of this social media era. 7. Goom Gum Turking Melodic Techno Duo Goom Gum had a major year. Their hypnotizing sounds grew exponentially with releases such as Their Raffa Guido’s ‘Famax’ Acid-filled remix, and their ‘Staccato’ and ‘Devotion’ double release. The AVTOOK label leads also enjoyed support from Anyma, Zamna Records, Cassian, and more. Furthermore, they ranked amongstthe top producers on the Future of Dance list. The future is Techno. 6. HUGEL French DJ and Latin House producer HUGEL gave us so much flavor this year. He gave us some of the nastiest beats including ‘Stay High’ with Diplo and Julia Child and Andalucia with GROSSOMODO. Standout performances include his own Boiler Room inside a McDonald’s, and playing alongside Ludacris during Art Basel. Moreover, HUGEL dove into the fashion world alongside TAFARI and KAMALI for the debut of TAFARI WORLD. The apparel brand is a forward-thinking and innovative take on modern streetwear. Similar to ZHU or Anyma, the artist has been able to showcase his creativity through different outlets, besides music. 5. Alex Wann One of the newest names on our list. Afro/Deep-House DJ Alex Wann comes all the way from Paris to deliver the sweetest grooves. This year picked up the pace after his remix release of Kelis’ ‘Milkshake’. Since then, Wann released tracks with Aaron Hibell and Liva K, and has remixed the likes of Jess Glynne, WhoMadeWho and Adriatique. His tour this year took him from Ibiza, all the way to EDC Las Vegas. We hope his melodies and beats take us further and further next year. 4. Keinemusik The German Afro-House trio Keinemusik is its own category. Adam Port, Rampa, and &ME managed to bring their A-Game into this year. The cloud made its rounds on our favorite dancefloors around the world this year. 2024 consisted of sold-out shows, extremely viral moments, and lots of fundraising. Keinemusik ought to have an incredible 2025. Of course, we need to highlight ‘Move’, by Adam Port and Stryv, chosen as the number 1 song on One World Radio for 2024. Besides, with a remix including Camila Cabello, and another one by Anyma, segments this track as a legendary song for years to come. 3. Layton Giordani The NYC-based artist, also known as “Slayton” or “babygurl” if you’re chronically online as we are, made it all the way to our Breakout Top 3 this year. Yes, Layton has been on our radar for ages, but he finally makes it into our breakout artist selection this time around. The ‘New Generation’ producer went through a major rebranding this year, which swayed his style from an all-Techno note to a masterful mashup with House. Giordani had major highlights this year including the releases of Sharam’s ‘PATT (Adam Beyer, Layton Giordani & Green Velvet Remix)’, and Loofy’s ‘Last Night (Anyma x Layton Giordani Remix)’. The DJ also showcased his newfound sound with tracks like ‘Paranoid’ and ‘Freaks at Night’. We will always be supporting Slayton in years and years to come. i like house and sexy techno, i’m just a chill guy pic.twitter.com/TdDDKkP8WK — Layton Giordani (@LaytonGiordani) December 3, 2024 2. Odd Mob Australian DJ Harry Hope’s solo project made it to our top 2 breakout stars. It had originally started as a duo back in the day. However, Odd Mob truly rose in popularity while joining OMNOM for the release of ‘Losing Control’. This year, the producer has continuously released banger after, banger, including his remixes Andruss’ ‘Frikitona’ and John Summit & venbee’s ‘palm of my hands’. His dark textures carry the groove into sunrise, and had us dancing all year. Moreover, his Hyperbeam collab set with OMNOM for EDC LAs Vegas blew our minds away. Honorable mentions We love every artist on this list, even though they were short a couple of votes to make it into the official list, their debut albums, tours, and releases left us in awe this year: Sammy Virji Rinzen Sara Landry PAWSA And now, our top Breakout DJ of the year, and it should be no surprise to anybody, goes to… 1. Max Styler The man of the moment, our top breakout artist of 2024, Californian producer Max Styler had an incredible year. From continuous support from Gorgon City, John Summit, and plenty others, the producer had us dancing nonstop. Styler had over 10 major releases this year, including ‘Touch’ with Gorgon City, and his remixes for John Summit & Paige Cavell’s ‘Tears’ and the classic ‘Tarantula’ by Pleasurekraft. His dark-driven sounds send us into the stratosphere on each set, and take Tech-House to a different realm. His journey includes his Progressive House alter ego HABITATT, letting us levitate into the night. This was truly his year and his year only. The post Year In Tunes – Top 10 Breakout Artists Of 2024 appeared first on EDMTunes.

2024 has been another unforgettable year for bass music, with albums taking center stage in showcasing the genre’s depth and creativity. This year, standout albums have pushed the boundaries of what drum and bass can be. From iconic artists delivering career-defining statements to fresh talent redefining the sound, the year has given us plenty to celebrate. And it’s not just drum and bass thriving—dubstep and UK garage have also delivered albums that prove their continued relevance on a global scale. With such a wealth of incredible music to choose from, narrowing down our favourite bass music albums of 2024 has been no easy task. The UKF editorial team has locked in their top picks. These are the albums that have defined the year, elevated the scene, and kept us inspired. Let’s dive into the records that made 2024 truly special. Entanglements – Alix Perez Laurie Charlesworth Entanglements is a gorgeous array of sounds from start to finish and hands down, my favourite album of 2025. It has all of those beautiful, deep, signature sounding Alix tracks with the likes of ‘In Your Eyes’ and ‘Dark Pulse’ with the addition, this time, of a much more summery – almost High Contrast-esque – sounding track with ‘Elastic Soul’. I’m obsessed! Alix Perez is undeniably one of the best when it comes to soul and Entanglements is a solid example of that statement. Anima – Zar Sam Yates This guy was my UKF One To Watch pick at the start of 2024, and man, did he deliver. Zar’s innings was highlighted by his debut LP on Space Cadet – an incredibly soulful project themed around his Italian heritage and his current home in Manchester. He enlists a wide spread of local vocals from aya dia to DRS (and plenty more), all of whom hop on to complete the wholesome, community feel pulsing through this album. A big statement from Zar on this one; that he’s among liquid drum & bass’ elite producers. Silence Is Loud – Nia Archives Ant Mullholland The debut solo album from jungle superstar Nia Archives has definitely been one for the history books. Released in April, her innovative breakbeat influenced track with pop-indie style vocals provides the electronic dance world with a revolutionary take on jungle sound design. The Britpop inspired project has been a huge hit in the British music spectrum creating a catchy feel throughout the body of work. Tracks like ‘Cards On The Table’, ‘F.A.M.I.L.Y’ and ‘Unfinished Business’ truly epitomises this indie style fusion with a rolling jungle break that both tie together innovatively. As a result, creating a multifaceted resemblance to 90’s style sounds forming into a more modern style of dance music. As one of Nia’s best singles on her discography to date, the distinctive ‘Forbidden Feelingz’ also made the cut on the album. Displaying a soulful and dynamic approach to drum’&’bass sounds. The ‘Silence Is Loud’ track itself has a futuristic feel to it, despite drawing inspiration from 90s breakbeat. Its infectious hook and 4-line lyrics has fabricated a number that’ll live long in the memory. Her voice is individual and distinctive, setting her aside from many vocalists in and around the community – enabling her to pierce the production with haunting yet enticing flare. The ‘Silence Is Loud’ album as a whole has undeniably displayed new ideas unto a scene that has been on the rise for many years now, providing listeners with a dynamism that will only leave you wanting more. Slow – Redeyes Sam Yates Redeyes’ aptly titled album is a hazy summer gem. Opening at gentle cruise, Milansanger urges us to “take things slow” in his feature, before DRS and Fox tag-team on a bubbly, but leisurely production. This ebb and flow of beats at various paces continues throughout the 11 tracks, glued effortlessly together by Redeyes’ veteran style and technique. Each instrument choice is real-sounding and deliberate, giving it that throwback, rose-tinted feel. Atmospherics and spoken word from the likes of 2b.frank or aya dia wrap this up so wonderfully – you can’t really tell when one track moves into the next, even though they’re distinct. This is an end-to-end listen, bucking the streaming and social media trends that expect one-track attention spans. Incognito Rhythm – 4am Kru Jungle duo 4am Kru have spearheaded a cutting-edge blueprint that have seen them become one of the most popular collectives in underground dance music. The culmination of this body of work, which came out in September, sees some of the jungle scenes’ most captivating rhythms stretching back over the last few years. Their explosive identity is pressed upon these singles creating a euphoria around them. Watching them perform songs from the album, they gain an extra dimension in their live renditions. Tracks including ‘Just Saw Johnny’ and ‘Ooh Boy’ place a hardcore inspired bite to proceedings. Whilst tunes such as ‘Real Lo Remix’ and ‘Ribena’ showcase an old school jungle nuance that has compelled a broad range of listeners, acquiring a strong and loyal following over the last few years. The single itself ‘Incognito Rhythm’ samples the iconic Little Simz vocals on her track ‘Gorilla’ and transpires in really capturing the essence of this new formula of jungle that embraces rigorous bass lines, complimenting the eloquent drum patterns. It’s important to mention that ‘Horns For 2024’ also achieves this wicked concept merged together by the London-based act. 4am Kru’s album has accurately depicted their intentions as a forward-thinking production machine who possess a truly addictive sound design. Teasing at so many more ideas for future projects that fans everywhere will, unquestionably, be keeping an eye out for.

2024 has been an absolutely monumental year for bass music. From sold-out shows and viral hits to a wave of fresh talent reshaping the sound. Drum and bass continues to dominate the conversation, evolving beyond its underground roots and cementing its place in the mainstream spotlight. This isn’t just a passing trend—it’s proof of the genre’s enduring relevance and its unmatched ability to innovate while staying authentic to its core. Meanwhile, UK garage and dubstep have made serious waves, drawing in younger audiences and proving that their influence is far from fading. UKG, now 30 years deep, remains a vital force, while dubstep has found new energy in both its classic and experimental forms. As the year comes to a close, we’ve had the impossible task of narrowing down our favourite tracks from such a vibrant, diverse 12 months. After plenty of debates and rewinds, the UKF editorial team is proud to present our definitive picks of 2024. These are the tracks that have defined the year, pushed boundaries, and kept us moving on the dancefloor. Let’s celebrate the music that made 2024 unforgettable. Lens & Sarah Ikumu – Jungle Diva (ft. Pola & Bryson & goddard.) Laurie Charlesworth ‘Jungle Diva’ is a certified banger and without a shadow of a doubt, my favourite track of 2024! It has all of those gorgeous, jungly elements that we love and adore, with a little slither of naughtiness chucked in there too. It’s dark and rolling, but fun. The rise of Lens continues, Sarah Ikumu sounds exceptional and Pola & Bryson and goddard. sprinkling some magic on it is just the icing on the cake. A beautiful combo. Big tune! Nectax – Body Talk Ant Mullholland The soulful yet energetic ‘Body Talk’ by Nectax is without doubt one of the most impactful jungle rhythms of 2024. Released on DJ Flight’s Play:Musik label over the summer, this was their first release in 14 years and what a thrilling way it was to come back. Forming part of the ‘Body Talk’ EP, the single first came to people’s attention in Nia Archives’ Boiler Room set two years ago, absolutely everyone wanted to find out where the tune came from. The rolling style jungle sound woven in and out of some well crafted vocal synths has made this particular track incredibly popular among jungle selectors. Its expressive nature has made it a huge hit in the dance, appeasing many a type of jungle fan. From the very first drum pattern, the journey it takes you on is euphoric. The Newcastle-based artist finds himself being one of the most exciting talents to come out of the jungle scene. Over the course of the last few years he’s built an armoury of high calibre production under his belt. Being one of the key components behind the up-and-coming label Stereo45, we can expect even more influence on the scene from this talented geordie beatmaker. Koherent, Klinical & Operate – Classics Sagar Deshmukh Since its inception in 2018, Overview Music has consistently demonstrated a remarkable ability to unite distinctive collaborative pairings that frequently develop into legendary partnerships, and etching their name in the label’s quintessential releases. 2024 was no exception, with standout collaborations from Kyrist & InsideInfo, Killa P & Klinical, and Rueben & Grey Code, among others, delivering the unmistakable Overview style of drum & bass brilliance. The winner of these collaborations however, is undoubtedly this impressive assembly set up by Overview, featuring Koherent, Klinical, and Operate. Their track kicks off with a striking sample that declares, “for my next number, I’d like to return to the Classics.” True to its word, the tune masterfully bridges the gap between the old-school foundations and modern innovations of drum & bass. Raw, rugged, and perfectly paced to ignite the dancefloor, ‘Classics’ embodies Koherent’s razor-sharp production, Klinical’s emotive depth, and Operate’s signature sound design. Gritty, raw, and unapologetically grimy, this tune packs an explosive punch, guaranteed to shake up the dancefloor no matter the venue—be it an intimate club setting or a massive festival stage. If you’re a DJ reading this, consider this one of your go-to dancefloor weapons. Halogenix – No More Sam Yates An outrageously uplifting track from one of our scenes’ most treasured producers. Whenever ‘No More’ gets teased or dropped in the mix, it’s often the most exciting, positive moment of the set. It sounds like summer festivals or the middle of a club night with its effortless energy – no vocals needed, just an infectious melody and all the right interplay of building and breathing. Halogenix once again delivers. Adam F – Circles Revisited Laurie Charlesworth ‘Circles Revisited’ is a culturally significant moment in drum & bass! The original is undeniably one of the most influential tracks in the history of UK dance music – and yet, the waves it caused back in the 90s were only the very start of its journey. Fast Forward to nearly 30 years later, we have seen the track be sampled and bootlegged countless times, most famously by the likes of PinkPantheress, Pola & Bryson. ‘Circles’ continues to make a mark on the scene in such a beautiful way, and Adam F jumping back into the studio – using the exact same equipment he used to make the original track – is the chapter of the story we’ve all been waiting for. Colours Revisited in 2025 is greatly anticipated too. I can’t wait. Big love to Adam for delivering us some real magic via his revamps, reworks, reboots and revisits! Fake Two Piece & Lokal – Bad Mouth Sagar Deshmukh Shenzhen/Hong Kong based experimental bass music label released ‘Bad Mouth’ just in time to be in consideration for the wonkiest dubstep releases of 2024. Over the past five years, Unchained Asia has cemented its reputation as one of the top purveyors of hyper-innovative bass music, with bold experimentation serving as both its defining identity and greatest strength. Keeping their yearly ritual going ever since they started putting out music in 2018, Unchained assembled the 12-track ‘The Year of The Dragon’ which runs in parallel with the Chinese Lunar calendar featuring artists that delivered a tightly curated showcase that reflect their addiction to variety – ranging from raw, experimental sounds to unapologetic club bangers. Leading the charge on ‘The Year of The Dragon’ is a fiery collaboration between Lisbon’s boundary-pushing duo Fake Two Piece and Manchester’s fast-rising trio Lokal, who’ve been turning heads and shaking speakers since bursting onto the scene last year. Together, they’ve crafted ‘Bad Mouth,’ a track that seamlessly blends dark, gritty textures with infectious rhythms and sharp, dynamic sound design. It strikes the perfect balance between raw, weird, and an infectious groove that is primed to captivate the dancefloor. With its visceral energy and undeniable club appeal, ‘Bad Mouth’ doesn’t just demand attention—it commands it. Marshmello x Svdden Death – Vortexblade Logan Sasser Getting a banger from Marshmello and SVDDEN DEATH was not on our 2025 bingo card, but the MELLODEATH Tapes Vol. I was a welcomed surprise — especially their ‘Vortexblade’ track. It’s a tune that isn’t exactly riddim, but it rides the line with grace and style. From start to finish, ‘Vortexblade’ is pure energy. The sound design is grimy, and definitely heavy, but there’s a subtle undertone of experimental bass vibes that carry the track to through both high-octane bass drops with SVDDEN DEATH’s classic, spooky sound design. Joy Orbison – flight fm Rewinding back right to the start of the year, we were introduced to Joy Orbison’s heavyweight track ‘Flight Fm’ on XL Recordings. Having been teased in the clubs for some time during 2023, electronic dance fans were elated when this heater got its much-anticipated release in January. Throughout the last 12 months, it’s safe to say that this song has virtually been played out in every type of rave imaginable around the world, showing no signs of letting up any time soon. With a multitude of different artists from an array of different backgrounds remixing the track, it only further demonstrates how this exciting number has influenced the whole spectrum of underground music. We’ve witnessed a range of your favourite DJ’s playing at around 140 bpm attempt to double a fresh vocal on top of this unmistakable hefty beat. With the likes of Fred Again, Four Tet, and Skrillex all showing appreciation to the song. As a result, this has seen Orbison’s track reach a wider audience. Sonically, this tune has fused the compelling weight of bass music with the forward thinking style of electro. A track that definitely can’t be shoehorned into one category, its winding build-up followed by a dance floor crushing drop has created a legacy in electronic dance music that’ll live long past 2024. Channell, Motiv, Luke Truth – Substance Sam Yates In his debut EP with The North Quarter, Channell hits a big six. But one particular stand-out was ‘Substance’ – produced with fellow friend Motiv, the two create magic by tossing in equal doses of energy and soul, finding a unique pulsing style that feels like it’s kicked off a trail-blaze of others who want to emulate it. Luke Truth joins for a breakout vocal performance, giving it that extra few strokes of passion, and making a name for himself in the process. Expect more fire from these three in the future. Tape B x Mersiv – Trippy Land ft. Juicy J Logan Sasser Hearing Juicy J introduce Mersiv and Tape B on their track ‘Trippy Land’ never gets old. Southern hip hop and dubstep isn’t exactly a new sensation (Juicy J actually made a song with Boregore back in 2016), but ‘Trippy Land’ is a reminder that some trends never die; nor should they. Of course, Tape B and Mersiv continue to be some of the hottest acts in bass music, and the energy they captured together on “Trippy Land” proves they both deserve the respect and hype they’ve created for themselves throughout the past few years. Plus, we get a fantastic, high-energy verse AND hook from a hip hop legend. What more could you ask for?

REZZ went to social media over the weekend to announce new visuals she and her team have been working on after seeing the new ANYMA show at the trending Las Vegas 360 Sphere. In the Instagram story, she says: “The new visuals I’m investing will blow everyone’s minds. Everything is evolving. everything.” The Rezz Project The REZZ project is a well-defined concept of a techno-house blend and dubstep. Altogether, it highlights a darker hypnotic style in the colors red, white, and black. Ukrainian-born Isabelle Rezazadeh started her journey as REZZ in 2013 on Soundcloud. Shortly after, in 2015 she released ‘Insurrection‘ on OWSLA. Later that year she continued her way into the big leagues by joining the Mau5trap label with ‘Serenity‘. Since then, Isabelle has surpassed millions of streams on countless tracks and played at the world’s top festivals like EDC, Electric Forest, ACL, Coachella, and more. ANYMA’s Residency @ The Sphere, Las Vegas The comments from REZZ and her new visuals in the works came directly after her experience with ANYMA’s first show as the first resident DJ at The Sphere, Las Vegas. This show is a milestone in ANYMA’s career and a sight to see. Why? ANYMA is known across the world for its live-show visuals. They have evolved from regular 2D to ground-breaking 3D visuals that illustrate a visual trick of the object coming off the screen. The Sphere is a wraparound 16K x 16K resolution LED screen that covers the entire interior and is considered to be the world’s largest high-resolution LED display, covering 160,000 square feet. The combination of ANYMA’s visuals and this venue is next level. You can learn more here. The post REZZ Sparks New Visual Ideas After ANYMA Sphere Show appeared first on EDMTunes.

Words by Ross Goldenberg. “Carry You” can only be defined as an abnormality. Typically, Dancing Astronaut‘s Track of the Year selection is a release that originates within the same calendar year. For more reasons that one, “Carry You” is unlike many that have come before it. Immediately after Martin Garrix acquainted us with “Flashlights” — the track’s original, fan-dubbed alias following Ultra 2023 — pleas for the ID’s release hadn’t even begun to scratch the surface. But as the one-year anniversary of its debut began to inch closer, the questioned still remained: Would it ever see a release? Martin Garrix and Third Party disclosed that the wait wasn’t without reason. They were simply opting to hold off on its conversion from live exclusive to streaming upload until they were able to place what they believed needed to be a flawless vocal over what many — including us — believed to be a flawless instrumental. They did. In many prior instances, an instrumental’s vocal mix is — unfortunately — unable to live up to the potential of its lyric-less form. “Carry You” is a rare case that confirms the opposite can be possible. On one late-January evening, we began to receive Instagram direct messages with videos from fans that were in attendance at Third Party’s show at Opium Barcelona. That first listen of “Carry You” was one of those moments where you start envisioning the future Dancing Astronaut social media posts about its release anniversary in one, five, or even ten years down the road. Martin Garrix and Third Party had called in Winona Oak — who went under her alias of Oaks for this release — as well as Declan J Donovan. They did the impossible: they perfected an already perfect piece of music with a male-female duet for the ages. Less than a month later, Garrix would open the doors to IDEM — a STMPD RCRDS EP that would later comprise of four coveted Garrix IDs — with what would eventually create the basis for our 2024 Track of the Year title. We didn’t want to get ahead of ourselves earlier this year, but 10 months removed from February 16 and we are now comfortable doubling down on the following claim: “Carry You” evokes the same feeling that “Calling (Lose My Mind)” — better known as “ID – ID” in the Dancing Astronaut universe — did 12 years prior. And while it may still be too soon to formally rank “Carry You” beside tracks like the one Alesso, Sebastian Ingrosso, and Ryan Tedder were behind in 2012, we have minimal doubts that it has the ability to reach that status in due time. While we’ve decided to only name a singular Dancing Astronaut Track of the Year in 2024 — despite opting to co-name three in recent years — we still wanted to recognize two other tracks that — in our eyes — closely trail behind “Carry You.” The first of our two honorable mentions for 2024 Track of the Year fittingly arrives via Dancing Astronaut‘s 2024 Artist of the Year. ISOxo and Knock2’s Ultra ID-turned-trap-anthem with RL Grime unmistakable reconfirmed that the genre of trap is alive and well with the making of “SMACK TALK.” Similarly to “SMACK TALK,” our second honorable mention for 2024 Track of the Year also derives from one of our end-of-year awards: Dancing Astronaut‘s Top Albums of 2024. Justice and Tame Impala’s first linked up at the top of 2024 for “One Night / All Night.” And while that initial HYPERDRAMA pairing was memorable on its own, they one-upped themselves with a second go-around on Justice’s fourth LP: “Neverender.” Of course, the past 12 months in dance music cannot solely be boiled down to the above three releases, which is why our annual series of Dancing Astronaut’s Top 100 Tracks of the Year — in alphabetical order — has returned once again. Enjoy and Happy New Year! Featured image: Louis van Baar The post Dancing Astronaut’s 2024 Track of the Year + Top 100 Tracks of 2024 appeared first on Dancing Astronaut.

The Chinese outlet My Drivers just leaked images that, if accurate, would reveal major changes to the iPhone 17 Pro design — the first since the 14 Pro in 2022. The images show a new front look, including a horizontal island where the lenses are. However, it may seem as if the new design is pretty similar to the Pixel phone’s front camera, Let’s take a look! iPhone 17 Pro Leak The report went back to analyst Jeff Pu‘s claims in May. According to Pu, this new design will use metalens for the Face ID system to make the cutout narrower, instead of the bigger Dynamic Island from the past few models. Metalens, or metasurface lens, is an optical lens that uses nanostructured materials. Unlike traditional smartphones, these lenses do not rely on the curvature of their surface to manipulate light. As a result, the lenses are flat and lightweight, this way companies can manufacture simpler designs without bulky lenses. The report provides a sample image of that the new flat Dynamic Island will look like.Moreover, the report shows smaller bezels on the new Iphone Pro. Of course, we are not getting an all-glass Iphone anytime soon, but this seems to be a good start towards that future. Meanwhile, there are contrasting leaks, which showcase a horizontally stacked camera array. In the hopes that Apple does indeed provide new designs for the new Pro series, we can at least wish that one of these leaks comes to fruition. What do you think, are we upgrading or not really? The post iPhone 17 Pro Leaked Images Reveal Major Design Overhaul appeared first on EDMTunes.

In a city packed with NYE options, Eye Heart SF is bringing Gryffin to Fort Mason for a takeover that is shaping up to be the one event you don’t want to miss. The producer/multi-instrumentalist has built his reputation on being more than just another guy behind the decks, and he’s bringing that full live setup to San Francisco’s waterfront on December 31st. What sets Gryffin apart is how he actually plays his music – moving between guitars, synths, and drum pads while building those massive drops that made tracks like “Feel Good” and “Gravity” festival favorites. It’s the kind of show that hits different live, especially when you’re counting down to midnight. Fort Mason’s raw industrial space is the perfect spot for this kind of night. Eye Heart SF knows how to transform a venue, and they’re going all out with production that’ll match Gryffin’s energy. For an artist who started in intimate clubs before headlining major festivals, this feels like the sweet spot – big enough to go hard, small enough to feel real. If you’re trying to decide where to ring in 2025, this is your move. To make this night even more special, Dancing Astronaut is giving away two free VIP tickets to one lucky winner! Entry is easy. Follow @DancingAstro and @EyeHeartSF on X. Then tweet at both accounts with why you NEED to see Gryffin this New Year’s Eve. Don’t miss your chance to experience Gryffin like a true VIP. The post Win 2 VIP tickets to Gryffin for New Year’s Eve in San Francisco appeared first on Dancing Astronaut.

Anyma is one of the world’s most innovative electronic music producers and he just teamed up with breakout star Massano and vocalist Nathan Nicholson in dropping ‘Angel In The Dark’. Anyma and Massano released ‘Angel In The Dark’ via the rising Afterlife/Interscope Records label and the track contains a baseline that draws in listeners in an addicting manner and layered textures that are very immersive in an unforgettable way. Additionally, for anyone who is planning to attend the highly-anticipated ‘The End of Genesys’ residency at The Sphere in Las Vegas, Anyma will feature ‘Angel In The Dark’ in his set. When he plays the track, it will for sure be a fascinating, and beautiful, sight to witness for the fans inside The Sphere. ‘Angel In The Dark’ will shine vibrant rays of light for all to witness at The Sphere December 27th was the first night of “The End of Genesys’ residency at The Sphere and the 28th and 29th are the other days of this weekend that Anyma will perform ‘Angel In The Dark’ on. Afterwards, New Year’s Day, as well as January 10th and 11th, will be the next dates of this residency and fans will get to experience various artistic, audiovisual wonders that will live in their minds for a long time. The residency will also mark the conclusion of the ‘Genesys‘ era with a three-part visual narrative. The shows at The Sphere will provide a world-class LED display and a highly-advanced audio system, Sphere Immersive Sound. Click on this link of Afterlife Las Vegas to purchase tickets to see Anyma’s ‘The End of Genesys’ residency. Aside from Massano, a diverse list of superstars such as Charlotte de Witte, Amelie Lens, Adriatique, Sebastian Ingrosso, and Tiësto will ring in the year of 2025 with outstanding vibrancy and aims to inspire the fans present to look forward to many bright hopes to come in the new year. The post Anyma Teams Up With Massano on Emotional ‘Angel In The Dark’ appeared first on EDMTunes.

Moojo is back with his latest Afro House single, ‘Mockingbird’ via his label, Calamar Records; a track primed to bring sonic heat to the dancefloors of his performances and beyond, this latest Moojo production shines a light on his signature sound, seamlessly blending rhythmic grooves with uplifting melodic energy. With an approach that leans on his rich musical background, Moojo continues to put forward music reflecting his unique journey, carving out a sonic identity that demonstrates his wide palette of inspirations; from traditional African and Latin sounds to the contemporary beats of Electronic music, his ability to merge across genres has resulted in a production style that consistently draws acclaim from listeners worldwide and industry VIPs. With his name already well-established in the scene, and with ‘Mockingbird’ earning early support by top names like Diplo, HUGEL, Rampa, and Black Coffee, Moojo continues to solidify his reputation as a highly regarded Producer and DJ, and this latest release builds on his impressive trajectory, further cementing his status as one of the standout talents within Electronic Music today. The track introduces a steady kick, Latin-flavoured percussion and textural synth work from the start, weaving a detailed tapestry of polished sound as filtered vocal lines, bassline hook, and underlying pads lead the track into its full-bodied groove. As it continues to push forward, listeners are drawn deeper into its rhythmically complex soundscape, where tension and release are manipulated with precision, and fresh details continue to join, further enriching the unique sonic flavour of the track. From soaring details to melodic piano lines, the layered arrangement of ‘Mockingbird’ further emphasises the skill and abilities that Moojo has cultivated during his time on the scene, making for a dynamic and engaging journey that will surely captivate his listeners. As his discography grows with remixes, original tracks, and collaborations, Moojo continues to ensure that through each release, he offers fans something that feels fresh yet authentic, consistently putting forth his signature sound with skill and expertise. Arriving just in time to ring in the New Year, ‘Mockingbird’ not only marks another milestone in this talented Producer and DJ’s journey but also sets the tone for what’s to come in the year ahead, capturing the essence of Moojo’s artistic growth and future potential. ‘Mockingbird’ is out now via Calamar Records and available to stream and download across platforms. Make sure to stay connected with Moojo and his journey by following him via social media today. Listen and Buy ‘Mockingbird’ Now: Beatport Moojo Online     Beatport | Instagram | Spotify     Calamar Records Online     Beatport | Instagram

Jody Vukas releases his latest Melodic House single, ‘Fade,’ featuring vocalist Ariana Celaeno: displaying his signature sound once more, offering a track punctuated by his bold energy and refreshing style, Jody Vukas aims to continue connecting with genre lovers around the globe, building on his momentum with this brand-new release via Future House Cloud. With a wide array of influences, drawing from the Electronic Music substyles of Melodic, Tech, and Progressive House, Jody Vukas has carved a sonic identity that reflects his musical journey, shaping a sound that displays his inspirations whilst bringing something fresh to the scene. As he creates music that resonates with both his fans and top names within the genre, turning the heads of VIPs like Dowden, Dj Chus, Steve Lawler, and others, Jody Vukas maintains a dedication towards his artistic evolution, pushing to develop his craft, whether in the studio or behind the decks. Now, with this next release, he again shows his musicality and skillset, carving an immersive sonic journey for his listeners and inviting them to experience the originality and passion behind his creativity. A dynamic and detailed soundscape, ‘Fade’ weaves an intricate tapestry of sound from the get-go: with Ariana Celaeno’s expressive vocals guiding its progression, the track layers in bubbling arpeggiators, a smooth bassline, and underlying pads, pushing ahead to incorporate a pounding groove punctuated by steady kicks and shuffled percussive details. As it maintains an engaging flow, the track moves through introspective moments of atmospheric textures, returning with energy as thumping beats, melodic synth work, and lush elements carve out a full-sounding arrangement. This considered combination of melodies and driving rhythms offers a distinctive listening experience, seamlessly balancing emotional depth with dynamic energy to showcase Jody Vukas’ signature style and approach. A track that feels as immersive as it is energising, ‘Fade’ is surely set to stand out within Jody Vukas’ discography, capturing the essence of his sound while delivering refreshing vibes. As he keeps building on his promising trajectory, Jody Vukas continues to cement himself high on the list of talents to watch within Electronic Music, forging ahead with motivation and commitment. Out now via Future House Cloud and available to stream and download across platforms, embark on a journey through Jody Vukas’ creative world with ‘Fade’ and be sure to keep him on your radar by following him across social media today. Listen and Buy ‘Fade feat. Ariana Celaeno’ here. Beatport Jody Vukas Online Website | Instagram | Spotify Ariana Celaeno Online Instagram | Spotify Future House Cloud Online Website | Beatport