Ravebot

This category celebrates artists who have defined the essence of house music with their groovy beats, soulful melodies, and impeccable production, keeping dancefloors alive with timeless energy. #1 Barry Can’t Swim A genre-blending electronic artist known for his soulful melodies and jazz-infused house music. It’s not surprise he has been voted #1 with his innovative approach to electronic music and his growing prominence in the industry. #2 Peach A vibrant DJ and producer delivering high-energy sets that span house, techno, and breakbeat. #3 Keinemusik A Berlin-based collective renowned for their emotive deep house and Afro-influenced electronic productions. #4 Chloe Caillet A multifaceted DJ and producer creating chic, groove-heavy tracks with global influences. #5 East End Dubs A house and tech aficionado celebrated for his refined productions and deep underground sound. #6 Gabrielle Kwarteng A genre-fluid DJ weaving eclectic mixes of house, disco, and Afrobeat with global inspiration #7 LP Giobbi A powerhouse DJ, producer, and feminist advocate blending house music with infectious piano riffs. #8 Call Super A boundary-pushing producer and DJ delivering abstract, experimental sounds across electronic genres. #9 DJ Holographic A Detroit-based artist mixing soulful house, techno, and funk with a high-energy stage presence. #10 TSHA A rising star in electronic music, known for her emotive productions and uplifting, melodic beats. The post Best House Music Artists 2024 appeared first on Electric Mode.

This category honors the visionaries in techno who push boundaries with their driving beats, industrial soundscapes, and innovative approaches to one of electronic music’s most iconic genres. VTSS VTSS, a leading force in the global techno scene, combines raw, industrial beats with experimental touches, pushing the boundaries of electronic music. With her roots in Poland, she’s become a favorite at iconic festivals and clubs worldwide, delivering high-energy performances that seamlessly merge techno, hardcore, and bass-heavy elements. Known for her fearless approach and dynamic sound design, VTSS has solidified her place as one of the most innovative artists in electronic music today. Ki/Ki A fast-rising artist delivering euphoric and trance-heavy sets with a nostalgic edge. Amelie Lens A Belgian techno sensation renowned for her relentless sets and chart-topping productions. Sara Landry A heavy-hitting techno DJ and producer blending dark, industrial sounds with modern innovation. Laurent Garnier A pioneer of electronic music and a trailblazer in the global techno scene for over three decades. Funk Assault A groove-focused DJ duo delivering funky, bass-heavy house and disco cuts. Tarkno An eclectic DJ blending deep, minimal techno with atmospheric textures. Anetha A Parisian techno artist celebrated for her driving, experimental soundscapes and live energy. Blasha & Allatt A dynamic duo bringing uncompromising techno energy to dancefloors worldwide. Quelza A French producer crafting cinematic, atmospheric techno with intricate detail. The post Best Techno Artists 2024 appeared first on Electric Mode.

Out on December 20th via Armada, Ukrainian techno singer Korolova and UK group Eynka team forces on the massive trance-inspired tune, “Coming On Strong.” Considered by many as an underground trance anthem, Signum and Scott Mac’s Armada-released 1999 original of “Coming On Strong” was a standard in dance music through the “90s and early 2000s.” Rising artists Korolova and Eynka reworked the track as a potent cinematic melodic techno classic twenty-25 years after it first came out. The pair improve the original with their legendary, floating vocals, modern production methods, and a threatening, jagged center synth that twists, bulges, and darts wildly. It is already showing to be a head-turning dancefloor essential, picked up so far by Adam Bayer, Agents of Time, Miss Monique, Paradoks, Ilario Alicante & Enai. Who are the artists? Korolova and Egynka Ukrainian producer/DJ Korolova has become well-known over just three years as one of the main melodic techno performers to see. Her interesting DJ sets are in demand worldwide; this year alone, she will be playing over 100 shows over 50 countries. She ranked #60 in this year’s DJ Mag Top 100 DJs list and enjoys a whopping 170 million YouTube views and 70 million streams including the single “Be Strong” (32M streaming). If that’s not enough, she performed Tomorrowland’s much sought-after main stage in July, sold out her Captive Soul show—which included Eynka—at KOKO in London in October, and has shared the stage with David Guetta, Vintage Culture, Armin Van Buuren, Above & Beyond, and many more. London-based group Eynka produces rich, dramatic soundscapes spanning the domains of melodic techno and expressive electronica. Comprising brothers Chris and Dave Hall as well as lifetime buddy Joshua Field, they produce very moving and cinematic electronic music. Renowned for their intricately layered sound, they have recorded on Diynamic, Cercle, and Stress Records and toured legendary venues including Hï Ibiza and Ministry of Sound. Egynka’s music has had a big influence in the melodic techno movement with tunes backed by BBC Radio 1 and partnerships with CamelPhat and Anyma. They initially performed their new hybrid live presentation on the road this year at famous locations including Ibiza’s Ushuaïa (listen to the set here). Out on December 20th on Armada, “Coming On Strong” is a late ’90s trance smash deftly translated for a modern techno audience. The post Korolova & Eynka revive 90’s trance classic ‘Coming On Strong’ appeared first on The Groove Cartel.

We chat to JAEL about what he can’t live without in the studio. Barefoot SoundType: Footprint03 These are my favourite monitors I have ever bought ! They look so cool, are compact and are built for serious audio pros for a great price. I came across these when my friend went to visit NAMM and told me about a 3 way speaker with MEME technology. I mix all of my own productions and these monitors are the best to my liking. Why? MEME Tech. The MEME Technology in these monitors is like having four monitors in one. You can switch between: “Flat Response” for accuracy, “Oldschool” for vintage NS10 vibes, “Hi-Fi” to mimic home speakers, “Cube” for mono and midrange clarity This makes it so convenient to check how your mix sounds on different sound systems without having to buy more gear. The monitors are like small powerhouses of sound. Don’t let their size fool you—they hit hard with tight, punchy bass, super-clean mids, and highs so crisp they’ll make you rethink every mix. They’re basically the secret weapon for anyone who wants pro-grade sound without taking up half the studio. After getting these monitors, I immediately re-mixed all of my recent mixes and productions and they gave me a brighter spectrum of the mixes. JAEL’s latest single D33P is out now.

As the Electronic music calendar turns towards 2025, it’s a fitting time to reflect on the future through the eyes of the creators shaping its pulse. With innovation at the heart of the genre, artists from across the spectrum have their sights set on new goals, fresh soundscapes, and ideas that may define the scene in the months to come. From chart-topping producers to underground pioneers, each offers a unique perspective on the trends, challenges, and creative possibilities that lie ahead. In this special feature, we asked a diverse lineup—Wilza, Jacob Colon, Silva Hound, Synthesis, Nonduality, Lady Decibel, Freekbass, Andrew Canlon, Alphones, and Hotboxx—to share their personal goals for 2025, deliver a heartfelt message to their fans, and weigh in on what trends they think will shape the Electronic music landscape. The results are as varied and exciting as their music, offering insights into the minds driving Electronic music forward. Alphones Goal for 2025: In 2025, I’m focused on continuing to refine my sound and push the boundaries of house and tech house music. I want to keep experimenting and find new ways to connect with my audience. I also plan to collaborate with more artists in different genres and work towards releasing some really exciting new tracks. Message to Fans for the New Year: Thank you to everyone who has supported me this year. Your energy and feedback keep me going. I’m looking forward to sharing more music with you in 2025, and I promise to keep working hard to bring you the best of what I’ve got. Here’s to another great year together! Musical Prediction for 2025: I believe 2025 will see a continued evolution of house and tech house, with more focus on blending traditional sounds with new, experimental elements. I think there will also be a growing interest in live instruments being incorporated into electronic music, which will bring a fresh vibe to the scene. Alphones Online Beatport | Instagram | Spotify | Soundcloud Andrew Canlon Goal for 2025: Touring! Message to fans for the new year: You make everything possible. Thank you from the bottom of my heart. Musical prediction for 2025: I’m very focused on the Akai MPC Key 37 as an upgrade to my live rig. I’m dying to play that thing!!! I’m also very invested in the Progressive House genre and I’m always digging around, finding artists who are putting so much expression into their tracks. It’s absolutely mindblowing. Andrew Canlon Online Instagram | Website Freekbass Goal for 2025: To be cast as The Joker in James Gunn’s DCU. Message to fans for the new year: Always believe in yourself and all of your dreams. They are all real and attainable. 
Musical prediction for 2025: Instrumental hit songs with great melodies. Freekbass Online Spotify | Website | Instagram Hotboxx Goal for 2025: Keep Building on the momentum, play more international shows and release a ton of music! Message to fans for the new year: All I can say is get ready for some of the best music I’ve ever put out with some huge collabs, the release schedule will be jam packed this year, so I look forward to bringing that to my fans as well as unique show experiences not only through my sets which I can promise will be special this year, but also through the curation of my party “Vice City” in collaboration with some amazing venues like Night we Met Nashville and with amazing talent. Musical prediction for 2025: Honestly, I see a shift to some of the more groovy Disco sounds, Tech House will still be big but I can see soulful House and some of the groovy Minimal stuff really making a big leap this year and becoming a sound that many people will begin to identify with and love. Hotboxx Online Soundcloud | Instagram | Spotify Jacob Colon Goal for 2025:
 Expand my music catalog and explore new sounds not commonly heard with Dance music. Message to fans for the new year: I’ve been spending more time crafting my sound this year and I’m happy to say I’ve learned a lot. Next year I’ll be putting out a new sonic tone that I hope will resonant with my fans. Musical prediction for 2025: (what trends, sounds or genres you think will be on the spotlight next year) For me, I’m looking to set my own trend. There aren’t a lot of artists blended and merging sounds the way I do, with credit due to my knowledge as a piano player. There’s a lot copy and paste but when you’re able to craft something new it becomes the trend setter. I create vibes which I enjoy myself, like Hip Hop, Latin music, Trap and others. 2025 will be a big year. Jacob Colon Online       Soundcloud | Instagram | Spotify     Lady Decibel Goal for 2025: Play our first festival as Lady Decibel Message to fans for the new year: Happy New Year ahead! We can’t believe it’s already 2025—our second year as Lady Decibel, and we’re just getting started. Last year was an incredible journey of finding our sound, connecting with our earliest fans, and discovering what makes us us. Now, we’re ready to dive even deeper. We’ve officially locked in our style and sound, and it feels so right. This year, we’re all about pushing Rave culture forward—celebrating the music, the energy, and the community that makes it so special. You can expect a ton of new music coming your way, from original tracks to remixes we can’t wait for you to hear. We’ll also be super active on social media this upcoming year, sharing behind-the-scenes moments, exciting updates, and performances that bring the rave straight to you. Thank you for being part of this journey with us. Your love and energy mean everything, and we can’t wait to see where 2025 takes us—together. Let’s make this year unforgettable. Musical prediction for 2025: We believe Techno, particularly Hard Techno, will continue to gain momentum. Another high-BPM genre poised for a full resurgence is Drum & Bass. The younger generation craves high-energy, fast-paced music, and we anticipate genres with tempos of 140 BPM and above will see significant growth. These styles are emerging from the underground and becoming increasingly mainstream. What excites us the most, however, is the potential for a broader spotlight on new artists exploring the “Euro” style sound. Marlon Hoffstadt, aka DJ Daddy Trance, has been leading the way, inspiring a wave of fresh talent over the past few years. The amount of incredible music being released in this style is astonishing. So many new labels, especially those based in Germany are championing this sound, and we’re thrilled about the opportunity to introduce it to audiences in the U.S.! Lady Decibel Online    Beatport | Instagram | Spotify    Nonduality Goal for 2025: I’ve wanted to put out a vinyl record for a long time. I’ve also been thinking about starting a record label. In 2025, I’d like to get everything in place to finally put out some music on wax. Message to fans for the new year: Stay healthy, drink water, and get plenty of sleep! Musical prediction for 2025: I’ve been obsessed with 90’s/00’s Garage House recently, and people seem to be getting down to it at my sets. I could see that becoming more popular. Nonduality Online  Spotify | Instagram | Website  Silva Hound Goal for 2025: Release my album & lots more! Message to fans for the new year: Thank you for your ongoing support! Musical prediction for 2025: I see lots of creative spins on nostalgic trends on the rise, and I can’t wait to participate in the surrounding culture where it all takes place! Silva Hound Online    Soundcloud | Instagram | Spotify    Synthesis Goal for 2025: To keep on recording some worthwhile music and to see what opportunities open up for me moving forward. Message to fans for the new year: When something is important enough, still do it, even if the odds are not in your favour. Musical prediction for 2025: The use of AI in music will explode in 2025. I have actually used it on one track already. Anyone for a mid-80s New Romantic revival in 2025? All that Human League and Gary Numan stuff still sounds great even today. Synthesis Online Instagram   Wilza Goal for 2025: To launch my Afro house alias Will B (UK) To release New Jack House Vol. 2 in first half of 2025 To be at ADE 2025! Message to fans for the new year: Thanks for all the support and belief in my vision. I promise to continue to build on the platform I have created in 2024 to deliver even more musical treats for 2025 Musical prediction for 2025: Afro house and Afro Tech is currently going through a huge growth spurt and will continue to grow exponentially in 2025. Wilza Online  Instagram | Spotify | Soundcloud   The post The Year Ahead: 10 Electronic Music Artists Share Their 2025 Vision appeared first on EDMTunes.

Oh it feels so good to have him back! Enigmatic French DJ and producer I Hate Models breaks his hiatus just for us, and returns with a 5-track EP called Forever Melancholia. The Techno producer returns to his melodic and dark, industrial sounds, driven by complex emotions and intensity. The Disco Inferno label boss sure know hows to get us in our feels to some really fast bpms. Forever Melancholia EP The first singles of the release made their impact earlier in October this year, gradually resonating on dancefloors all over the world. ‘For My People‘ is a beautiful beginning to the EP, with ethereal vocals that sounds like your speaking to a past lover over the phone, with a emotional string arrangement break that unleashes into an filthy drop that accompanies gear-like structures and textures. The title track ‘Forever Melancholia’ continues the sad and profound undertones with dynamic Hardstyle and Psytrance elements that result in a song that gives you goosebumps. Then, ‘Twin Souls’ has a more dystopian and futuristic approach to its soundscapes. You feel the emotions of the producer evolve as the album progresses. Lastly, the next two tracks released, which complete the album, are ‘Forgotten Future’ and ‘Nostalgica’. The both bring a shocking repertoir of sounds and vocals that add even more energy and dissonance to the rest of the EP. Each track is surprisingly different but highly detailed, and charged with feelings that inspire. The depth of this EP is remarkable, as it conveys a wider range of sound that people think Hard Techno can achieve. “Each track is an open window to a story, a feeling, an emotion, melancholy that is at once profound, moving, sometimes dark, sometimes luminous…” “…Remember: music can accompany us in every moment of life; it is there to bring us together, soothe our wounds, transport us elsewhere, and sometimes, quite simply, make us happy.” I Hate Models What’s Next The star allowed us to heal on the dancefloor several times across the world this year. Alongside this release, I Hate Models started his new Tour Face || Face. The tour extended multiple dates for next year in Los Angeles, Bogota, Milan, and Vienna.Moreover, New Years Eve will be busy for the artist as he embarks on two shows between Belgium and Amsterdam. Let the darkness become light, here is Forever Melancholia EP: The post I Hate Models Returns From 3-Year Hiatus With New EP appeared first on EDMTunes.

Live Nation has recently welcomed the Federal Trade Commission’s (FTC) decision to ban “junk fees” in the ticketing and hospitality industries. This new rule requires businesses to disclose total prices, including all fees, upfront to consumers. In a move to increase transparency and prevent deceptive pricing practices, ticket sellers, hotels, and vacation rental sites are now mandated to display the total price prominently whenever offering or advertising their services. This significant development has sparked discussions about the future of ticket pricing and whether all-inclusive ticket prices could become the norm. “People deserve to know upfront what they’re being asked to pay — without worrying that they’ll later be saddled with mysterious fees they haven’t budgeted for and can’t avoid,” said FTC Chair Lina M. Khan. “The FTC’s rule will put an end to junk fees around live event tickets, hotels, and vacation rentals, saving Americans billions of dollars and millions of hours of wasted time. I urge enforcers to continue cracking down on these unlawful fees and encourage state and federal policymakers to build on this success with legislation that bans unfair and deceptive junk fees across the economy.” As consumers, we’ve all experienced the frustration of being lured in by an attractive ticket price only to be hit with a barrage of hidden fees during the checkout process. These “add-on” charges can significantly inflate the total cost of attending an event or staying at a hotel, leaving us feeling misled and dissatisfied. The FTC’s new rule aims to put an end to this deceptive pricing strategy and empower consumers to make informed decisions when purchasing tickets or booking accommodations. Live Nation, a major player in the live entertainment industry, has expressed its support for the FTC’s ban on junk fees. The company recognizes the importance of transparent pricing and believes that consumers deserve to know the full cost of their purchases upfront. By applauding this regulatory change, Live Nation is signaling its commitment to providing fair and honest pricing to its customers. Implications for Consumers For consumers, the FTC’s ban on junk fees represents a significant victory in the ongoing battle for transparency and fairness in the ticketing and hospitality industries. No longer will we have to navigate through a maze of hidden fees and surcharges to determine the true cost of attending a concert or booking a hotel room. With total prices now required to be prominently displayed upfront, we can make more informed decisions about our entertainment and travel expenses. One of the key implications of this regulatory change is the potential shift towards all-inclusive ticket pricing. In the past, ticket sellers often advertised low base prices to attract customers, only to tack on additional fees later in the purchasing process. This pricing strategy not only misled consumers but also made it difficult to compare prices across different platforms. With the new rule in place, businesses will have to include all mandatory fees in their advertised prices, leading to greater transparency and consistency in pricing. Furthermore, the FTC’s ban on junk fees is likely to improve consumer trust and confidence in the ticketing and hospitality industries. By requiring businesses to provide accurate, upfront pricing information, the rule aims to prevent deceptive advertising practices and promote fair competition. As a result, consumers can feel more confident in their purchasing decisions and trust that they are getting a fair deal when buying tickets or booking accommodations. In conclusion, the FTC’s ban on junk fees is a significant step towards improving transparency and fairness in the ticketing and hospitality industries. By requiring businesses to disclose total prices upfront and prohibiting deceptive pricing practices, the rule empowers consumers to make informed decisions and promotes a more level playing field for businesses. While the transition towards all-inclusive ticket pricing may pose challenges for some companies, it ultimately benefits consumers by providing them with clear and honest pricing information. As the industry continues to adapt to these regulatory changes, consumers can look forward to a more transparent and consumer-friendly ticketing and hospitality experience. The post Live Nation & Ticketmaster Applauds FTC Rule Banning Junk Fees appeared first on EDMTunes.

Since the year before, there was an assumption that Apple would implement an iPhone subscription program very soon. Well, according to an article from Phandroid, the global tech supergiant has put aside plans to put plans for this unique program. This iPhone subscription program, if implementation plans were to happen, would have allowed iPhone users to upgrade their phones every year, as long as they paid the monthly subscription fees. Paying these fees would be like the same goes for any subscribers paying their subscriptions for a gym membership, streaming platforms, educational courses, and so on. Since Apple has cast away these plans, it is now uncertain what the subscriptions fees would have been. A lot of iPhone users still pay plenty of subscription fees nonetheless due to subscribing monthly (or weekly or however they would pay varying on time) on various apps they use. If these plans came into fruition, it would not come as a surprise since it does seem like the monthly iPhone subscription program could have bore plenty of revenue gradually. No one knows for sure when will Apple decide to once more think about implementing an iPhone subscription program. The post Apple Has Put Aside iPhone Monthly Subscription Program Plans appeared first on EDMTunes.

Marshmello, Steve Aoki, and other artists were accused of pocketing millions of dollars that were awarded to them in the form of pandemic relief grant money, according to an investigation published earlier this week by Business Insider. The pandemic relief program—called the Shuttered Venue Operators Grant—was intended to allocate funds to struggling independent venues and arts group throughout the pandemic. The investigation reports that Marshmello—lesser known as Christopher Comstock—received a $9.9 million grant. When the SBA (Small Business Administration) asked Marshmello’s business manager for proof of how the money was spent, his business manager stated that Comstock had pocketed it all. Business Inside also stated that Steve Aoki’s loan-out company was awarded millions in grant money but when reporting its allocation, DJ Kid Millionaire Touring claimed it spent payroll and $1.9 million was used for officer pay. Steve Aoki is the company’s lone officer. Neither artists has responded to the allegations at the time of writing. Via: Business Insider Featured image: Marshmello/Facebook The post Marshmello, Steve Aoki, and other artists reportedly misused pandemic relief grant money appeared first on Dancing Astronaut.

Skrillex has set the speculation wheels rolling, again! The Los Angeles-based Grammy-winning producer has cleared out his entire Instagram, save one photo. Yes, you heard it right! All these years of content & posts wiped out clean for his whopping 12.5 million followers. This dastardly act has left his fans concerned about the future. Early December witnessed something unusual to start the jitters. An accompanying statement post his latest track, “Heavy Heart,” featuring Loco Dice and Fireboy DML has started raising the eyebrows. Reflecting on this new phase, Skrillex wrote, “I’m feeling every cell in my body, feeling so alive and connected as I move into this new phase.” He also revealed that his 15-year record deal with Atlantic Records is coming to an end—a milestone that he described as “surreal.” It is still unclear if ‘Heavy Heart’ is his final project with Atlantic Records, or if there is one final album in the pipeline for 2025. Fans have been speculating the permutations behind this sudden move. From predicting a new album to bearing the brunt of a mental breakdown, rumour mills across the internet have been chugging like never before. Some barber experts also claimed that Sonny John Moore (Skrillex’s real name) might have removed at least 6-10 inches and kept it clean cut on the top. A recurring theme in fan discussions is whether Skrillex might be retiring the Skrillex alias entirely, or simply pausing new releases until larger projects are complete. Skrillex is next scheduled to perform at the Sunburn Festival in Goa, India on the 28th of December. The post Skrillex Wipes His Instagram Except One Curious New Post appeared first on EDMTunes.

Here’s an extensive body of work, with an extensive love for the golden decade of music. It’s perhaps the most meaningful bracket of time for music. Arguably (do argue with me, I’m ready) the best tracks in modern-day history were born in the 80s. Also, the rise of Dance music as a whole has a strong link to the decade. And so, it’s always nice to see — or rather, hear — someone paying homage to it. Cue Ian Storm. Ian Storm is a successful producer with over 400 million streams. Hits of his, such as ‘Run Away’ and ‘Losing My Religion’ have garnered support from top artists. He’s founded Storm Music Group and has released music on major labels. Do you know what he’s also done? He’s put out an album. In a recent interview, Ian discussed his new album, Born In The 80’s, a two-disc body of work that features twelve original tracks on The Creation disc, showcasing his personal evolution, while bringing back reinterpretations of influential tracks on The Inspiration disc. Ian Storm. Talking about the LPs as a deeply personal reflection of his artistic journey, Storm emphasizes the profound impact of his 80s childhood, particularly his father’s restaurant, where he was exposed to music from artists like Enya. Moments like that, he recalls, were the seed that eventually turned into him being the creator behind the music. Far from only touching upon the album, he highlighted the importance of authenticity, advising aspiring artists to prioritise their own vision over chasing trends. “Do what you feel you should do“, he stressed, “don’t try too much to follow trends or run after hypes“. While the album is, of course, a huge milestone for Storm himself, the entire concept portrays something even greater for all of us listening: there’s an art to the craft of remembering and reimagining the past. I’m going to break character here and speak from my corner as an artist myself: I’m often worried about my influences slipping through the cracks and being planted too heavily in my original songs. I’m constantly asking myself if this melody I’ve created, I may have heard it somewhere else, and so on. And I end up sort of trying to mask those influences out of fear. That’s why I’m loving this concept of Ian, because it allowed him to not only create more new stuff, but also go back and revisit those songs that marked who he is today. Listen to Ian Storm’s latest LP, Born In The 80’s, below, along with the tracklist to both halves. Ian Storm — Born In The 80’s Tracklist Part One: The Creation Dance It All Away Je Veux with George Dala and DNVX Back In My Life with Michael Ford Surf Song with Polina Vita Highs & Lows with Ron van den Beuken and John Laurant featuring Menno Compasso Brasileiro with Michael Ford featuring Denise Krammer Darkest Before Dawn with SilkandStones We Are Young with SilkandStones featuring Vanessa Campagna Flames Nightmare with Bertie Scott She Don’t Dance Barely Alive with Ron van den Beuken & Menno Part Two: The Inspiration Losing My Religion with John Laurant and Carl Clarks featuring Polina Vita Run Away with Ron van den Beuken featuring Menno Clocks with Ron van den Beuken Every Breath You Take with Ron van den Beuken featuring Menno Somewhere Only We Know with Menno and Mark Cole This Is The Night with Michael Ford Who Needs A Heart with Lotus Mad World with SilkandStones California Dreamin’ with Carl Clarks and John Laurant Missing with SilkandStones featuring Menno Kayleigh with Ron van den Beuken featuring Menno Dust In The Wind with Ron van den Beuken featuring Menno Jungle with Ron van den Beuken featuring JordinLaine Somebody Told Me The post Ian Storm Explores And Transforms Nostalgia Through Latest Two-Part Album, Born In The 80’s appeared first on EDMTunes.

There’s a general consensus that festival season formally kicks off in March. And before the chaos of Miami Music Week ensues later in the month, there’s a multi-day event happening in Miami that is also a must-attend: We Belong Here. After hosting its New York City debut this past fall, We Belong Here is now headed back to Virginia Key Beach Park for a fourth time on March 1 – 2. We Belong Here secured an all-star lineup for the ages for its weekender in Miami, announcing that Eric Prydz, Kaskade, Lane 8, and Steve Angello will be its crew of headliners, with an undeniably stacked undercard of Cristoph, LP Giobbi, Massane, and Yotto joining the initial lineup reveal. If the aforementioned names were not enough, the festival teased that there’s a special guest that will be added to the poster at a later point as well as the remainder of its 2025 lineup. Pre-sale signup for We Belong Here’s return to Miami is available here, with the pre-sale set to happen on December 23 at 12PM ET. Featured image: The post We Belong Here secures all-star lineup for 2025 return to Miami: Eric Prydz, Kaskade, Lane 8, Steve Angello, and more appeared first on Dancing Astronaut.

The FTC (Federal Trade Commission) just announced its final ‘Junk Fees Rule’ that aims to crack down on hidden fees that appear at checkout. These hidden fees usually appear for consumers who are purchasing tickets for live events, hotels, AirBNBs, and other entertainment and leisure amenities. The FTC chairwoman Lina Khan stated, ““People deserve to know up-front what they’re being asked to pay—without worrying that they’ll later be saddled with mysterious fees that they haven’t budgeted for and can’t avoid”. She later added, “The FTC’s rule will put an end to junk fees around live event tickets, hotels, and vacation rentals. This will save Americans billions of dollars and millions of hours in wasted time”. The FTC will help consumers save tons of time and money through the ‘Junk Fees Rule’ According to an article from Digital Music News, the ‘Junk Fees Rule’ supports consumers and genuine, supportive companies and business who have encountered dishonest practices that ticket sales corporations such as Ticketmaster and Stubhub have conducted over the years. The FTC also studied live event marketing and short-term lodging industries’ check-out process, which led to the implementation of this rule. Additionally, the rule aims at various junk fees such as ‘resort fees’ and ‘convenience fees’ that can result in triple-digit final price amounts at checkout. The new ‘Junk Fees Rule’ will also require businesses to truthfully show the real total price inclusive of all mandatory fees when they present any price of live-event tickets or short-term lodging in various manners. The vote that approved this new rule was 4-1, with Commissioner Andrew Ferguson the only individual who dissented. Last but not least, the ‘Junk Fees Rule’ will also help consumers save a lot of time and money from looking for honest, total prices for live-event tickets and short-term lodging. Click on this link from the official webpage of the FTC to read more about the bipartisan ‘Junk Fees Rule’ that will change the way ticket sales corporations will sell tickets moving forward. Image Courtesy: FTC (Federal Trade Commission)The post The FTC Announces Final Rule to Ban Hidden Ticket/Travel Fees appeared first on EDMTunes.

Editor's Note: EDM.com proudly publishes four installments of annual year-end coverage: Industry Leaders, Performances & DJ Sets, Music Producers and Songs. DJing and music production are different. But the difference between the two is like a wallflower—it hides in plain sight, and it's vastly misunderstood. Publishing a "Top DJ" list would undermine the originality, creativity and unbridled imagination of the artists who dedicate their lives to music production. To honor their profound commitment to the art, the EDM.com staff annually recognizes 10 of the year's best. In no particular order, discover the best electronic music producers of 2024 below. PAWSAThere's a running joke in the house music scene that PAWSA's USB is like a genie's lamp—every track feels like a wish granted. The UK producer is notorious for teasing fans with unreleased music in his live sets for years before officially releasing it. In 2024, however, a number of PAWSA's hotly anticipated tracks hit the airwaves. The common thread between his releases—like "DIRTY CASH (MONEY TALKS)" and "TOO COOL TO BE CARELESS"—is a hedonistic mix of old-school dance music and modern tech house. He effortlessly blends timeless '90s vocals with thumping drums and basslines. Less is more for the minimal house virtuoso, and that's the best part. His stripped-back style eschews intricate melodies and busy, over-produced beats in favor of raw grooves. It's not just music you hear, but music your body feels—a direct line to the pulse of the dancefloor. Words by Saad Masood. PAWSA.Izzy Hassan ISOKNOCKArmed with generational production skills and an unapologetic disregard for convention, ISOxo and Knock2 proved in 2024 that some artistic combinations are simply written in the stars. Through reconstruction by deconstruction, their deliberately provocative artistry cut through the formulaic noise of today's EDM with both industrial precision and visceral intimacy. In a year marred by TikTok-fueled predictability, they smashed the playbook with nail-spiked baseball bats and brought anarchy to the algorithm, proving that unfiltered creativity still has a place in today's fractured streaming sector. The duo, collectively known as ISOKNOCK, shocked fans back in August when they surprise-released their debut album, 4EVR. Equal parts beautiful and belligerent, the project is a song-cycle of raw dance bangers that lock horns with punk's snarling spirit. One of the year's best albums, it's an experience that left us feeling like we'd been through some kind of metaphysical car wash—battered and soaked in sound, but somehow cleaner for the experience. ISOKNOCK's music also translated like clockwork to their 2024 live shows, which transformed dancefloors into middle-fingers-in-the-air battlegrounds that demanded physical and emotional surrender. The duo debuted at Coachella, demolishing the festival's legendary Sahara Tent before daring gravity at Chicago's North Coast Music Festival by performing in a shipping container suspended by a crane. Words by Jason Heffler. Knock2 (L) and ISOxo (R) of ISOKNOCK.Miranda Nicusanti/EDM.com Martin GarrixIn a banner year for electronic dance music, Martin Garrix reminded us that the future of the genre belongs to those bold enough to reimagine it. As it rapidly evolved throughout 2024, he remained a lighthouse—brilliant, influential and perpetually in motion. Garrix's music has always managed to engineer ageless memories in the minds of his fans, but this year, he returned to his progressive house roots and fired up the nostalgia machine more than ever. He was a force of nature, proving that sometimes the most groundbreaking moments come from rekindling the spark that first lit the fire. Every week it seemed like fans had a vintage Garrix banger to look forward to, born from his ability to weave his roots into a new and electrifying vision. He started with the unforgettable "Carry You," an anthem of hope released in February alongside Third Party, Oaks and Declan J Donovan. Then came three consecutive singles in as many weeks, a succession that culminated in the release of IDEM, a rapturous EP featuring larger-than-life collaborations with DubVision, Mesto and more. The euphoria then bubbled over this summer when Garrix released "Wherever You Are," a soaring festival favorite showcasing both his technical mastery and lyrical depth. But it might not end there—after Coldplay featured his song "Breakaway" in their viral Glastonbury set, he hinted that an original collaboration with the iconic band could come in 2025. Words by Jason Heffler. Martin Garrix.Louis van Baar Jamie xx2024 brought the revival of the inimitable Jamie xx, whose release of In Waves—his first studio album in nearly a decade—led to one of the year's most compelling electronic music projects. It was worth the wait. In a year where songs were churned out faster than a ChatGPT prompt, In Waves stands as a testament to taking your time in the pursuit of a bold creative vision. It's sometimes joyful and sometimes hauntingly introspective. A project covering such a range risks feeling cluttered or disjointed, but not in the skilled hands of this English beatsmith. A raw love letter to club culture, In Waves told an exhilarating narrative through unforgettable tracks like "Baddy on the Floor" (with Honey Dijon), "All You Children" (with The Avalanches) and "Waited All Night," the lattermost of which Jamie produced alongside his former bandmates from The xx, Oliver and Romy. By design, it's difficult to box these diverse tracks into a single genre classification. Jamie's music also left quite a cultural footprint in 2024. Before he even released In Waves, he returned to his home of London to host a curated event, "The Floor," and manifested his dream of opening his very own club. It was a snapshot not only of his boundless creativity, but also his deep-rooted appreciation of the UK underground. Words by Rachel Freeman and Shakiel Mahjouri. Jamie xx.Krists Luhaers LP GiobbiLP Giobbi has built her career on a foundation of innovation and empowerment, but she took them to new heights in 2024. Her infectious energy and genre-defying sound crept into the bedrock of Dotr, her hotly anticipated sophomore album. The record stands as a tour de force, blending her signature piano-driven house beats with soulful contributions from a compelling roster of collaborators, including Alabama Shakes, Portugal. The Man, Panama, Jacob Banks and Holly Bowling. Tracks like "Feel" and "Bittersweet" became instant hits, encapsulating Giobbi's unparalleled ability to bridge the gap between classical musicianship and modern dance music. She also remained steadfast in her commitment to fostering inclusivity in the electronic dance music community through her beloved FEMME HOUSE community, organizing workshops, mentorship and resources to combat industry disparities. The organization in March teamed up with Insomniac Records to release a massive compilation featuring music by Mary Droppinz, Lisbona Sisters, ZOF, Bexxie and other promising women in dance music. Words by Mikala Lugen. LP Giobbi.Christopher Polk/Penske Media Pretty LightsPretty Lights' comeback demonstrated that true innovation takes time, introspection and a fearless leap into the unknown. Dual Fusion Unity, his first new original music in seven years, humbly reminded fans why he remains one of a kind. The radiant EP is vintage Pretty Lights, a kaleidoscopic journey through glitchy electronic textures, soulful vocal samples, funky brass flourishes and moments of pure analog warmth. On its opening track, "Road to the Stars," Pretty Lights' reflective monologue serves as a poignant emblem of his extraordinary journey, crystallizing the return of a beloved artist seemingly at peace with creating art for its own sake. "I'll fly a starship across the universe… and I'll be back again," he crooned. Touring once again with a live band, Pretty Lights picked up where he left off, elevating his live compositions into something even more dynamic by fusing raw instrumentation into his performances. In a genre often seen as saturated with pre-programmed sets, his music once again stood out as deeply human. Words by Cameron Sunkel. Pretty Lights.Brittany Teuber John SummitJust when you think John Summit can’t outdo himself, he does. If 2023 was his crescendo, 2024 was his symphony. He sold out massive arenas, like New York City's Madison Square Garden and LA's Kia Forum; performed at the world's biggest festivals, like Tomorrowland and Coachella; and curated bespoke events for his Experts Only imprint, including a ski trip in Colorado and a luminous Lake Tahoe mountain party. 2024 was the year Summit unveiled his debut album, Comfort In Chaos, an anthemic yet intimate masterstroke in which he took his songwriting to new heights. His HAYLA-assisted festival anthems "Where You Are" and "Shiver" remained staples, but he also took risks, wading into the waters of drum & bass ("palm of my hands" with venbee), breakbeat ("Stay With Me" with Of The Trees) and techno ("Resonate" with Kaskade and Julia Church). However, he didn't stop at Comfort In Chaos. He emerged as a Renaissance man, one day remixing The Temper Trap, the next Green Velvet. He even dropped one of the year's best dubstep tracks alongside Subtronics and Tape B. 2024 wasn't just another chapter for John Summit—it was the year he rewrote the rulebook on what an electronic music artist can achieve. Words by Saad Masood. John Summit.c/o AEG Presents Sara LandryThere are many, many reasons why Sara Landry holds the nickname "High Priestess of Hard Techno." But the most convincing one—even in a year that saw her etch her name in Tomorrowland's history book as the first hard techno DJ to play its storied Mainstage—was Spiritual Driveby. Posing life's greatest questions at blistering BPMs, Landry's remarkable debut album effectively crystallized one of the most explosive electronic music breakouts in recent memory. Just like her ferocious DJ sets, the EDM.com Class of 2024 superstar dragged us into a vortex of brutal euphoria with her uncompromising approach to techno production. Teetering on the edge of avant-garde and vocal-driven techno, the 12-track opus saw her team up with a compelling group of collaborators, like Nico Moreno, Shlømo and the illustrious Mike Dean. The album even features a haunting soliloquy from her personal hypnotist. Landry soared to new heights and emerged as one of the most in-demand names in music, incinerating dancefloors and cementing herself as the undeniable "It Girl" of techno in 2024. And as she weaponizes her arsenal for her Coachella debut next year, all we can do is hold on for dear life. Words by Mikala Lugen and Jason Heffler. Sara Landry.c/o Press JusticeFrom the opening bars of Hyperdrama, Justice's first new album in eight years, the duo reminded us why we fell in love with their timeless electro in the first place. While it's still anchored in the gritty analog tones that made them icons, the album found Xavier de Rosnay and Gaspard Augé exploring uncharted territory with a renewed sense of adventure and emotional depth. They transcended the simple pleasures of body music to speak to the tragedies, triumphs and bittersweet complexities that loom over the dancefloor's euphoric release. Eschewing the aloof electronic stoicism that defined Justice's earlier works, Hyperdrama bleeds candor and restless yearning without abandoning their roots. Tracks like "Generator" and "Neverender" (with Tame Impala) have already earned their place as modern dance classics, reinforcing Augé and de Rosnay's ageless knack for crafting generational music. But it’s not just the music that made Hyperdrama stand out. They are said to have spent months working with a team of computer scientists to produce the album's accompanying live show, ultimately elevating it into a groundbreaking, multi-sensory experience that captivated crowds at Coachella and the Hollywood Bowl, among many others. Words by Jason Heffler and Rachel Freeman. Justice.Michael Buckner/Penske Media LSZEEGood luck finding a more unique, yet refined, electronic album this year than LSZEE's self-titled debut. Fusing CloZee's globe-spanning sound with LSDREAM's spiritual funk and bass, the album is a transformative experience. There exists no collaborative partnership in the electronic music scene quite like this one; LSZEE sounds distinctly like LSZEE. The album's songs cover a lot of ground sonically, but flow seamlessly together with an overarching sense of wonder. Pay special attention to "NIGHTHAWK," an absolute showstopper at the duo's live sets throughout the year. LSZEE are now embarking on what they claim to be their only tour in 2025. Do yourself a favor and see them before it's too late. Words by Shakiel Mahjouri. CloZee (L) and LSDREAM (R) of LSZEE.Harold England/ShutterKlick Honorable Mentions:Rezz Peggy Gou Odd Mob Coco & Breezy Syzy Jon Casey Eptic TSHA longstoryshort Sammy Virji

Lady Gaga has always had a love affair with electronic music, and it seems her upcoming LG7 album will push that passion into bold new territory. Gaga today revealed that her long-awaited seventh studio album will heavily feature collaborations with DJs and dance music producers, including the French electro icon Gesaffelstein. "I loved collaborating with all the DJs and Gesaffelstein on my new album," Gaga told the Los Angeles Times. "I loved learning about industrial music and about all the different crevices of electronic music." Revered for her ability to reinvent herself, Gaga's dive into industrial electronic sounds could mark her most daring evolution yet, even after 2020's cyberpunkian Chromatica album. A neon-soaked odyssey through heartbreak and healing, that record featured production from Skrillex, Madeon, Axwell, Boys Noize and Tchami. She twisted the knife in the album's hyperactive remix package, recruiting Arca, Mura Masa, A. G. Cook and more. Gesaffelstein stands as an ideal Gaga collaborator after releasing his first album in five years, GAMMA, back in March. Embracing a similar approach to Chromatica, his virtuosic command of texture and timbre felt both alien and intimately familiar. Speaking with Vogue in September, Gaga revealed that LG7 is set to release in February 2025, just a few months before her hotly anticipated headlining set at Coachella. She has since released the album's lead single, "Disease," a dark midtempo track; and "Die With a Smile," a ballad with Bruno Mars that became the fastest song to reach a billion streams on Spotify.

Rhetorical question: Are there more stars in the universe or Max Styler hits? We’re fully aware that Max Styler isn’t a new artist. But in 2024, it felt like Styler experienced the surge he’d been working towards for the past decade or so — an ascension that prompted him to become one of the most-talked-about artists in all of dance music this year, and an ascension that would eventually provide the basis for this article. Styler’s deservingness of Dancing Astronaut’s Breakout Artist of 2024 title has been well-demonstrated, but if we needed to justify our auspicious sense of how Styler’s year would unfold, let’s remember that he had not one, but two then-unreleased weapons in Dancing Astronaut’s most-anticipated IDs of 2024 list: “Rhythm Machine” with Westend and “Lights Out.” The former landed within the first few weeks of 2024 — and it set off an avalanche. Before anyone could even finish streaming the latest Styler release this year, it seemed as if three more of his IDs would quickly follow. And even when the identity of the given ID’s creator wasn’t public information, many — including us — blindly assumed it belonged to him. The odds of that high-grade, tech-house production coming from Max Styler’s computer seemed that much more likely, given the rate at which he was releasing music. 12 months later, 13 Styler releases have hit the streaming board since January, where they join a pair of cuts from Habitatt, his and Spencer Howard’s new alias. This release total is one that not many of Styler’s peers could measure up to — and few ultimately did. But it wasn’t just about quantity. This year, Styler balanced quantity and quality across 15 tracks, with each ensuing record even more fine-tuned than the one that came before it. “On Repeat,” alongside Dancing Astronaut Artist to Watch in 2025, Clüb De Combat, doubles as an example and a victory lap that formally concludes Styler’s year of releases. Ultimately, all 15 of these tracks were undeniably unavoidable in dance music’s live circuit and beyond; it didn’t matter if you were seeing Dom Dolla or Kevin de Vries or Solomun. We could just end our case there, but — of course — we won’t. While his releases simultaneously traveled the globe aboard other DJs’ USBs, Styler coordinated his own packed-out touring schedule. And as we moved later and later into the year, so did the timing of his sets at events and festivals. The capacities of the venues where Styler would appear (and routinely sell out) grew in size as well, leading to the inevitable announcement of a 2025 tour. It didn’t just feel like Max Styler’s name was inescapable in 2024, it simply was. Whether it was his latest and greatest ID that people were salivating over or one of his sets that prompted fans’ immediate demands for an upload, it was all Max Styler, all year long. We’ve had somewhat of a hunch about his candidacy for a while, but we are now formally putting it in writing: Congratulations to Max Styler, Dancing Astronaut’s Breakout Artist of 2024. Featured image: Mason Rippel The post Dancing Astronaut’s Breakout Artist of 2024: Max Styler appeared first on Dancing Astronaut.

Finland’s Weekend Festival has become a late-summer pilgrimage for electronic music enthusiasts in recent years and its forthcoming 2025 edition is shaping up to be equally unforgettable. The Espoo-based event recently announced its lineup, charting course for a high-energy mix of established superstars and pioneers of the craft alike. House music superstar FISHER is among the DJs slated to headline the festivities, along with mainstage vets Blasterjaxx and Showtek. Hardstyle and hardcore fans are sure to revel in the intensity of Angerfist and Sub Zero Project, while MEDUZA's sleek club grooves are set to bring a touch of stylistic sophistication. The established event of nearly a dozen years wouldn't be complete without dance music titan Armin van Buuren, who will also be joining the lineup. This year's edition of Weekend Festival drew approximately 20,000 attendees from around the world to Vermo Arena, putting forth a dynamic lineup and production experience that left attendees with lasting impressions. Themed "Disco Nation," the festival featured three uniquely curated stages: the WKND Stage for mainstage music, the Future Stage home to pulse-pounding hardstyle and drum & bass, and the CNNCT Stage offering a haven for techno and house enthusiasts alike. Join the opening weekend August 1-2, 2025 at Vermo Arena. Tickets are on sale now. View the original article to see embedded media. Follow Weekend Festival:X: x.com/weekendfestival Instagram: instagram.com/weekendfestival TikTok: tiktok.com/@weekendfestival Facebook: facebook.com/weekendfestival

Returning to work with Charlotte de Witte, Brazilian techno artist Acid Asian, sometimes known as Fábio Seiki, shows his much-awaited Deep Soul EP on her esteemed KNTXT label. Reflecting his varied musical experience and creative approach, this dynamic selection of tracks shows his original mix of hard techno, acid, rap/trap, and psytrance. The title track is one of my favorites because it represents me 100%. Focusing on the acid line with this mantra vocal, I wanted to express something deeper in this track. ‘Space Colors’ is a track with which I wanted to express this new hard techno era using the hardstyle’s kick but keeping my style. ‘Ain’t Nobody Like Us’ is my background from rap/trap and ‘Humans’ is my psytrance background, it’s an off-beat track. – Acid Asian Beginning the Acid Asian project during the 2020 epidemic, Fábio has quickly gained popularity in the techno scene and became the first Brazilian musician to put out on Charlotte’s sub-label RPM. Acid Asian keeps leaving a lasting impression on the worldwide electronic scene with exceptional performances at Tomorrowland Brasil, DGTL São Paulo, and other events across Japan, India, and Europe. Charlotte de Witte, who has supported Acid Asian since 2021, praised the release: Acid Asian is back! From his first release with us in 2022, it’s been such a pleasure to see him grow and gain respect in the techno scene. We’ve played many shows together and he’s one of the most talented, most instinctive producers out there. Playing Space Colors as the closing track at the main stage of Tomorrowland Brazil where Fábio was dancing in the crowd, was a very wholesome moment. These four tracks are absolute bombs and also show the variety he has to offer as a producer. I’m very excited about this release and I hope you are too! Another evidence of his skill and unwavering inventiveness is the Deep Soul EP, which provides a rich and thrilling experience destined to enthrall techno listeners all around. The post KNTXT Welcomes Acid Asian’s ‘Visionary Deep Soul EP’ appeared first on The Groove Cartel.

Said to be the “world's first hyperclub", [UNVRS] will open on the former Privilege site in 2025 Continue reading...

Bangkok’s newest nightlife destination, Void Club, has already opened its doors, but the real celebration is just around the corner. With its Grand Opening Party on December 25th, Void is set to solidify its place as RCA’s most exciting new venue. Combining cutting-edge visuals, a world-class sound system, and an unbeatable lineup of international DJs, Void has quickly become a must-visit for anyone who loves music, dance, and unforgettable nights. Where Technology and Music MeetVoid isn’t just a nightclub—it’s an experience. From the moment you step inside, you’re greeted by towering LED screens that light up the entire venue, immersing you in visuals that shift and evolve with the music. The sound is precise, the lighting is reactive, and the atmosphere feels alive. It’s not just a party; it’s a fully immersive escape into music and visuals designed to keep you in the moment. What truly sets Void apart is its ability to replicate the energy of a massive festival within an intimate space. Whether you’re on the dancefloor, enjoying the High Table Zone, or watching from the comfort of the VVIP Balcony, the production values are unmatched, creating a space that feels both exclusive and electric. The Countdown to December 25th: Grand Opening PartyVoid has already made waves since its soft opening, but the Grand Opening Party on Christmas Day will take things to the next level. Headlining the night are none other than NERVO, the Australian DJ duo ranked #50 in DJ Mag’s Top 100 DJs. Known for their chart-topping hits and energetic sets, NERVO will deliver a performance that promises to make this Christmas one for the books. The celebrations don’t stop there. Void is also hosting Neon Countdown pre-parties, bringing even more big names to the stage. On December 27th, Mike Williams, known for his melodic house hits, will take over the decks. The following night, Blasterjaxx, the powerhouse duo famous for their high-energy big-room sound, will keep the party going. These events are a taste of Void’s commitment to bringing world-class talent to Bangkok. Setting the Standard for Bangkok NightlifeVoid Club is more than just another addition to RCA—it’s changing the game for nightlife in Bangkok. With its festival-level production, carefully curated DJ lineups, and unique spaces for every type of partygoer, Void has everything needed to become the city’s go-to spot for electronic music and more. Located on Rama 9 – RCA Road, Void is easy to find and even easier to enjoy. Its four seating zones—from the energetic High Table Zone to the exclusive VVIP Attic—offer something for everyone, whether you’re looking to dance all night or lounge with friends in style. Join the PartyVoid is already creating a buzz, and with the Grand Opening Party and December’s packed lineup, it’s clear this venue is just getting started. If you’re ready for a nightlife experience that combines incredible music, next-level visuals, and an atmosphere that stays with you long after the night ends, Void Club is where you need to be this holiday season. Book your spot now and get ready to step into something unforgettable. To stay updated about events, check out their Facebook and Instagram pages!

Sometimes, amongst the rising stars, you find a gem. Mix raw talent with passionate flair, innate musicality and a positively charged kilowatt aura – enter, Klueless. Quickly cementing herself as an enigmatic force to be reckoned with in the bass music world, the mesmerising selecta is on a mission to spread love and high-impact basslines, across every BPM in the book. With performances spanning a range of bass genres, styles and events, her sets pack armfuls of grit and glittering attitude, along with an irresistible energy that compels audiences to their toes. Part of the new inclusive wave, she’s breaking into the industry and its heart, with a steady determination to platform talent that needs it most, whilst encouraging us to do better, be better and love ourselves more. Klueless is the name but she’s everything but. All heads will know the PLUR message but for this promising artist, it’s the very essence of her work. Gradually, more of the community are starting to tune their ears to Klueless’ gospel. Fresh off of a series of sizzling summer sets, events season has seen her debut on the Free From Sleep mix series and join the mighty Kool FM in their new roster of shows. We wanted to know; what drives the musically ambidextrous DJ, how she envisions the scene’s future and where the journey has taken her so far. Read on for all things music, mental health in rave culture and the glimmers in between. Kamila! Why are you Klueless? Because you’re clearly very switched on… I was at uni, a DJ friend of mine and I went for a walk and a smoke and thought up ‘Klueless’. A lot of people assume that, because I’m a confident, good-looking woman, that I don’t know what I’m doing. That I don’t know what’s happening back here, what those buttons do. I wanted to take back that power by turning it on its head and saying, yeah, I may be clueless in certain things, but not music, and you’re going to be left clueless by the time my set is finished! There’s a feminist perspective to it, similar to us queer people taking back the word ‘queer’. Plus, my full name is Kamila with a K. Would you call yourself a feminist? 100%. I think a lot of people don’t understand what that word really means. The best way that I’ve learned that word is from a Beyonce track, Flawless. She quotes Chimamanda Ngozi Adichie, an influential black woman activist, speaker and author; the word ‘feminist’ means a person who believes in the social, political and economic equality of the sexes. Anyone can be a feminist if you genuinely believe that men and women can be equal. That just made complete sense to me. We know the scene needs inclusivity and things that bring us together, now more than ever. How do you think things have changed for the better? I think we are getting better. It’s been amazing to see a lot more black women DJing and on lineups. Drum and bass music originated from black culture and I think it’s important to support anybody from that background to be more involved in the scene. Don’t get me wrong, we are doing that, but I think a lot of promoters are still booking the same all cis-white-male lineups which isn’t genuinely inclusive and supportive of so much diverse talent. I do think a lot of brands and labels are doing great at being adamant on making sure that we stay inclusive and diverse, which is amazing, but I think it’s just going to take time for more women, more black women, more trans women and more ethnic people to feel more comfortable in representing themselves in a scene where they might feel like a minority. Promoters do better! I consider myself a minority as I’m mixed Kazakh and English, and was born in Kazakhstan. I’d love to preach and represent a bit more which I’m starting to do. I do know another Kazakh producer; lucidbeatz who makes amazing music. When he released a jungle track ‘with u’ I posted it on my Instagram account straight away. I’ve never heard someone Kazakh make something like that. When I heard this I thought ‘this needs to be reposted!’ Afterwards, I noticed that some people from the scene had started following him. So just goes to show it’s good to branch out and support. Agree, always show some love to an artist you enjoy, every little bit of support counts. Let’s talk shows. You’ve been everywhere this year! Ah yes! First of all, I’m really grateful to everybody for including me on a lineup. I’m so humbled to know that people are seeing what I’m doing and want to support me. I am genuinely so blessed! I would say I have a top three favourite nights from this year so far. I was quite proud that I was asked to do Shogun Sessions back in August. Personally, that wasn’t my greatest technical set, but the selection was spot on for the show. The amount of appreciation and love that I got from the community was just unbelievable. That – is exactly what I love about bass music and rave culture, everybody being so supportive and sharing the love and appreciation for your work, your curation and your ability to perform. That was something I was incredibly grateful for and a big milestone moment for me. The second one has to be Jungyals and Gays, which is a female and queer based collective that host women and queer centred events. They’ve been killing it this year and booked me for their 360 Bday bash at Loki. I went there without any expectations; it was fucking packed, it was sweaty, and everyone was in such a hype mood. Nobody felt like they had to act a certain type of way. Everyone was in their element, doing their thing. And of course, Unorthodox. That summer day rave was absolutely crazy and the best Unorthodox so far! It’s been amazing to see more queer events grow recently and in turn grow the scene. Yes! Everyone is half naked and free; being who they are, just being human. Personally that’s how I resonate with being queer, or my queer identity. I feel human, like a human being, in touch with myself and with my body. I don’t feel like I’m in the matrix. I’m not a robot! I also love how a lot of queer events are multi genre too. At Jungyals and Gays, I heard people spinning garage, then a bit of breaks, then I came on to play dubstep; the BPM just kept creeping up towards the end of the night. It’s had an effect on me by making me start to consider building more variety into my sets, instead of just one genre each time. I love how you align your identity and values to music. Though first, we know you’re a multi genre queen, but what genre was your first love? I loved drum and bass before I even realised what drum and bass was. When I first started making music, at 14, 15 for GCSE Music, I based my first ever track on Andy C, ‘Heartbeat Loud’ before I knew that it was drum and bass. The first track I ever made was drum and bass but I didn’t know it! Then I started experimenting with different genres like hip hop and got some vinyl decks at one point, to teach myself how to mix on vinyl and learn how to scratch. I bought loads of old school hip hop vinyls; Nas’ N.Y. State of Mind, Earl Sweatshirt. Then that died very quickly because I got used to fast paced digital DJing with other genres. Dubstep and the garage came in when I was at uni, I got fully immersed in drum and bass, but also explored the bassy speed garage. After uni, I explored a little further and I fell in love with 140 and its super grimy yet deep and smooth and heavy sound. I ended up getting a bunch of tracks which I played around with and realised that mixing them all is completely different. But, you can double garage and dubstep, which I now do religiously. You’ve got to have a favourite child… UKG and speed garage are very bouncy and wobbly, round and warm. It fills your chest but you can still bounce to it. But then dubstep makes you feel like a gangster in the sense of giving you a confidence boost. I love it. Dubstep or grime is a genre that’s been misunderstood for some time, but it has some insane history. Jungle has a very unique groove to it, which I really adore, especially the fast scatty drums. Nia Archives is killing it right now and she’s a black woman representing jungle! If I had to pick, it would be drum and bass for the amount of versatility within it. There’s so much more to the bass genre than at first meets the eye. It’s a limitless sound, I think bass music is genuinely so limitless because the way that we produce it is through a computer and through that there are infinite ways of creating. We can create anything in sound design, even a new sub genre. Like skatimal. Like skatimal. I’ve been saying more often these days thanks to Gabs, or Gifta. There are some tracks that I don’t know how to describe genre wise, apart from being skatimal. Who are your favourite artists right now? Hamdi all the way. Taiki Nulight, borne is making some really cool music. Effin, he makes heavier dubstep using a lot of samples from 1950s music. Flava D probably has been my biggest inspiration, because she is the epitome of everything that I’m trying to do, I very much look up to her. She’s also queer, she’s a woman, and she’s been making music for ages, but she started making grime first, then garage with Royal-T and DJ Q and eventually drum and bass. She’s my biggest inspo for bass music overall, she can make literally anything. Satl also did the LA Fling EP this year with Brandy Haze, an R&B vocalist, which I adored. When I make drum and bass, I love to include jazz instruments or R&B vocals, hooks, to create a groove. You’ve mentioned production and projects in the past. Is there a Klueless release on the horizon? Yes! I’m getting closer and closer to releasing something. I have a lot of fun making bootlegs and edits, as well as making my own original stuff. I don’t want to give away too much yet, but I would say I’m still a little way off being ready to finally get that music out there. I’ve had a lot of help from a lot of really good friends, in terms of feedback and advice. I’m really confident in the direction it’s going in, it’s probably the best it’s been ever since I started. I was very on and off for a long time because of my confidence and because of this huge fear of failure. The shift in my mindset has massively allowed me to improve my production abilities. When you use your environment and play to your strengths, you can accomplish amazing things. I want to stay as dedicated and focused on the process rather than the end result. If I can get myself excited for what I am doing and not what I haven’t done yet, that massively helps with my confidence. I want to start reaching out to my audience and make more encouraging content on social media to get other people out of that rotten, negative mental space. Because no one can grow in that environment and in that headspace. Is there a specific habit that you’re trying to pin down as part of your process? The need to be more aware of creating healthy habits, prioritising real self care, especially when you’re playing out a lot and having late nights. We’re all surrounded by a lot of temptation, and if we’re able to balance the fun nights with the working nights, then that can make things easier. Personally, I make sure that production is part of my routine, if it’s not daily, then it’s at least weekly. I think the biggest creativity killers are comparison and envy. I’m generally not a jealous person, I’m very comfortable and confident in myself. But when it comes to music, that’s the only time I’ve ever started to feel negatively and compare myself to others. There have been so many times where I’ve had huge insecurity after playing a set – where I didn’t feel I did that well and the thoughts that I had on myself are just absolutely terrible. I know so many artists who have the same problem. That’s another reason why I want to advocate for mental health. My mom is a therapist and she’s massively helped me with a lot of my mental issues, but also my self esteem. Self esteem for a music artist is one of the most important things we need! We cannot openly share ourselves and our deep work with the rest of the world without it. Thank you for sharing that. Mental health is important for everyone but the music industry does bring unique challenges. Practising gratitude, self affirming, doing things you enjoy, getting active, laughter – all these things can help. We all want to be successful. But at the end of the day, just being happy is the make or break in your life, it’s absolutely key. If I was depressed or had difficult mental health problems, I wouldn’t be able to do anything. That’s why your happiness and your mental health is number fucking one. It changes your life completely. We’re all familiar with substances, we’ve all had fun with it. But there is a point where if you want to take this industry seriously, you have to find a balance or get rid of it completely. You have to prioritise what you want. I know artists who are sober, clean, but even then sometimes their self esteem isn’t great, which is why they’ve laid off in the first place. I think we’re getting there with awareness of all this and there’s a lot of wellbeing content online, which I love. Looking forward, how do you think bass music can help and shape the world? The sense of collectiveness and the feeling of freedom and care for others can do a lot for people and the world. Standard clubbing environments can feel quite toxic. If you look at bass music, if you go to a rave, everyone is so cuddly and considerate; you say sorry if you bump into someone, you check if someone’s okay if they’re on the floor, if you see somebody upset in the toilet, you ask them if they’re okay. That wouldn’t really happen in other places. Younger generations go raving because they feel safer, that they’re surrounded by good people, they’re free, not being judged. I’ve noticed people are becoming less judgmental, becoming a lot more understanding of mental health and more open-minded and appreciative of culture. So drum and bass is going to save the world? Haha yes! But really I think raving does bring a different perspective to the human race, it’s made a big impact so far and we’ll see where it goes. 10000% agree. What do you love most about the community? The fact that there’s little judgement. Growing up, my mum raised me to be a very self assured person. She’s always complimented me and given me lots of words of affirmation. At school, I was always picked on because of that, people thought that I was too confident for my own good, or that I drew too much attention to myself. I like to have a positive vibe and a positive outlook on life and people and the others didn’t like it. When I went raving, I could truly be myself and not be judged, which is what I mean by freedom. I can be hyper, I can be silly. I’m just happy and love showing my emotions. When I go into a rave, everyone enjoys seeing other people just have fun. It’s very carefree, very relaxed and judgement free. My heart! I love this. I think we can all feel proud to be part of this community. Quick fire round now; if you had to do a B2B with a non drum and bass artist who would it be? Hamdi for sure. One because the music is fucking hype and two because its so hype then everyone else is so hype. I haven’t sweated so much in my life than at a Hamdi event. What elevates a set from good to great? Energy. It’s all about the way that you show people that you love what you’re doing. I’ve played sets before where I feel like I haven’t done as well technically as I could have. But because of my energy and how much I enjoy what I do, regardless of how well I’m doing it, these nights have been some of the best sets I’ve ever played. Your energy, your persona and personality matter. Huge! We’re so excited to see what you’ve cooked up! Finally, do you have a message to the heads? Focus on the process and your systems, rather than the end results. Believe in yourself and fuck what anyone else thinks!

Italian DJ and producer Gabry Ponte has been a defining force in electronic dance music for over two decades. From the global phenomenon ‘Blue (Da Ba Dee)’ to his upcoming historic show at San Siro Stadium, Ponte continues to push boundaries in the dance music scene. In this exclusive interview, the former Eiffel 65 member discusses his Grammy-nominated track’s enduring legacy, his milestone-packed 2024, and his vision for the future of electronic music. From launching his new label PENTAPHONIA to collaborating with industry titans like Steve Aoki and Sean Paul, Ponte shares insights into his creative process and the evolution of dance music. Before jumping into your 2024 highlights. Let’s start things off with a bit of nostalgia. ‘Blue (Da Ba Dee)’ is undoubtedly one of the biggest dance tracks of all time and has become a global cultural phenomenon. How do you feel about the track’s enduring legacy, and did you ever imagine it would still be so popular decades later? It’s hard to explain the phenomenon of Blue (Da Ba Dee), also because it takes on forms and dimensions of such magnitude that even I am amazed! Blue has been at the center of a movement and the evolution of dance music worldwide, and just thinking that after 25 years it received a second Grammy nomination thanks to the rework by David Guetta and Bebe Rexha speaks volumes about its longevity and relevance. I am, and always will be, grateful for this track. It’s evergreen…actually, everblue! Concerning the impact of ‘Blue’, we’ve all heard numerous remixes of the track but which remix or interpretation of ‘Blue’ has impressed you the most? As mentioned before, David’s remake is one of a kind! It gave the track a second life without distorting it, while making it contemporary. There have been many reworks and remixes of the song, but this one stands out above all, without a doubt. Your ’25 Anni di Dance’ tour celebrated 25 years of your music career and kicked off 2024 in style. What were some of the most memorable moments from the arena tour? The celebratory tour for my 25-year career will leave so many beautiful memories in my mind, but if I have to choose one, I’d say stepping onto the stage in Milan for the first show, with a venue of over 12,000 people completely sold out, was a fantastic moment. When, at the end of the show, a group of fans started chanting “San Siro, San Siro” over and over, I became convinced that we could put on a great show at the “Scala del Calcio”, as the Meazza Stadium in Milan is often called. You launched your boutique label PENTAPHONIA earlier this year, exclusively on Beatport. What inspired you to create the label, and what’s your vision for discovering and promoting new electronic music talent? Pentaphonia was created to be a space dedicated to club releases, as free and experimental as possible. We’re just at the beginning of this journey, yet we’ve already achieved results that have exceeded expectations, with numerous tracks charting in the most relevant genres. This makes me realize we’re on the right path. For next year, we already have an exciting release schedule, featuring both top-tier names and emerging artists whom I can’t wait for you to discover. This past year saw some incredible cross-genre collaborations from Tiesto and Dimitri Vegas & Like Mike’s remix of ‘Mockingbird’ to your track with Steve Aoki’Save Me’ and the dancehall-inspired ‘Born To Love Ya’ with Sean Paul and NATTI NATASHA. What has been the most rewarding part of collaborating and what has been the most challenging part? Collaborating with artists of this caliber and such immense talent is a constant source of inspiration and pushes you to raise the bar of what you demand from yourself. The artistic encounter with any artist is enriching in itself, and having the opportunity to work with talents of this level is truly an honour. Speaking of recent music, your single ‘Ghost’ closed out this year, can you tell us about the creation of this track? ‘Ghost’ was a fun project because it let me tap into my nerdy-nostalgic side. Reworking such a well-known theme is no small challenge. Everyone recognizes that melody, and in my opinion, when you approach these iconic musical pieces, your task is to give them a fresh, contemporary feel without altering their essence. I had a lot of fun creating this track, and the audience’s excitement when I play it live is truly incredible. You’re set to headline Milan’s San Siro Stadium – a massive milestone for any electronic artist. What does this event mean to you, especially as an Italian DJ who’s been pioneering the dance music scene? It’s a dream come true to be honest. San Siro is a legendary venue, and to be the first DJ to perform there feels like a huge win not just for me but for the entire dance music community too. When I started djing back in the days there was not such a thing as “superstar djs” the dj was supposed to be playing in clubs and today I have the opportunity to perform in front of more than 50k people I still can’t believe it. It’s a chance to showcase how far our scene has come. You’ve taken to some epic stages this year including Tomorrowland Brasil, Arabax Music Festival, Moon & Stars Festival. Are there any moments behind the decks from 2024 that stand out? The thrill of performing in front of thousands of people is truly indescribable. You never get used to it—it gives you a unique adrenaline rush and creates a connection with the audience that is unforgettable. Thousands of hands and hearts beating in unison amplify the emotions conveyed through the music to the highest degree. It’s a collective ritual of immense power. Electronic music is constantly evolving with technologies like AI and immersive experiences. How do you see these emerging technologies potentially transforming music production and live performances in the next few years? Music is an extraordinary testing ground for technological advancements and has the unique characteristic of always being at the forefront, embracing and being influenced by innovation earlier than many other forms of artistic expression. I see AI as a tool that can assist artistic intuition and speed up certain processes. However, without the awareness and the ability to control the machines, it will never reach its full potential. Therefore, studying music and production remains essential for everyone—to be the drivers of this change rather than being overwhelmed by it. As someone who’s been at the forefront of electronic music for 25 years, looking ahead to the future, what emerging trends or new sounds in the global dance music scene are you most excited about, and how do you see yourself potentially incorporating these into your future work? A notable trend is the revival of sounds that were huge around the period I started making music. I’m thinking about iconic synthesizers like the Korg M1 or sampler like the 909 or the 303 which shaped electronic music in the 90s. These elements are being reinterpreted and the results are pretty cool to me. Catch Gabry Ponte live in 2025! Gabry Ponte, Electric Brixton, London on 1st March 2025. More info here. Gabry Ponte, SAN SIRO DANCE, San Siro Stadium, Italy, 28th June 2025. More info here.

Techno enthusiasts all over the world just gasped a little bit. Beatport’s Nr. 1 Techno DJ Mother Charlotte de Witte just released her final mix of the year called One Mix for Apple Music. The set takes us on a transcendental and atmospheric journey on spatial audio to celebrate an incredible year for Techno. The Belgian DJ and tastemaker explained on social media that the mix was couple months in the making, including studio sessions at the atmos studio in Los Angeles alongside the Apple Music Team. One Mix with Charlotte de Witte Usually when we get a de Witte set, you can expect brand new music, with lots of underground hypnotic and atmospheric sounds. The One Mix did not disappoint, starting of with some really unexpected electro and breakbeat vibes. As the Techno begins, we dive deep into dark and acidic undertones. The track selection continues with the likes of Inox Traxx and Nicolas Boudaieff. Moreover, we bounce the energy higher with one of Charlotte’s original tracks from her latest EP. The Marion Di Napoli collaboration ‘Fourth Dimension’, flips the script into more energized soundscapes. Then, we finish up strong with more talented producers such as Peppe Amore, and KnTxT label newcomers Alpha Tracks and Gaston Fiore. This mix takes you on an adventure that dwelves in the darkness and ethereal. Its power comes from the outstanding blend of Dark Techno with Trance, dabbing into different emotions and sounds that are limitless. Charlotte does it yet again with an inspiring set that represents her prowess in her reign. What’s Next? Charlotte had an incredible year. To sum things up, she completed a major world tour with KnTxT. Then, she launched her archive label Epoque. In addition, she had massive success with the KnTxT Turbo at Amsterdamn Dance Event. Lastly, Charlotte is prepping for three sold out nights for her B2B Event with Exhale Label owner Amelie Lens, in Ghent, Belgium, in late January. The post One Mix With Charlotte de Witte For Apple Music appeared first on EDMTunes.

Tanner Petulla, known professionally as Getter, is an American DJ, producer, and rapper who has significantly influenced the electronic music scene. Emerging in the early 2010s, Getter gained recognition for his dynamic dubstep tracks and collaborations with prominent labels like Firepower Records and OWSLA, the latter founded by Skrillex. Getter became a beloved name in bass music. However, his career took a major turn with the release of his 2018 album ‘Visceral‘. Visceral marked a departure from Getter’s signature sound, showcasing a more introspective and experimental side of his artistry. While the album was praised by critics for its emotional depth and production quality, it received harsh backlash from many fans who expected the aggressive bass drops he was known for. The negative reception took a toll on Getter, and he ultimately canceled his Visceral tour, stating that the experience had left him feeling unsupported and disheartened. Getting booed, and having things thrown at you during your show by your fans is truly saddening. In a 2022 interview with This Song Is Sick, Getter revealed that this period significantly impacted his passion for releasing music. He explained, “There’s no point in putting out music if it’s going to drain me mentally. I just don’t care about being the biggest anymore.” This sentiment, combined with the lasting disappointment from Visceral, led him to step away from consistently releasing music under the “Getter” moniker. Earlier this year, Getter through his Terror Reid rapper alias officially announced the end of his project, signaling a desire to pursue creativity without the pressure and expectations that come with his established persona. While his future remains uncertain, his journey serves as a testament to the challenges artists face when evolving their sound. The post The End Of Getter, No New Music appeared first on EDMTunes.

The Bloody Beetroots' new tour will celebrate 20 years of punk rock-infused electronic music. Since 2005, the influential producer has brought edgy, hybrid performances to fans all over the world. With plenty of guitars, screams and intense electro production, he has united listeners of many genres with a sound that's equally appealing to those who prefer their music made with strings and those who prefer it from a computer. Now, in honor of the 20th anniversary of his project, The Bloody Beetroots will embark on a world tour celebrating this seminal sound. Sir Bob Cornelius Rifo says his setlists will include a bevy of his most beloved collaborations, like "Warp 1.9" (with Steve Aoki), "Zoning" (with ZHU) and "Out of Sight" with Paul McCartney of The Beatles). The man behind the mask shared a lengthy statement reflecting on what propelled him for two decades and the importance of punk rock in his creative process. "Looking back on the past 20 years of my career, one word encapsulates it all: Chaos," he said. "It’s the force that has shaped The Bloody Beetroots, driving every reinvention and defining its evolution. At its core lies a single root—punk—woven into the fabric of electronic music. This fusion wasn’t just a creative choice; it was a way to fully articulate my identity, my influences and my philosophy in sound." "When I started The Bloody Beetroots, it was more than a project—it was a vision," he continues. "A bold attempt to reconcile two seemingly opposite worlds: the raw rebellion of punk and the boundless energy of electronic music. Growing up immersed in both, I wanted to create something that bridged the gap, something that allowed these influences to coexist naturally. It wasn’t just about innovation—it was about finding harmony in the chaos." The tour is set to kick off February 8th, 2025 in London. Tickets are on sale now and can be purchased here. Follow The Bloody Beetroots:X: x.com/bloodybeetroots TikTok: tiktok.com/@bloodybeetroots Instagram: instagram.com/thebloodybeetrootsofficial Facebook: facebook.com/thebloodybeetroots Spotify: spoti.fi/3sromlx