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The rapper claims that Inflo failed to repay loans reserved for album costs Continue reading...

Eric Prydz fans, pinch yourselves to believe, or slap yourselves if you still don’t! The unthinkable has happened! Eric Prydz’ has finally dropped ‘Call on Me’ after 21 years! The 2004 international hit catapulted Eric to the path of initial global superstardom. It has been completely abandoned by the Swedish dance music titan for more than two decades, till 03/15/2025 at The Concourse Project. Eric Prydz dropping ‘Call on Me’ at The Concourse Project, Austin, Texas The ’20 Years of Pryda‘ show in Austin, Texas has witnessed a history of sorts. Ibiza 2004 was the last time it graced the tracklist of the progressive house legend. There have been instances post-2004 admitted by Eric himself where the audience came to his shows just for the song. The restlessness and anticipation of those still didn’t convince him to drop ‘Call on Me’ at those shows. It was dead and buried and no one ever presumed in their wildest dreams he would play it again. Another footage of Prydz dropping ‘Call on Me’ at Austin, Texas ‘Call on Me’ is Eric’s own 2004 take sampling Steve Winwood’s 1982 classic ‘Valerie’. The music video for the classic was the one that made more waves, to the point it caught the attention of then British Prime Minister, Tony Blair. The signs given by Prydz of keeping himself away from the iconic track was to avoid the tag of a ‘one hit wonder’. The progressive house legend obviously went to attain much bigger accolades in career. Celebrating 20 years of his label Pryda at The Concourse Project show was deemed apt by Prydz to resurrect the classic. And we are definitely not complaining! For me, I’m super happy about “Call On Me” the single, and what happened to it, and that it became super successful and all that. I don’t take pride in the track, because Steve Winwood wrote the melodies in it. I added some beats, I changed the arrangement around, and somehow it connected with the audience. I’m happy it happened, but at the time I was on a different musical journey. This was just some side project that I did. It took me a half an hour to make, just a fun thing on the side. I already had my path with my labels and Pryda and the whole progressive house underground stuff and the techno with CirezD that I was doing. Then all of a sudden this happened, and I got a bunch of new Eric Prydz “Call On Me” fans that started turning up to the shows. I would open up with a John Mull record. They’re like, “What?” ERIC PRYDZ IN A 2016 INTERVIEW WITH ZANE LOWE The post Eric Prydz Drops ‘Call on Me’ After 21 Years at Austin Show appeared first on EDMTunes.

Netsky and Andromedik, two of the best Drum & Bass DJs and producers in the world, work together for the first time on their exciting new song “Out of Body,” which is out now on Helix Records. Together, they’ve made a high-energy, melodic gem that will be played on dance floors all over the world. “Out of Body” is an addicting, high-octane track with emotional vocals, strong peaks, and a huge drop that strikes the perfect balance between melody and energy. The catchy beat and intense feel-good vibes of the track make it sure to become a quick favorite among Drum & Bass fans. Netsky and Andromedik‘s work together is a big deal for Belgian Drum & Bass because it brings together two generations of artists to make a track that will light up clubs and events all over the world. “Out of Body” will make them even more well-known as leaders in the genre. With his unmatched list of hits, Netsky has continued to push the limits of electronic music. He has worked with famous artists like Rudimental, Becky Hill, Emilie Sande, Swedish House Mafia, Lil Wayne, and Aloe Blacc. Ed Sheeran, Dua Lipa, and Jack Ü have also asked him to do remixes, which has earned him millions of streams and made him a sought-after producer and collaborator. He has sold out arenas and been the headlining act at some of the biggest festivals in the world, like Coachella, Glastonbury, Printworks, Pukkelpop, and Lotto Arena. He has also left an indelible mark on the “Netsky & Friends” brand, putting together and hosting stages at high-profile events like Tomorrowland and spreading the show to many clubs and events across Europe. The post Netsky and Andromedik team up for ‘Out of Body’ appeared first on The Groove Cartel.

15 people have been detained since the incident, which happened early Sunday morning Continue reading...

Let us introduce you to Mono Black. He grew up listening to Flux Pavilion, Modestep, and Skrillex, before changing lanes to hip-hop for a while. This scene is where he really learned the ropes and got into producing, sampling from random €1 vinyls and picking out tunes in his favourite record shops. And when you discover he’s from Antwerp, a city with a vibrant underground scene full of undiscovered gems, things will start to click. Mono Black makes music for the underground, for the people with a passion. When you listen to his tracks, you’ll notice that it’s different from the typical Belgian sound the country got famous for in the bass scene. And that’s because Mono Black doesn’t necessarily want to conform to the mainstream. He makes the music he wants. And if people like it, then that’s a plus. Spoiler alert: people do like it, because he’s only released three tracks ever, and one of those just got a premiere on our YouTube channel. Time for a chat. You just released your first ever EP, and it’s already getting supported by UKF. Congratulations! Yeah, it’s absolutely amazing! If you had told my younger self, I wouldn’t have believed you. It’s a massive sign that my music is being appreciated, both by listeners and by bigger people in the music industry. I still see myself as the average bedroom producer, so it’s nice to get that validation. Can you tell me more about the process behind the EP? Funnily enough, ‘Thoughtseize’ was a track that I never intended to release, and I was literally about to delete it when Blanko (Abyssal’s label manager) heard it and told me he wanted to sign it. I made it out of a Shades sample pack, where I took some samples, threw them in my DAW, mangled them around, and thought, this is so unhinged, I’m just going to leave it like that. And then who knows, later I can use it. It has been collecting dust on my hard drive for three years, but here we are. For the ‘Duress’, the other track, I experimented with sounds on my physical synths, and I had a lot of fun with it. I had to give myself a deadline for that one, because I have a hard time finishing my tracks. I think that’s the biggest problem for most producers. Everyone has a thousand projects, but only ten finished ones. I think that’s a mix of imposter syndrome and just listening to it over and over again. What’s the story behind this EP? This was a bit of a challenge for myself, I went out of my comfort zone. Blanko challenged me a lot with this. I have a lot of projects that sound very epic and big and very offbeat. It’s not something you can play during a set, it’s made for people listening to weird electronic music for the journey. With this EP I couldn’t tap into that sound, but I didn’t mind. It was a nice challenge to see how far I could push myself while working within the constraints of a limited time frame. Where did it all start for you, production-wise? Way back, I started making hip-hop and trap music when I was 16. I slowly transitioned to using more electronic and leftfield sounds which ultimately led me to dubstep, more specifically 140. It’s just fun, I like it. It’s a bit nerdy, to put it that way. You can just geek out on samples. You can stare at your synths for an hour, change sounds around, and be like, oh, I like this, what’s this? I think the geeky aspect of electronic music is that it’s so fun that you keep doing it. I’m a person who, if I find something interesting, I can really lose myself in it for months, 24/7. When I started producing, I was looking at tutorials non-stop, and was watching interviews with artists that I liked. And then I just practiced all of that new knowledge over and over. It’s such a good feeling to be able to control all of that now. Now I can say, I want to make this type of tune, and just go on and do it. I remember getting into dubstep when I was 14 or 15. I was really into the brostep movement of Flux Pavilion, Skrillex, Modestep, all those artists. Then, when I started producing a few years later, I dabbled a lot between hip-hop and dubstep, and then I got to know Ivy Lab. I thought they were sick, they had everything. A bit of hip-hop, half-time… And then I started watching videos like Against the Clock by Fact magazine, where the artists have fifteen minutes to make a whole beat. That’s actually how I ended up discovering Alix Perez. I also remember watching Rhythm Roulette, where hip-hop producers would go and pick up some records from a store and make a beat out of it. I thought that was insane. Watching these videos forced me to think about making my own sounds, my own beats, my own snares. Before this, I just sampled everything, because I was into hip-hop. So I started making my own stuff. It was very difficult, and at first I was really bad at it, but now that I’m completely sober, I feel like I got a better ear for it. How did going completely sober change you as a producer? I can separate the good from the bad way better now. Back in the day I thought everything I made was decent… Now that I’ve listened to a lot of genres, done a deep dive into them, I can tell that there are artists who really care about their album, their EP’s. Shades, EPROM and Alix Perez, worked on their album for a long time. It’s a solid piece of work that is very much in harmony. They have varied a lot, experimented a lot. The sound selection is top notch. Everything is coherent. If you look at another EP, another up-and-coming drum & bass producer or dubstep producer… A lot of these sounds, I feel like I’ve heard a hundred thousand times. The sound might fit in DJ-sets, but it doesn’t get to me like Shades does for example. I don’t know, it’s not that the more mainstream stuff is bad, because music is subjective anyway, but you can sometimes feel that an artist has worked hard on it for themselves, and not just to make a song that does well on dancefloors or radios, and that’s what I like. When I go to events or sets of artists that I really want to see, I really pay attention to the details and how the artist reacts and interacts with the audience. Some artists are very introverted and are very busy with what they do. They’re in the zone. Some are very good with the crowd, which is also nice. But I think the best in electronic music, and you see it far too little, is the visual aspect. It gets forgotten a lot, I think. Don’t get me wrong, you can’t always do a sick visual show, but that’s something that I would love to get into. Create a visual show, so you can see what’s going on in the artist’s head. You said that you look at what the DJs do behind the decks when you’re out at an event. What are the things that you noticed and how has that influenced you? When the artist enjoys playing their set, then that always translates to the audience. I’ve already noticed that when I play, I prepare only half my set so that I can improvise the other half, and I usually have the most fun in that second half. Every time I play, people say, “You played really well, you were really enjoying it,” and that’s proof to me that if you enjoy what you’re doing, other people will automatically join in. To give you another example, I remember being at Rampage in 2024, and Automhate & Dr. Ushūu were playing. I didn’t know anything about them, but I decided to give it a go. Those guys were literally jumping from joy behind the decks, so the whole crowd was hyped. I thought it was the best set of the whole evening, just because of how enthusiastic they were. It makes such a big difference. Some artists have been in it for a long time, and it’s really just business for them, so they’re less in it with the crowd. But that enthusiasm behind the decks is unbeatable in my eyes. I also notice that when I do it myself, I have a lot of fun. Interaction and enthusiasm is everything, and obviously knowing what you’re doing. Another example is Machinedrum, he’s the reason I do electronic music. His albums Vapor City and Vapor City Archives have shaped my entire musical identity. I saw a live set of his new album, 3FOR82 in Ghent last year, where he added all the effects while the song was playing. The guy had a lot of fun, he had good visuals behind him, it was amazing. At the end of the set, he said, “I’m going to play unreleased stuff for half an hour.” Everyone was dancing. Everyone was so excited. There were around 80 people, but it didn’t matter. If the artist is having fun, then the whole crowd has fun. That’s a good thing to take away from your experiences at gigs! Do you have any final thoughts? The UKF premiere gives me a lot of confidence in what I do. I feel like I want to do more now, and I want to finish the stuff that’s in progress, I want to make a body of work out of it. I’m thinking of releasing a few EPs before I make an album, because an album takes a lot of work. I’m also looking forward to working with a few other Belgian artists, like KRANKk and DMTR. FFaux as well, that guy is insane. I just want to collaborate with them and see how we can create something cool together. They’re not that well known, so that makes it so much more fun for me. Because it’s not with the goal of building a career. It’s purely for having fun, creating unique things. I’m also working on a track with Lavance. He sent me an insane Ivy Lab-type beat, and I can’t wait to work on it more. It’s the kind of track that’s never going to be released, but that doesn’t matter – I like it. For now, I’m all for creating stuff together, and I’m looking forward to more of that in the near future.

Adriatique and Samm (our interview), two rising stars from Belgium and Switzerland who are known for their lyrical techno, have finally worked together on a song called “Back To Life,” which is now available on X Recordings. “Back To Life” is a deep, sultry production with evocative synth lines, complex percussion, and a commanding voice. It combines Adriatique‘s signature melodic sound with Samm’s warm, feel-good mix of melodic house, Afro house, and soul. The track features captivating singing from the Dutch singer Jaimes, who has worked with Martin Garrix, Armin van Buuren, Benjamin Ingrosso, and MONSTA X, among others. Both artists have played “Back To Life” at major shows around the world, including Adriatique’s groundbreaking set at The Sphere in Las Vegas at the beginning of 2025. In the coming months, artists from all over the world will play it, solidifying its status as a future dancefloor anthem with its catchy energy and timeless appeal. Samm is now one of the most sought-after DJs and producers in the electronic music scene, and this release adds to his status as an artist who pushes the limits. Magnifik label boss has been making waves with his unique mix of Afro and deep house. Top acts like Black Coffee, BLOND:ISH, CamelPhat, Keinemusik, Solomun, and WhoMadeWho have praised his work. After the huge success of his hit song “Does It Matter,” Samm is getting ready for a year full of high-profile releases and shows. The post Adriatique & Samm long-awaited song ‘Back To Life’ is here appeared first on The Groove Cartel.

The duo of Tobias and Samuel otherwise known as NOTD started off the year with a big track named ‘Another Life‘. Now they are back with a brand new EP called ‘Digital Notes‘ featuring 5 completely new tracks on top of their earlier release of ‘Another Life’. The EP features a handful of collaborations from talented artists such as Mercer Henderson, INJI and Maia Wright and more. The EP features songs with uplifting melodies that almost provides an immersive video game-like experience. Take a listen to the full EP below now. To accompany the release of the EP, NOTD is also heading on a North American tour spanning 9 stops across the continent. This Friday, NOTD will be making their way to New York City with they will perform at the iconic Webster Hall. They will joined by the the three membered girl group called blusher as their direct support. You can expect the songs from their ‘Digital Notes’ EP on full display at the show as well as some of their classic biggest hits such as ‘So Close’ and ‘I Wanna Know’ with Bea Miller. Take a look at the full tour announcement below and make sure to secure your tickets HERE now to their return to New York City this Friday, March 21st. tour starts tomorrow <3https://t.co/KR6hylNYJj pic.twitter.com/7caWdpRmrH — NOTD (@NOTD) February 28, 2025 The post NOTD Releases New EP Called ‘Digital Notes’ Ahead of their Webster Hall Show in NYC This Week appeared first on EDMTunes.

In the early days of Martin Garrix’s music he stuck to making Big Room House where he produced some huge tracks like ‘Tremor’ and ‘Animals.’ When 2015 came around he started to really diversify his sound entering into the realms of progressive house and pop which is a journey that began with his fantastic collaboration with Usher, ‘Don’t Look Down.’ This collaboration wasn’t planned and came around purely by chance when Garrix sent a demo of the track to his manager who happened to have the king of RnB Usher visiting. When Usher heard the track, he quickly showed interest in providing vocals for it and shortly after was on facetime with Garrix to talk through working with him. Despite ‘Don’t Look Down’ being a song that was stylistically out of both artists comfort zones, they managed to create exactly what they aimed for, a song that would make people smile. Usher’s rich vocals combined with Garrix’s unparalleled melody writing made for a chart hit as it went to number 3 on the Billboard US Dance Club Songs and reached the top 10 in the UK and the Netherlands. At Ultra Music Festival 2015 the crowd was treated to hearing the song live with Usher joining Garrix on stage to sing in a simply historic moment. 10 years and 287 million streams later, ‘Don’t Look Down’ remains one of Garrix’s greatest collaborations that helped make him a household name.

A great dance track owns the space around it, and with their new collaboration "Where I’m From," Cassian, SCRIPT and Belladonna do exactly that. Even before its official release, "Where I’m From" was already leaving a mark. Cassian has certainly championed the track in his own DJ sets, sending it surging through some of the biggest dancefloors in the world, but its most recent lift came when Anyma and John Summit dropped the incendiary track in a surprise b2b set at LIV Las Vegas. Cassian has been in peak creative form, recently stepping into the role of Music Director for Anyma's "End of Genesys" show at Sphere, an ambitious and groundbreaking residency that's already shaping the next generation of live electronic music experiences. "Cassian has been an inspiration and mentor of mine for so long it’s really exciting to finally get a track out with him," SCRIPT said in a press release. "He’s the first person to spin 'On The Low' last year which was my biggest track to date so it’s very full circle to come back a year later and put out one of our most requested and supported IDs." Listen to "Where I'm From" below and find the new single on streaming platforms here. Follow Cassian:X: x.com/_cassian Instagram: instagram.com/cassian TikTok: tiktok.com/@cassian Facebook: facebook.com/cassian88 Spotify: bit.ly/3yJJ5c1 Follow SCRIPT:X: x.com/script_av Instagram: instagram.com/script_av TikTok: tiktok.com/@script_av Facebook: facebook.com/script.av Spotify: tinyurl.com/2s3pbtma Follow Belladonna:Instagram: instagram.com/belladonna Spotify: tinyurl.com/m8nf8nur

Calvin Harris is back behind the mic for the first time in seven years in his new single, "SMOKE THE PAIN AWAY." Known for lending his own vocals to generational dance hits like "Feel So Close" (2011), "Summer" (2014), "My Way" (2016) and "I Found You" (2018), the chart-topping producer took a step back from singing in recent years. His comeback, however, is nothing short of captivating. Harris this week surprised fans with the release of "SMOKE THE PAIN AWAY," a unique blend of country and house music with a folksy twang. Layered with acoustic guitar riffs, harmonica patterns and his signature raspy vocals, the track builds into a euphoric chorus driven by a pulsing bassline. Harris also recently debuted a rugged mountain-man aesthetic, fully embracing this new sonic direction and its folk-inspired style. And while it's certainly a departure, it still has tinctures of that nostalgic, unmistakable, dopamine-fueled Harris sound. Listen to "SMOKE THE PAIN AWAY" below and find the new single on streaming platforms here. Follow Calvin Harris:X: x.com/calvinharris Instagram: instagram.com/calvinharris TikTok: tiktok.com/@calvinharris Facebook: facebook.com/calvinharris Spotify: spoti.fi/3mmhsk7

In the hands of an expert, simplicity becomes a weapon, and Max Styler wields it masterfully in his new single, "I Know You Want To." As a newly minted member of the EDM.com Class of 2025, Styler is solidifying his place among house music's most influential rising forces. The producer has already cemented himself as a mastermind behind some of the world’s most popular tech house records, and this latest offering only reinforces his grip. First teased in Styler's sets to close out the 2024 festival season, "I Know You Want To" has since found its official home on Insomniac Records and it's fully primed to dominate stages worldwide. He said the track aptly captures the feeling of being left with no choice but to lock in and push forward. But beyond the intent, "I Know You Want To" is a surefire dancefloor catalyst, custom-built for sweaty, late-night club sets and peak-hour festival action. If tension fuels desire, then "I Know You Want To" is the musical equivalent of a slow-burning stare across the dancefloor. A looping, taunting vocal threads through the track, teasing as the beat tightens like a coiled spring. Listen to the new single below and find it on streaming platforms here. Follow Max Styler:X: x.com/maxstylermusic Instagram: instagram.com/maxstyler TikTok: tiktok.com/@maxstylermusic Facebook: facebook.com/maxstylerofficial Spotify: tinyurl.com/5n7exwyp

Club Space has stood as one of the pillars of Miami night life for 25 years which is a milestone they’re celebrating in style with ‘Miami Music Week’ where a few of the worlds best DJ’s will be taking to the stage. There has already been a 25th anniversary weekend celebration, but that alone wouldn’t be enough to honour this monumental achievement. In true Club Space fashion, the party will go on. From March 25th to March 30th there will be a series of crazy events playing host to some huge names including Fisher, HUGEL, Camelphat, The Martinez Brothers, Peggy Gou, and many more. Every day will bring hours and hours of the best electronic music with the week being capped off with a 24+ hour closing party so you can dance all day and all night. The week is already looking like the party of the century and there are still more special guests to be unveiled. There is a whole lot of history within Club Space and ‘Miami Music Week’ looks to be an event that will make some history of its own in celebration of an amazing 25 years. If you want to be able to watch the sunrise and set through glass roof of the iconic terrace while you dance till you drop, then get your tickets now. Tickets for all Club Space events are available below: https://www.clubspace.com/events: Club Space Celebrates 25th Anniversary With ‘Miami Music Week’

​“I grew up listening to ‘Innocence’. For NERO to put their name on this is the ultimate blessing” Continue reading...

Rounding up festival news from across the dance and electronic world Continue reading...

After attending Miami’s Ultra Music Festival for quite some time now, I’ve got this three-day endurance test down to a science. Whether you’re a fresh-faced raver or a veteran of the circuit, Ultra can push your mind and body to the limits. But make no mistake – with the right preparation and mindset, surviving and thriving at this beloved festival is very doable. Just follow my hard-earned tips. As with every multi-day festival, Ultra Music Festival is a marathon, not a sprint First and foremost, approach Ultra Music Festival like it’s a marathon, not a sprint. This is a mistake I made my first few years – going too hard too fast and burning out before the weekend was over. Pace yourself, take breaks to rest and rehydrate, and resist the urge to overindulge, whether it’s with substances, endless moshing, or trying to see every single set. Ultra is a marathon dance party – you need to conserve your energy to go the distance. To that point, get to the festival grounds as early as doors open each day – 4 pm Friday and 1 pm Saturday/Sunday. Being one of the first inside pays major dividends beyond just beating the entry lines. You can grab a prime spot at whichever stage you want, refill your hydration pack at the water stations, and maybe even squeeze in a power nap on the lawn before the music kicks off. Wander the grounds to scope out the various stage layouts and start mapping out your schedule. Utilize those first few hours to get the lay of the land. Stay hydrated! Water pack and Camelbak Speaking of hydration, this cannot be stressed enough: bring a refillable water pack or Camelbak. They’re permitted inside, and hitting up the free water stations to refill beats getting gouged for overpriced bottles all weekend. Trust me, the first year I went without one, I must have dropped over $100 just on water alone. Not a mistake I’ll make again. Staying properly hydrated is crucial for your health and stamina across these three sweltering March days. Comfy over stylish Comfortable shoes are another essential – leave those fashionable boots or sandals at home. You’ll be doing intense amounts of walking and dancing, so find some quality sneakers with good tread and ankle support. These days, I go with lightweight running shoes and pack an extra pair of cushioned insoles to swap in. Your feet will thank you later. At my last Ultra, my step count was showing more than 20 km walked a day. Suncream, sunglasses, earplugs: get them! Portable phone chargers and sunscreen are two other must-have items that can make or break your Ultra experience. With your phone being your camera, portable stage guide, and a way to meet up with friends, having a way to keep it juiced is key. As for sunscreen, you’ll be out in the open for hours on end – slather up regularly or you’ll be cripplingly sunburnt before the weekend is over. The same goes for sunglasses and earplugs to protect your eyes and eardrums respectively. Don’t drive! Getting to and from the festival grounds can be a nightmare if you try driving yourself. The area around Bayfront Park has extremely limited parking, so do yourself a favor and take public transit or ride shares instead. Especially if your hotel or stay is in Miami Beach. I always take the Metrorail and swap on the Metromover at Bayfront Park Station. It’s quick and cheap, and no parking fees or sitting in post-show traffic for hours. Just be sure to load up your transit app or have a ride service pulled up as soon as you exit the festival at night. Go and discover the lineup Most importantly, keep an open mind to discovering new artists and sounds you may have overlooked. In my first Ultra, I made the rookie mistake of camping out at the main stage all weekend. While admittedly stacked with the biggest draws, some of my most euphoric festival moments have come from wandering into the RESISTANCE, Arcadia Spider, or other “undercard” stages and being blown away. The beauty of Ultra is that there’s so much talent to experience across every genre imaginable. So scout the lineup, and plan out a schedule, but also leave room to get blissfully lost along the way. Respect the locals. You’re the guest! Finally, while Ultra is an all-out rager, remember to be respectful of the downtown Miami residents once you stumble out at night. Keep your voices down, clean up after yourselves, and avoid anything that could get you in trouble or ruin the vibe for future editions. We’re all here to escape reality and celebrate life through music and dance – but we’re also guests in this community. Extend that PLUR ethos beyond the festival grounds. With some preparation and self-discipline, the Ultra Marathon can be conquered and savored rather than indulged to the point of burnout. Hydrate, wear good shoes, try new sounds, and soak in every glorious, sweat-drenched moment with your tribe. I’ll be there dancing right alongside you all weekend long as always. Keep the energy flowing and the vibes soaring. This is what we live for! Ultra Music Festival will return at Bayfront Park, Miami, from March 28 to 30, 2025. Tickets are sold out. The post Your Ultimate Guide for Ultra Music Festival: My Experience appeared first on The Groove Cartel.

On March 16, 2015, Secrets was released. Tiësto was already one of the biggest names in dance music, constantly adapting his style. KSHMR was stepping into the spotlight as a solo producer after years of working behind the scenes, with his start being with The Cataracs. This song changed how people saw him. VASSY’s vocals made it instantly recognizable, and the sound had something that kept listeners coming back. Big room house was everywhere at the time, but Secrets stood out. It wasn’t just another festival hit. It was playing in clubs, on radio stations, and in DJ sets across different genres. People knew it whether they followed dance music or not. How Secrets Took OverThe first time most people heard Secrets was at Ultra Music Festival 2015 when Tiësto dropped it during his set. The reaction was instant. The song quickly spread beyond festivals and became one of the most played dance tracks that year. It hit No. 1 in Poland and landed on Billboard’s Dance/Electronic Songs chart in the US. It was on rotation across Europe and Australia, getting heavy airplay on both dance and mainstream radio. It didn’t stop there. Secrets was one of the most remixed tracks of its time. There were house edits, future bass versions, and even a hardstyle flip. DJs like Don Diablo, R3HAB, and DVBBS put their own spin on it. Slumberjack’s trap remix gave it a completely different feel and introduced it to a new audience. For KSHMR, this was the moment everything changed. Before Secrets, most of his work had been behind the scenes. After this, his name was on festival lineups, and people started recognizing his sound. Where Secrets Stands 10 Years LaterA decade later, Secrets still holds up. Tiësto has moved through different styles, and KSHMR has built his own sound, but this song is still part of their legacy. Big room house isn’t in the spotlight the way it was in 2015, but some tracks don’t fade. When Secrets plays, people still react. It brings back a time when festival stages were packed with this kind of music, and for many, it’s tied to some of their best memories from that era. Some songs are big in the moment. Others last. Secrets did both. Even after ten years, it still feels just as strong as the day it came out.

Domenico "Dom Did It" Randazzo's fingerprints are all over some of electronic music's most infectious anthems. But at this year’s Grammys, his talents earned him one of the industry's highest honors—not for a club-ready banger, but for his work on Chris Brown's album 11:11. With credits on music by Tiësto, Bingo Players, Dannic, Disco Fries and more, Randazzo has quietly built a reputation for seamlessly blending the punchy energy of dance music with the emotional depth of R&B. Marking a defining moment in his career, Randazzo co-produced "Bruce Lee" and "Delusional," each of which are standouts on the Deluxe Edition of 11:11, which nabbed Brown the Grammy Award for Best R&B Album. Both tracks were administered by Disco Fries' publishing company, Arkatone Music Group Publishing, in partnership with Enhanced Music and Sony Music Publishing. Randazzo spent his formative years as a lead guitarist and drummer for pop bands along the Jersey Shore before attending the prestigious Clive Davis Institute of Recorded Music at NYU. There, he studied under legendary rapper Q-Tip of A Tribe Called Quest and worked as an apprentice to acclaimed producer Dave Tozer, who has written for Justin Timberlake, Jay-Z, Bruno Mars and many more. He then went on to develop a partnership with renowned producer YX, with whom he has collaborated on projects for the likes of Timbaland and Jason Derulo, among others. Randazzo's many other credits include John Legend, My Chemical Romance and Quarters of Change. As electronic's music's influence continues to permeate pop, hip-hop, R&B and many other genres, Randazzo’s Grammy win serves as a testament to the genre-fluid future of music production. And as this melting pot continues to simmer, his trajectory proves that a great producer isn't defined by BPM, but by vision. Follow Dom Did It:X: x.com/dom_didit Instagram: instagram.com/dom_didit TikTok: tiktok.com/@dom_didit Facebook: facebook.com/domdiditmusic SoundCloud: soundcloud.com/dom_didit

For a quarter century, Club Space has been the nucleus of Miami's nightlife sector, where the music never stops and sunrise is just the beginning. This March, the illustrious venue is commemorating 25 years with a lineup worthy of its pedigree. The anniversary festivities for Space will kick off on March 14th with a performance from Deep Dish along with house music veteran Victor Calderone and a special appearance from original owner Louis Puig, the man who helped launch Space. The momentum continues through the weekend, with Marco Carola taking over on March 15th, joined by former NBA star-turned-DJ Rony Seikaly and a house-heavy lineup featuring Francis Mercier the day after. But Space’s anniversary series wouldn’t be complete without its deep connection to Miami Music Week, and this year's programming is a testament to that. From FISHER’s Catch & Release showcase to b2b DJ sets from The Martinez Brothers and Loco Dice—plus a high-profile takeover by Michael Bibi's Solid Grooves and a 24-hour closing party—it's certain to be a momentous month in the legacy of EDM.com's Club of the Year in 2024. Tickets for Club Space's 25th anniversary events are available now. Check out a breakdown of each below. Club Space Anniversary Week Lineup HighlightsFriday, March 14: Deep Dish (Dubfire and Sharam), Victor Calderone, special appearance by Louis Puig Saturday, March 15: Marco Carola, Rony Seikaly Sunday, March 16: Francis Mercier, Marten Lou, Vanjee, Peace Control Miami Music Week at Club SpaceWednesday, March 26: FISHER's Catch & Release: Miami Music Week featuring FISHER, Paco Osuna, Sosa, Little Fritter, Hank, Brunello Thursday, March 27: Link Miami Rebels presents Cloonee, The Martinez Brothers b2b Loco Dice, more Friday, March 28: Solid Grooves Takeover Saturday, March 29: Link Miami Rebels presents CamelPhat, Innellea, more Sunday, March 30: 24+ hour Space MMW Closing Party View the original article to see embedded media. Follow Club Space:X: x.com/clubspacemiami Instagram: instagram.com/spacemiami TikTok: tiktok.com/@clubspace_miami Facebook: facebook.com/clubspace

Crankdat, the Bass House Powerhouse, is back with his latest track, ‘Whiplash,’ featuring SOFI. A new single that is already a staple in his “GET CRANKED!” North American Tour. The high-energy collaboration is ready to play and marks another milestone in Crankdat’s rapidly growing career. Known for his signature sound and making crowds jump in sync, he has been making waves with his unique approach to bass-driven music. If you have never heard his music, listen to ‘Whiplash’ and you will hear the essence of Crankdat’s signature sound. ‘Whiplash’ ‘Whiplash’ makes listeners move instantly with its turbocharged bassline, high-end vocals, and full spectrum drops. In the beginning, there is a filter intro and energetic verse that perfectly sets the mood for his stylistic double 64-bar riser. In this insane build, Crankdat creates insane tension only to amplify it with a fakeout build that introduces the drop elements. After the first drop, Crankdat doubles down on his 64-bar build and unleashes his sound production in full force in the 2nd drop. At the end, DJs are blessed with a beautiful riser transition. Altogether, Featuring SOFI’s striking vocals and Crankdat’s production. The track fuses elements of bass house and trap that delivers a punch that’s sure to restle bass music feathers. Crankdat has been playing ‘Whiplash’ in his live sets for months. It has become an instant hit, causing explosive crowd reactions. (Especially that 2nd drop, holy sh*t.) As a product of his one-of-a-kind production style, ‘Whiplash’ reflects Crank’s passion for packing dancefloors with active dancers and creating hits that resonate with his fans. Crankdat’s historic climb into bass community Crankdat’s rise from underdog to industry sensation has been nothing short of extraordinary. In 2024, he skyrocketed from 2,000 to nearly 1 million TikTok followers, sold out back-to-back shows at the Hollywood Palladium, and delivered high-octane collaborations with pop music sensations – DJ Snake, Juicy J, and Waka Flocka Flame. His performance at EDC Las Vegas set the record for the most-attended closing set in Basspod history. His trajectory continues to soar in 2025. With his “Crankdeck” show experience and the “GET CRANKED!” North American Tour, Crankdat is pushing the envelope of live performances. He brings an interactive stage that goes far beyond traditional setups. This year, Fans can also look forward to his appearances at Ultra Miami, Bonnaroo, Electric Forest, and EDC Vegas. Also, new releases that promise to solidify his place as one of the leading forces in bass music. Crankdat Tour Dates and Tickets The post ‘Whiplash’ – Crankdat’s New Banger appeared first on EDMTunes.

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If love is a leap of faith, then Netsky and Andromedik have provided the perfect soundtrack for the jump, their new single "Out of Body." Built on propulsive breaks and shimmering synths, "Out of Body" lives up to its title, channeling the kind of rush that leaves your feet off the ground and your head in the clouds. Fusing Netsky's signature melodic sensibilities with Andromedik’s high-energy production, the soaring drum & bass track is a sonic freefall that feels less like plummeting and more like flying. Where many drum & bass anthems risk overindulging on saccharine euphoria, "Out of Body" balances its soaring melodies with disciplined production. Netsky and Andromedik's drum programming is tight and calculated, lending to a track that demands movement. Lyrically, "Out of Body" distills the sensation of love as a literal elevation. "I don’t know how I’m breathing / When I’m up this high," the vocal confesses, evoking the weightless, borderline-terrifying feeling of falling for someone. The chorus builds on that idea, framing devotion as a leap of faith and taking listeners on emotional tightrope walk at 174 BPM. Listen to "Out of Body" below and find the new single on streaming platforms here. Follow Netsky:X: x.com/netskymusic Instagram: instagram.com/netskyofficial TikTok: tiktok.com/@netskymusic Facebook: facebook.com/netskymusic Spotify: spoti.fi/32Bxyf2 Follow Andromedik:X: x.com/AndromedikMusic Instagram: instagram.com/andromedik.official TikTok: tiktok.com/@andromedik.official Facebook: facebook.com/AndromedikMusic Spotify: spoti.fi/3T4zaJo

Words by Alex Lambeau and Zach Salafia. Cassian, SCRIPT & Belladonna – Where I’m From The intertwining between hip hop-inspired vocals and dance music continues to be a hot commodity, and “Where I’m From” is the latest dance floor weapon to reaffirm that. A three-part pairing between Cassian, former Dancing Astronaut Artist To Watch SCRIPT, and Belladonna, “Where I’m From” is a fusion of the trio’s respective styles that results in an uptempo, energetic mega-collaboration — with early support from the likes of Anyma, Dom Dolla, and John Summit — that’s an undeniable recipe for success. Mathame – Humans Mathame’s first release of 2025 — which had been more than two years in the making — had originally debuted at Coachella 2023 before the two added some finishing vocal touches from both Sara Philips and Frynn. With an uplifting and euphoric melody, “Humans” merges the old-school Afterlife sound with modern production from the Italian brothers. And Mathame’s heartfelt original both evokes nostalgia and revisits a similar sound to that of their breakthrough single, “Skywalking.” Adriatique & Samm (BE) featuring Jaimes – Bring Me Back Arriving via X Recordings, “Bring Me Back” from Adriatique and Samm is a groovy blend between Afro House and a new take on the modern approach to melodic house. Recruiting the help of Jaimes — most known for his recent pairing with Martin Garrix and Sem Vox — brings a magnetic, memorable vocal presence to the track. Having been played at Adriatique’s supporting slot at the Las Vegas Sphere, “Bring Me Back” will continue to be make its way across some of the world’s biggest stages. ACRAZE & Puku – Rock My World “Rock My World” made waves this past weekend while leaving many Shazam attempts futile with its inclusion in Dom Dolla’s setlist across his two-night, sold-out run at Madison Square Garden. And for good reason, with ACRAZE opening his 2025 with the assistance of Puku on vocals for what may ultimately result in his biggest release since “Do It To It.” Lilly Palmer & Ad-Apt – Party Don’t Stop Lilly Palmer has continued her reign as one of techno’s shining stars with her first release of 2025. “Party Don’t Stop” alongside Ad-Apt has been a global force in Palmer’s sets, including recent stops in Argentina and The Concourse Project in Austin, Texas as well as upcoming dates in Prague, Tokyo, Shanghai and Frankfurt. new music this week Rinzen PARISI OCULA Azzecca Mathame Blackchild Max Styler STAR SEED Calvin Harris Drunken Kong Yotto x Eli & Fur ACRAZE x Puku Seth Hills x soleil Mesto x Moa Lisa Massane x Panama Lilly Palmer x Ad-Apt Netsky x Andromedik Martin Garrix x Arijit Singh… — Dancing Astronaut (@dancingastro) March 14, 2025 Featured image: Cassian/Instagram The post Dancing Astronaut’s New Music Friday: March 14, 2025 appeared first on Dancing Astronaut.

​On March 14, 2014, Calvin Harris released “Summer,” a track that quickly became synonymous with the energy summer brings. The second single from his fourth studio album, Motion, the song showcased Harris’s talents as both producer and vocalist, a role he embraced once again following his earlier song, “Feel So Close.” “Summer” became an instant classic, topping charts in the UK and securing the number one spot on the UK Singles Chart, marking Harris’s sixth chart-topping single in his home country. In the United States, the track climbed to the seventh position on the Billboard Hot 100. “Summer” took over when it dropped and quickly became a festival and playlist favorite, perfectly capturing that carefree summer vibe that we all chase. Even years later, it’s still going strong—just look at the 1 billion+ views on YouTube, proving it’s a song that never gets old. As we mark over a decade since its debut, “Summer” remains an anthem, reminding us of the timeless connection between music and memories.

You’d better believe there is a wonderful concept behind this Austrian gathering. Austria, get ready for interesting new proposals in the Dance music ground. Sound | Escape, a free festival, is set to take place in Kitzbühel from March 28 through 30, offering a unique blend of underground music and alpine scenery. The event, which will occur in the town’s historic centre and surrounding mountains, aims to provide an inclusive experience without entrance fees or VIP areas. This year’s headliner, by the way? The legend himself, Sven Väth. Väth, a living legend of Techno, is in charge of headlining duties this time, and joined by artists such as Matthias Tanzmann, Tom Novy, and Tube & Berger. The lineup will feature a range of electronic genres, including House, Techno, and Drum and Bass, the latter being a less common sight in Austria at the moment. The festival’s creator, Marvin Aloys, states that “Austria’s got this deep musical history, but Electronic music has its own roots, its own culture, and it belongs here just as much”. His idea with the festival is to break away from the usual “Big-ticket, VIP-heavy festival scene, and giving something back to the people. A free festival, in a setting that’s honestly unreal – mountains, historic streets, fresh air – it’s the kind of backdrop that makes it extra special”. And I’d agree. Aloys says having Sven Väth headline is significant, noting that Väth’s support demonstrates the festival’s goals. He says they want to return to the raw, inclusive energy of early Electronic music, removing barriers and exclusivity. For more information on this — to me — amazing concept, click here to be redirected to the event’s page. The post Free-Entry, No-VIP Festival Sound | Escape To Take Over Austria This March appeared first on EDMTunes.

Here’s a piece of beautiful Afro House to close your week in style. Just days ahead of Miami Music Week, one of the staple events of Electronic music worldwide, a monumental collaboration has seen the light of day. The Magic City’s very own rising star Amal Nemer joins Maxi Meraki, Helsloot, and Adam Nazar on ‘Our Future‘, a highly anticipated Afro House release out today via Ultra Records. The track has already become a notable spin during all four of the artists’ sets, who’ve seen its high energy and love-referencing lyrics resonate with audiences worldwide. Elegantly produced, ‘Our Future’ explores the feelings of falling in love unexpectedly, while providing listeners with a bed of clever instrumentation and infectious groove.“’Our Future‘ is about one of my favorite things: love”, says Amal Nemer, who, in addition to contributing the track’s top line vocals, worked on the song’s production from its early stages. “The track tells the story of somebody who didn’t want to fall in love yet couldn’t resist. Adam had produced something already, and when we connected, upon hearing the melodies, the lyrics just came to me. I had it in mind to make a love song, and what better theme to explore than unexpected love!”. Once a deeper, pop-leaning house tune, ‘Our Future’ quickly turned into a fiery Afro House arrangement when Maxi Meraki and Helsloot were added into the equation. After some back-and-forth between the four collaborating artists, the record was ready for some spellbinding dancefloor action. Combining the best offerings of all producers involved, the piece marries Afro percussion with melodic guitars, brass-like basslines, and day-party resembling atmospheres. Amal’s voice acts as a gluing element throughout the entire production, at times as shining vocals, and other times as clever textures, even serving as percussion accents. She recognizes ‘Our Future’ departs from her usual Tech House sound, yet she embraces it as a part of her versatility: “Once in a while I wanna do something different. Step outside those boxes”, Amal remarks, nodding towards a year packed with new music. Listen to Amal Nemer, Maxi Meraki, Helsloot, and Adam Nazar‘s brand-new ‘Our Future’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry. The post Amal Nemer, Maxi Meraki, Helsloot, And Adam Nazar Unveil Afro House Heater ‘Our Future’ appeared first on EDMTunes.