Ravebot

Bristol dance music legend Jody Wisternoff releases his highly-anticipated third studio album, ‘Welcome To My World’ on Anjunadeep. Wisternoff, a pivotal figure in the UK’s rave scene since the early ’90s, is renowned for his keen ear for talent and his role in shaping the sound of the Anjunadeep label, where he co-curates the chart-topping annual compilation series. His career began in 1986 when he was 13 and a finalist in the DMC World DJ Championship. He quickly became a mainstay of the UK rave scene, performing at legendary venues like the Lakota club in Bristol and for iconic promoters such as Fantazia and Universe. A chance meeting with Nick Warren in a record store led to the formation of Way Out West, the pioneering duo behind several UK-charting singles and the UK dance number one hit ‘Mindcircus.’ Their 1997 self-titled album garnered both critical acclaim and commercial success, and 20 years later, their Anjunadeep album ‘Tuesday Maybe’, became a firm favourite among the Anjuna fanbase and saw popular reworks from electronic music royalty including Guy J and Ben Böhmer. Since then, Jody has released two solo studio albums on Anjunadeep, including the acclaimed ‘Nightwhisper,’ which has garnered over 20 million streams and received support from BBC Radio 1 and SiriusXM Chill. Across his distinguished catalog, Wisternoff has amassed over 70 million streams, with his tracks earning praise from industry heavyweights like Eelke Kleijn, John Digweed, Nora En Pure, Chicane, and more. Now, on the new album ‘Welcome To My World,’ Jody Wisternoff dives deeper into his extensive musical journey and reflects the eclectic influences that have shaped his career. Across its 14 tracks, the album features his signature blend of emotive, intricate melodies and dynamic production techniques, punctuated by his trademark breaks. Standout tracks such as ‘Tales From Beyond’ with Nox Vahn and Natascha Polke, ‘Rain’ featuring Sian Evans, and ‘Ease Yourself,’ all of which showcase Wisternoff’s refined production skills that have earned him support from the likes of SiriusXM Chill and BBC Radio 1. Jody Wisternoff has also unveiled a global tour spanning 29 dates across North America, the UK, Asia, and Australia. The tour will include stops in major cities, including London, New York, Los Angeles, and Sydney. Tickets are on sale here. Album tour dates 08/11 – Steelyard – London, UK 09/11 – Joshua Brooks – Manchester, UK 15/11 – It’ll DO – Dallas, US 16/11 – The Music Yard – Charlotte, US 22/11 – Walter Studios – Phoenix, US 23/11 – Moxy Uptown – Minneapolis, US 06/12 – TBA – TBA 07/12 – Wondergate – San Diego, US 28/12 – Coda – Toronto, CA 30/12 – Bergerac – San Francisco, US 31/12 – Audio Nightclub – San Francisco, US 17/01 – The Church – Denver, US 18/01 – Sound Nightclub – Los Angeles, US 24/01 – Serum – Chicago, US 25/01 – Soundcheck – Washington US 08/02 – Patterns – Brighton, UK 15/02 – TBA – TBA 21/02 – India TBA 22/02 – India TBA 23/02 – India TBA 28/02 – Ulster Sports Club – Belfast, UK 01/03 – Bomba – Exeter, UK 02/03 – Skyline – Glasgow, UK 07/03 – Lucy’s Love Shak – Perth, AU 08/03 – Return to Rio- Sydney, AU 09/03 – Oasis (Sunset Cruise) – Brisbane, AU 14/03 – Electric Rush – Queenstown, NZ 15/03 – Journey of Sound x WTG – Melbourne, AU ‘Welcome To My World’ is out now via Anjunadeep. The post Jody Wisternoff releases his highly-anticipated third studio album, ‘Welcome To My World’ on Anjunadeep appeared first on Decoded Magazine.

The tour is set to span almost two months, hitting 27 stops along the way Continue reading...

Following the incredible success of last year’s Futuro album, internationally renowned DJ and producer John Digweed is back with Futuro RMXS, a stunning collection of reimagined tracks that both celebrates and amplifies the spirit of the original release. Featuring a carefully curated selection of remixes from some of the freshest and most innovative talents in electronic music right now, the album – mixed by Digweed himself – is available digitally from December 6, as well a 2x CD set and a limited-edition 5x vinyl pack. From deep, luscious soundscapes to dynamic, high-energy club sounds, Futuro RMXS seamlessly bridges the gap between house, techno, progressive and everything in between. Each track from the original Futuro album has been given its own distinctive new interpretation, ensuring a fresh yet familiar journey for Bedrock fans and electronic music enthusiasts alike. Highlights include remixes from Bedrock stalwarts Guy J, Alican, Argia, Satoshi Fumi and John Digweed & Nick Muir, as well as rising stars Khen, Hermanez, Sentre, Cortona, Remcord, Spencer Brown, Soel, Nick Stoynoff, Jamie Stevens, Kabi, Loz Goddard, Ezequiel Arias and Paul Roux. Speaking about the album, John Digweed comments: “The original Futuro album was such a pleasure to create, and I felt every track had the potential to be explored further. I’m thrilled with the energy and creativity that all of these amazing remixers have brought to the project, making it feel like a completely fresh experience while still holding onto the essence of the original.” Futuro RMXS is available on all major streaming platforms, as well as in physical formats via Bedrock Records. The limited vinyl and CD editions are expected to sell out quickly, so fans are encouraged to pre-order to secure their copy: https://ffm.to/bedfutrmx FUTURO RMXS Tracklist: CD1 Davi – Forbidden City – Khen Remix Lost Desert & Felix Raphael – Floatish – Hermanez Remix Carerra & Tavares – Mind – Markus Homm Remix Four Candles – Don’t Talk About – Kabi Remix Ruede Hagelstein & Die Zwoelfe – The Rock – Argia Remix Martin HERRS, Aliot & Bunbeck – The Last Call – Remcord Remix Of Norway – I Miss You – Sentre Remix Mariano Mellino, Lopezhouse & Folgar – Tarantula – Cortona Remix Moshic – Love Made Me Do It – Guy J Remix Spencer Brown & Mat Zo – Spun Day – Jamie Stevens Y2K Remix John Digweed, Nick Muir, Captain Mustache – Bleu Cobalt – Alican Remix CD2 David Morales – DIRIDIM – John Digweed & Nick Muir Remix 8Kays – Waves – John Digweed & Nick Muir Remix Jamie Stevens & Zankee Gulati – Low Tide – Ezequiel Arias Remix Rodriguez Jr. – Alraegadir – Spencer Brown Rethink Aubrey Fry – Begone – Nick Stoynoff Remix Weska – Hawkins – Soel Remix Oniris – Isla – Satoshi Fumi Remix John Digweed & Nick Muir – FuturaScent – Loz Goddard Mix Madben – That Ending Track – Paul Roux Remix Vinyl 1 A1. 8Kays – Waves – John Digweed & Nick Muir Remix – 7.21 A2. Martin Herrs Ft. Aliot & Bundeck – The Last Call – Remcord Remix 7.43 B1. Of Norway – I Miss You – Sentre Remix 6.52 B2. Oniris – Isla – Satoshi Fumi Remix 8.16 Vinyl 2 A1. John Digweed, Nick Muir, Captain Mustache – Bleu Cobalt – Alican Remix 6.43 A2. Davi – Forbidden City – Khen Remix 7.37 B1. Weska – Hawkins – Soel Remix 5.39 B2. Aubrey Fry – Begone – Nick Stoynoff Remix 6.47 Vinyl 3 A1. David Morales – DIRIDIM – John Digweed & Nick Muir Remix 7.13 A2. Spencer Brown and Mat Zo – Spun Day – Jamie Stevens Y2K Remix 7.47 B1. Mariano Mellino, Lopezhouse & Folgar – Tarantula – Cortona Remix 7.56 B2. Rodriguez Jr – Alraegadir – Spencer Brown Rethink 7.06 Vinyl 4 A1. John Digweed & Nick Muir – FuturaScent – Loz Goddard Remix 6.57 A2. Lost Desert – Floatish ft Felix Raphael – Hermanez Remix 7.47 B1. Four Candles – Don’t Talk About – Kabi Remix 7.17 B2. Madben – That Ending Track – Paul Roux Remix 6.10 Vinyl 5 A1. Moshic – Love Made Me Do It – Guy J Remix 7.24 A2. Jamie Stevens & Zankee Gulati – Low Tide – Ezequiel Arias Remix 6.46 B1. Carerra & Tavares – Mind – Markus Homm Remix 7.10 B2. Ruede Hagelstein & Die Zwoelfe – The Rock – Argia Remix 6.32 The post John Digweed announces ‘Futuro RMXS’ on Bedrock Records appeared first on Decoded Magazine.

Presented by MDLBEAST, the globally known Berlin-based Keinemusik group will bring their innovative Kloud event series to AlUla on April 4, 2025. The UNESCO World Heritage site of AlUla, a stunning location where ancient history intersects with modernism, will host this one-of-a-kind performance. AlUla has become one of the most vibrant cultural centers in the Middle East providing an unmatched experience for aficionados of travel, arts, and culture. Keinemusik, a Berlin-based collective made of DJs and producers Adam Port, &ME, Rampa, and Reznik, plus visual artist Monja Gentschow—will bring their own style to this legendary site on April 4, 2025, adding to this cultural rebirth. Renowned for its motto “If you feel it, it’s art,” Keinemusik’s original mix of techno, deep house, afro beats, and hip-hop elements has enthralled listeners all across. Celebrated for its immersive mix of music and digital art, their Kloud series has been presented in legendary locations including Bali, London, Tulum, and Amsterdam. Kloud will now firstly turn AlUla into a multisensory masterpiece. MDLBEAST, the top entertainment powerhouse in the Middle East, will drive this historic event. Celebrated for transforming the local music scene with events including XP Music Futures, Balad Beast, and Soundstorm Festival as well as the Saudi Arabian Grand Prix entertainment program, MDLBEAST keeps evolving the scene. Keinemusik at Pacha Ibiza by Raul Sanchez But who’s Keinemusik ? Driven especially by the spirit guiding the group behind the imprint, Keinemusik is a network with the label as the pulse-pumping center. The attitude is to discover your own agenda and let nobody interfere. The attitude of improving House and Techno outside the box. Whether on their own tracks, in other kinds of projects, or in DJ sets. Record- and flyer-artworks as well as any intermediary in text and image surrounding releases and celebrations reflect the spirit of recall value. The spirit of diversification, Rampa’s effect-gadgets-venture TEILE, is one example. Another is Keinemusik’s own booking agency “Worldwide Dancing Club,” founded in 2018. Keinemusik first came into being in 2009. Of five members, four DJs and one graphic designer and painter have been naming an existing friendship and related hobbies. Ever since, mostly under the direction of crew members, a more or less steady count of five releases per year has been published. And a good number of label parties disappeared not just in Berlin but also in all of the worldwide electronic music hubs. Certainly, there is also lots more from where those originated. See you therefore soon on a dancefloor or in a record store in your neighborhood! Keinemusik will perform in the breathtaking AlUla’s canyons on April 4, fusing their distinctive sound with the natural and historical beauty of the surroundings. The post Keinemusik’s Kloud Series to Debut in AlUla in 2025 appeared first on The Groove Cartel.

Building on his most recent successes—a Beatport No. 1 and acknowledgment as the top-selling Progressive House artist on Beatport—Cristoph reveals an interesting new direction for his label, Consequence of Society Recordings (COS Recordings). The concept takes shape under the title SUBCULTURE and as the first-ever VA (Various Artists) compilation on COS Recordings. This fascinating project features fourteen mesmerizing tracks that deftly combine the worlds of techno and progressive dance, so highlighting the sound and energy COS Recordings represents from musicians including Paul Deep, Charles D, ADZ, Weksa, Michael Anthony and many others. From solo events, the fourteen-track VA features a mix of up-and-coming and seasoned musicians Cristoph loves and reflects the sound he aims to produce. This project series is meant to inspire like-minded people to interact with COS Recordings and provide more musicians in this progressive subculture community chances to release with him and on his label. After a run of chart-topping albums and streaming success, the release of this new VA compilation marks the label’s next major step in trying to increase its creative synergy with both young and seasoned musicians. This first series release not only reflects COS Recordings’ distinct character but also seeks to open doors for new and interesting musicians to have a chance to break through, therefore enabling Cristoph to establish his subculture inside the progressive world. For some reason, you’re unable to listen in full to the whole VA on Spotify or Apple Music. The only way is to check, artist by artist or song by song. You can check the full tracklist below: Charles D – Lost Soul Weska – Rockenheim Leghet – Here For You Layer J – Grey J. Ribbon – Emanating Dimuth K, Sajay – Gravity Paul Deep – Daikokuten Harry Diamond – Romulus ADZ – No Way Back Luccio – Take Your Place Jesabel – Rhythm Finder Michael Anthony – On The Run Scorch – Kamino Rune Noire – I Swear The post Cristoph launches ‘SUBCULTURE’ a new VA (Various Artists) appeared first on The Groove Cartel.

Malaa has joined forces with R&B superstar Jeremih "All In," a collaboration that's as unexpected as it is captivating. The track arrives amid a transformative era for Malaa, who recently unveiled an alter ego and announced a double-album showcasing dueling personas. While his evil twin dives into chaotic and aggressive soundscapes, "All In" signals a lesser-seen, introspective side. The new collaboration dives into the seductive depths of love, risk and toxicity, delivering a sultry anthem for the late-night crowd. Of course, Malaa has become synonymous with shadowy, adrenaline-pumping house music, but his approach here is vastly different from anything heard in the producer's discography so far. Teaming up with the chart-topping Jeremih, Malaa dials back his signature hard-hitting playbook, instead crafting a melodic techno-inspired soundscape that throbs with emotional intensity. Built on a foundation of deep, driving basslines and moody synths, the song curates a cinematic tension perfect for dimly lit dancefloors as the "Don't Tell 'Em" singer's velvety vocals explore themes of love and recklessness. The result is a haunting yet irresistible blend of hypnotic rhythms and heartfelt storytelling. Listen to "All In" below and find the new single on streaming platforms here. View the original article to see embedded media. Follow Malaa:X: x.com/malaamusic Instagram: instagram.com/malaamusic TikTok: tiktok.com/@malaamusic Facebook: facebook.com/malaamusic Spotify: spoti.fi/2X7DZnt Follow Jeremih:X: x.com/jeremih Instagram: instagram.com/jeremih TikTok: tiktok.com/@jeremih Facebook: facebook.com/officialjeremih Spotify: tinyurl.com/528z25yz

Melodic dance producer Jason Ross returns to Seven Lions’ Ophelia label with his new single ‘Where In Heaven’ with Swedish singer and songwriter Dotter. The track, high in energy and emotional resonance is a breath of nostalgia. While listening to ‘Where In Heaven,’ listeners are transported back to simpler times. The 2018-melodic-dubstep-esque melody and giant reverb built into the track take you back to festivals in their golden age — a time before COVID, Tik Tok effect, and global unrest. Listen here. Ross is one of dance music’s premier acts, while simultaneously being one of the scene’s more elusive figureheads. That’s not due to any fault of his productions, but rather, purely due to his versatility. Once a mainstay on the legendary Anjunabeats and a rising star of new age trance shepherded by Above & Beyond and co, Jason quickly outgrew the boundaries of four to the floor grooves, expanding into the less finite space of broken beats and pop vocals of melodic bass. A blossoming working relationship with melodic bass propagator Seven Lions led to genre defining tracks like Higher Love and Ocean, backed up by beautiful, elongated and gently weaving trance discography featuring the likes of Cairo, Atlas, and his 2019 Anjunabeats EP Rooms. The ability to weave the emotion and hypnosis of trance into the more commercial grit of melodic bass has made Jason’s recent catalog uniquely his own. His unique multi-genre tinged approach to production shines on genre-defining tracks like Shelter, his Blanke collab One More Day, his solo single Wild Ones, and his Gryffin collab After You, among others. As the official record label of melodic dubstep leader Seven Lions, Ophelia Records is a label that promotes independent dance music across a wide range of genres. In just five years, Ophelia has become one of the hottest labels in electronic music thanks to its tight-knit community and ability to connect fans of melodic bass, dubstep, trance, psytrance, drum & bass, house and beyond. With over 200 catalog releases from acts such as SLANDER, Excision, Kill The Noise, MitiS, Jason Ross, NGHTMRE, Wooli, Trivecta, Blastoyz, Crystal Skies and Last Heroes, Ophelia has multiple #1 iTunes dance records and has been supported on the covers of mint and danceXL with additional playlisting on New Music Friday, Dance Rising, Bass Arcade and SiriusXM BPM. The label has also sold out showcases at Echostage, Avant Gardner and Red Rocks, as well as hosted festival stage takeovers at Electric Zoo, Miami Music Week, Nocturnal Wonderland and more. The post Jason Ross Returns to Ophelia with ‘Where In Heaven’ appeared first on EDMTunes.

Apple Music Replay 2024 – Your Yearly Listening Recap is Here Apple Music has unveiled its 2024 year-in-review feature, Apple Music Replay, offering subscribers a comprehensive look at their listening habits over the past year. Available directly within the Apple Music app for devices running iOS 18.1 or later, users can explore their personalized Replay experience without leaving the app. What is the difference between Spotify & Apple Music’s yearly overviews This new apple feature is similar to Spotify Wrapped. Which, gives Spotify users an annual summary of their listening habits, showcasing top songs, artists, and genres of the year through visual flourishes that are easy to reshare. Apple Music Replay offers a similar recap for Apple Music users, including insights like total listening time, top artists, and favorite genres, but it’s branded specifically for Apple Music and is more about personal reflection. Overall, Spotify takes a more social approach to our end-of-year numbers and Apple is going analytical and pushes out more details of our listening history. Key Features of Apple Music Replay 2024 Listening Insights: Discover the total minutes spent listening, the number of artists explored, and the genres that shaped your playlists. Artist Engagement: See your top artists and check if you qualify as a super-fan with specific percentage callouts. Milestone Tracking: View key milestones, such as the date of your first play of a song or artist and your longest consecutive listening streak. Expanded Top Lists: Access detailed lists beyond the Top 100, including Top 500 or Top 1000 artists and genres for a deeper dive into your musical preferences. For users with earlier versions of iOS, the Replay experience remains available through the website. New Features for Artists Apple Music has also introduced new features for artists, allowing them to view insights such as total listening minutes, listener counts, top cities, and the most Shazamed tracks. As 2024 comes to a close, Apple Music Replay offers a reflective look at your musical journey, highlighting the artists and songs that defined your year. If you need more assistance accessing your Apple Music Replay of 2024, Here is a link to the Apple support. The post Apple Music Replay 2024 – Your Yearly Listening Recap is Here appeared first on EDMTunes.

Tape B, one of the most up and coming acts in electronic music, has returned with his most highly anticipated project to date: an eight-track EP titled Distortion Theory. About Distortion Theory The lead single, ‘Nocturnal,’ a collaboration with masked dubstep act, VKTM, was previously released on November 20th. This track was first unveiled to an enthusiastic crowd at Lost Lands in September. ‘Hot One’ demonstrates Tape B’s signature style—combining intricate sound design with deep, resonant basslines. ‘Backspin Bass‘ opens the EP with a bang, followed by “i won’t be ur drug VIP,” a refreshed take on his earlier work from the 2022 EP, A Dose of Nostalgia. ‘U Know What I’m Talkin About?‘ propels the EP into a dynamic mix of choral and hip-hop elements infused with outer-space sound design. ‘Back To The Dust,’ a collaboration with PAV4N, perfectly blends rap with dubstep. ‘Never Alone’ and ‘Someone To Hold‘ feat. Dani King close out the EP, offering a mix of dreamy melodies and Tape B’s trademark bass-heavy sound. ‘This is an ode to Hallow Tapes, and kinda like a second version of it. it was supposed to come out on Halloween but it wasn’t ready in time and we didn’t want to rush anything. This EP feels like a great representation of where I’m at with music production at the moment… Overall, this EP is supposed to be the essence of fall season and capture the feeling of nostalgia and what fall feels and sounds like to me, I hope y’all enjoy.’ -Tape B About Tape B Tape B is a dynamic force in today’s electronic music scene, merging the nostalgic vibes of old-school dubstep with contemporary bass music and hip-hop. His musical journey began at the University of Central Florida, influenced by early 2000s hip-hop and electronic pioneers like UKF and The Glitch Mob. His career took a professional turn after a revelatory experience at Lost Lands Music Festival in 2019. Tape B’s rise to prominence was fueled by viral SoundCloud mixes and dynamic live performances, including his iconic ‘Yo, Tape B‘ tag which has become a recognizable call throughout modern clubland and festivals. 2024 has been a landmark year for Tape B, starting with a groundbreaking collaboration in March—his track ‘Trippy Land‘ with Mersiv and rap icon Juicy J, which merges electronic and hip-hop elements, redefining bass music. Following this, he sold out over 30 consecutive headline shows, a notable achievement in today’s electronic music scene. His subsequent releases, including the ‘Gas Pedal Remix‘ with John Summit and Subtronics, and ‘Ganja Tape‘ with Ganja White Night, have dramatically increased his streaming numbers. These efforts have propelled his rise to nearly 1 million monthly listeners on Spotify and over 115,000 Instagram followers. Distortion Theory showcases Tape B’s artistic breadth, from nostalgic melodies to hard-hitting bass, confirming his versatility and leadership in the dubstep genre and beyond. Looking forward, the rising star maintains a packed tour schedule with over 50 sold-out dates in 2024 and anticipates releasing the fourth edition of his ‘CarTunes’ mix in January 2025, followed by curated headline events in Chicago, Toronto, and Las Vegas. You can get more info and see his full touring schedule here. The post Tape B Releases Highly Anticipated ‘Distortion Theory’ EP appeared first on EDMTunes.

Insomniac Events has unveiled the lineup for Dreamstate San Francisco 2025, set to take place on April 4 and 5 at the Cow Palace Arena in Daly City, California. The festival will feature a diverse array of trance and electronic artists, including: Armin van Buuren, Argy, Pryda (Eric Prydz), Markus Schulz, Cristoph, Giuseppe Ottaviani, Ilan Bluestone, Hannah Laing. Additional performers for this trance heaven include Amy Wiles, Ben Hemsley, Billy Gillies, Yotto and many more. The Cow Palace Arena, located at 2600 Geneva Ave. in Daly City, has a rich history of hosting significant events, making it an ideal venue for Dreamstate’s return to the Bay Area. Known for its spacious layout and acoustics, the arena promises an immersive experience for trance enthusiasts. Dreamstate Festival, created by Insomniac Events in 2015, is the ultimate haven for trance music lovers. Known as the premier all-trance music festival in North America, across Mexico, UK, and Australia. Dreamstate has become a cornerstone of the global trance scene, bringing together fans and artists for a truly immersive experience. The festival has become more than just an event—it’s a movement. Fans, known as the “Trance Family,” travel from all over the world to experience the euphoric, uplifting vibes that only Dreamstate can provide. The festival’s emphasis on unity, love, and connection has fostered a close-knit community of attendees. Don’t miss out! Tickets are scheduled to go on sale this Friday December 6th at 12PM PT on their official website. The post Dreamstate SF Drops Massive 2025 Lineup appeared first on EDMTunes.

A recent global study has revealed that by 2028, music industry workers could lose up to 25% of their income due to the rise of artificial intelligence (AI). Conducted by the International Confederation of Societies of Authors and Composers (CISAC), the study highlights a significant economic shift, with revenues from generative AI services in music and audiovisual sectors projected to soar from approximately $3.18 billion to $67.68 billion in just four years. The Economic Impact of AI on the Music Industry According to the study, music creators are expected to experience a 24% decrease in income by 2028, while the audiovisual sector will see a 21% decline. This amounts to a staggering $23.32 billion loss—$10.6 billion in music and $12.72 billion in audiovisuals. The rapid expansion of AI services, however, will likely exacerbate this gap, benefiting AI-driven platforms rather than human creators. The Role of AI in Music Creation While AI has the potential to unlock new creative opportunities for artists, CISAC President Björn Ulvaeus cautioned that poorly regulated AI could severely impact the livelihoods of creators. The shift to AI-generated music could limit revenue for songwriters, composers, and other industry professionals, as AI tools become increasingly capable of producing music with minimal human input. “For creators of all kinds, from songwriters to film directors, screenwriters to film composers, AI has the power to unlock new and exciting opportunities – but we have to accept that, if badly regulated, generative AI also has the power to cause great damage to human creators, to their careers and livelihoods. Which of these two scenarios will be the outcome? This will be determined in large part by the choices made policy makers, in legislative reviews that are going on across the world right now. It’s critical that we get these regulations right, protect creators’ rights and help develop an AI environment that safeguards human creativity and culture.” CISAC President Björn Ulvaeus Looking Ahead of the music and AI curve As the music industry faces this challenge, the study stresses the importance of proper regulation to protect creators’ careers and income. The rapid growth of AI in both the music and audiovisual sectors may bring innovation, but it also raises significant concerns about the future of human-driven artistry. You can learn more about this study on the CISAC website here. The post AI Could Cost Music Industry and Visual Artiss 25% of Their Income appeared first on EDMTunes.

Techno tastemaker Enrico Sangiuliano returns to his influential NINETOZERO label with his bold new Transcendence EP featuring two very different but equally powerful sounds; one track is to dance to, the other one to listen to. To support the release, there will be a special SOLO show in Milan on Saturday 21st December – tickets here. This new release caps off an impressive year for the Italian underground icon. Coming just a couple of months after his Interconnection EP and a packed season of headline shows, it marks yet another subtle evolution of his always hard-to-classify sound. The EP is a collaboration with psychedelic trance pioneers GMS, who have been making their mark since the 90s. The award-winning pair have had their music used in a trio of Tony Scott movies and have dropped several vital albums and EPs. “GMS and I met many years ago in their studio in Ibiza and spontaneously cemented our relationship through our passion for sound”, says Enrico Sangiuliano. “They are a pillar of psytrance, and collaborating with them to interpret the concept of Transcendence was the perfect way for us to finally merge our creative visions. With this release, we transcend our individual musical paths to create something entirely new. We explore the theme of elevation, challenging ourselves to move beyond the tangible. Here, music becomes a portal, expanding consciousness and providing an escape from material reality. Together, we shaped our sounds to build an immersive experience, with a guiding voice to lead you through it. Transcendence is an invitation to let go, release mental constructs, and flow with the sound. It’s a journey into a timeless realm where what you feel and who you are become one. To transcend is to connect with your deepest self—and beyond.” Superb opener ‘Transcendence’ is a sleek and futuristic soundscape with dynamic drums that take you up amongst the stars. The smeared pads bring a cosmic atmosphere, the lush arps layer in plenty of trance-tinged emotion, and smart spoken words add a cinematic feel to this most escapist track. ‘The Inner World’ is then a suspenseful two minute synthscape with wise spoken words that muse on inner strength. It is a rousing piece of emotional electronic grandeur. The Transcendence EP is another strong statement from the forward-looking creative mind of Enrico Sangiuliano. Stay tuned for more news! The post Enrico Sangiuliano Delivers ‘Transcendence’ EP on NINETOZERO appeared first on EDMTunes.

A night was definitely lived. Of The Trees brought his highly expected Moonglade Tour to the futuristic venue AREA15 in Las Vegas for a night of delicious Bass music. The Colorado based DJ filled the night with incredible supporting acts November 29th. These included label favorites Detox Unit, Ternion Sound, and Mindset. FIENDI provided us with a fantastic opening number that set the tone for the rest of the evening. Of The Trees’ Production The Maine native took us on a journey with a beautiful cabin set up. The support artists had their own unique visual packages that boosted their track selections. Furthermore, as Of The Trees started his set, the audience teleported into a special, homey cabin like setting that was mesmerizing and stunning. The tracks each had a special feeling that reflected on the visuals. The event was such a special night at the venue, which is widely known for it’s psychedelic and modern approach to entertainment. We even got some merch from the artist. The Music The Memory Palace label head does an amazing job at mixing different subgenres of bass into their sets. From deep wubs, to drum and bass or downtempo, each set brought a dynamic and essential soundscape that inspired the crowd. Our favorite set of the weekend, besides the headliner, goes to FIENDI. The only woman on the lineup threw down an incredible set that gave us energy from start to finish. With a gorgeous aura, and insane track selection, the newcomer has a bright future ahead. The Vibes The crowd was as friendly and fun as ever. The cold desert weather did not stopped anybody from having a good time. Their warm smiles keep the energy going through each set into the finishing set from Of The Trees. The supporting acts spent some time with the crowd for some dancing and compliments after their sets, which gave us a very intimate night. Up next, Of The Trees continues his Moonglade tour in North America. The tour will visit cities including Toronto, Chicago, Boise, and Montreal. The post [Event Review] Of The Trees Impacted AREA15 For Moonglade Tour appeared first on EDMTunes.

Steve Aoki’s remix of Kid Cudi’s “Pursuit of Happiness,” featuring MGMT and Ratatat, burst onto the scene on December 5, 2009. This remix remains one of Aoki’s most iconic creations, resonating with listeners worldwide and leaving an incredible mark in not just the EDM world, but Hip-Hop too. The original version of “Pursuit of Happiness,” from Kid Cudi’s debut album Man on the Moon: The End of Day, is a journey through themes of self-discovery, fame, and existential doubt. Steve Aoki took the track and infused it with his signature EDM style. Aoki’s remix accelerated the tempo, layered basslines, and introduced fun drops that reimagined the track for the electronic music scene. The remix quickly became a staple in clubs and music festivals, bridging genres and introducing a broader audience to both Kid Cudi’s lyricism and Aoki’s EDM flair. Its release came at a time when electronic music was beginning to dominate mainstream culture, paving the way for more cross-genre collaborations. More than a decade later, Steve Aoki’s “Pursuit of Happiness” remix is still celebrated for its impact. The track remains a fan favorite, often closing Aoki’s live sets with a surge of nostalgia and amazing vibes. For Kid Cudi, it showcased the versatility of his artistry and how his music could transcend genres and moods. Whether you’re reliving memories of 2009 or discovering the track for the first time, Steve Aoki’s remix of “Pursuit of Happiness” continues to embody the raw joy and escapism that music offers.

After a stunning edition of Cruise Cruise 2024 and Groove Cruise 2025 right around the corner, we can now start planning for Groove Cruise 2026, now that official dates have been released. For the third consecutive year, Groove Cruise will claim its title as the world’s largest floating music festival, embarking on its 38th sailing from January 22-26, 2026, taking captains (attendees) to an exciting new destination shrouded in mystery. Watch the Groove Cruise Miami 2026 trailer HERE. About Groove Cruise Groove Cruise isn’t just any music festival; it’s a life-changing adventure that blends the serenity of the open sea with the transformational power of music, community, and connection. When you embark on Groove Cruise, it feels like one big family reunion. Groove Cruise unites people worldwide, creating a second family affectionately known as the #GCFAM. The #GCFAM is connected by shared values, a love for music, and an inclusive spirit. This close-knit community fosters a sense of belonging, where captains form lifelong friendships and connections. “We’ve had over 100 weddings and proposals onboard, and to be part of someone’s life moment like that is a testament to the community that has been formed over the last 20+ years. I get messages almost daily about how Groove Cruise has changed someone’s life, and it’s crazy and humbling even to think about it. As we navigate forward into the next 20 years, GC 2026 will not only be the largest and most innovative cruise experience in the world but also the most impactful and transformative.” -Jason Beukema, Chief Excitement Officer and Founder of Groove Cruise Groove Cruise 2026 will take place aboard Royal Caribbean’s Wonder of the Seas, the world’s largest cruise ship by staterooms, offering a transformational experience at sea, elevating the festival to new heights with unparalleled luxury, adventure, and world-class entertainment, with 96 hours of nonstop dance music across 13 stages, 100+ world-class DJs and producers, and much more. Making her debut in 2022, The Wonder of the Seas features eight unique neighborhoods, each offering a distinctive vibe, and is home to over 40 bar and dining experiences. Notable highlights include the brand-new Suite Neighborhood, offering an exclusive, elevated space for captains seeking luxury and privacy. Featuring the Celestial Suite, this exclusive, luxurious suite redefines opulence, providing the perfect haven for a group of up to 10 Captains seeking the ultimate Groove Cruise experience. Featuring a private plunge pool, a fully stocked bar, a slide, and an expansive living area, this suite offers an unmatched level of comfort and privacy while personalized butler service ensures every need is met. For those craving a taste of Southern comfort, the Mason Jar restaurant and bar serves up Southern staples and new twists on classics, perfect for brunch, dinner, or late-night cravings. Captains can race down the tallest slide at sea, The Ultimate Abyss, the FlowRider surf simulator, twin rock climbing walls, The Perfect Storm, a trio of high-speed waterslides, a 10-story-high zip line and the Central Park neighborhood lined by more than 20,000 natural plants. Tickets & Discount Code for Groove Cruise 2026 Groove Cruise 2026 prices are listed below, with quad inside cabins starting at $999. Want a discount on cabins? Mention the code edmtunes during purchase. You can register for priority resale here. Groove Cruise Miami 2026’s announcement comes ahead of the 37th sailing from Miami to Labadee from January 23 – January 27, 2025. Sold out nine months before the sailing and prior to the line-up announcement, Groove Cruise’s 2025 Miami sailing promises to be an unforgettable journey aboard Royal Caribbean’s Allure of the Seas, featuring over 100 world-renowned producers, performers, and DJs, including Eric Prydz, James Hype, Meduza, Nicole Moudaber, and Special Guest Seven Lions. The post Groove Cruise Announces 2026 Dates On Royal Caribbean’s Wonder Of The Seas appeared first on EDMTunes.

A glow too bright to ignore, Swedish House Mafia and The Weeknd's "Moth to a Flame" has entered Spotify's illustrious three-comma club. The track today eclipsed the billion-stream threshold, the second to do so for the iconic Swedish House Mafia trio after their generational EDM anthem "Don't You Worry Child." The Weeknd, meanwhile, now has a staggering 23 songs in the club at the time of this writing, according to streaming data from Kworb. Known for their anthemic drops, Swedish House Mafia took an understated yet hypnotic approach with the brooding track, which appeared on the "Alternate World" edition of The Weeknd's Dawn FM album. The group's haunting production wrapped itself around his velvet falsetto, creating a moody alchemy that resonated deeply with listeners. Lyrically, the song's themes of obsession and the pitfalls of hedonism mirrored its dark, irresistible sonics. The collaboration also marked a pivotal moment for both acts. For Axwell, Sebastian Ingrosso and Steve Angello of Swedish House Mafia, it was arguably the apogee of their momentous comeback after a hiatus of nearly a decade. For The Weeknd, it further solidified him as a formidable bridge between pop and electronic music. You can go behind the scenes of the "Moth to a Flame" music video below and stream the track here.

Kraftwerk are bringing their pioneering electronic music back to North America in 2025. The influential group will head out on an expansive tour, "Multimedia," to celebrate the 50th anniversary of their first U.S. tour back in 1975. They're also commemorating the release of their breakthrough album Autobahn, which was composed by founders Ralf Hütter and Florian Schneider, the latter of whom passed away in 2020. Released in 1974, Autobahn was more of a paradigm shift than an album. Its 22-minute title track, an electronic ode to the German highway system, introduced the world to Kraftwerk's trailblazing blend of synthesizers, minimalism and conceptual soundscapes. The album laid the groundwork for modern electronic music, influencing everything from techno to house to synthpop. Their first U.S. tour in 1975 was a bold leap, bringing Europe's avant-garde to American audiences and paving the way for generations of electronic artists. Now, with "Multimedia" the band will revisit that legacy through new audiovisual production transporting fans back to the Autobahn era while accelerating toward the future. Kraftwerk's "Multimedia" shows will take place in 25 cities across America and Canada starting March 6th, 2025 in Philadelphia. Other markets planned for the tour include Miami, Denver, Chicago, Toronto, Nashville, Austin and Brooklyn, among other major cities. Kraftwerk will also head to Coachella's desert metropolis to make their third festival appearance on April 13th and 20th. They are joined on the lineup by Zedd, Keinemusik, Above & Beyond and The Prodigy, among many other high-profile electronic artists. Tickets for Kraftwerk's "Multimedia" tour will go on sale to the general public Friday, December 13th at 10am local time. A pre-sale is taking place today, December 11th at the same time and you can sign up for access here. Check out the full list of dates below. The flyer for Kraftwerk's "Multimedia" tour.c/o Press Follow Kraftwerk:X: x.com/kraftwerk Instagram: instagram.com/kraftwerkofficial Facebook: facebook.com/Kraftwerk Spotify: spoti.fi/3htJXtC

There’s a spectrum of reasons why artists create albums. ZOYA however never set out to make one in the first place. It began with what is now ‘Eternity’s penultimate track, ‘When Heaven Calls’, a piece she wrote in the aftermath of the most tragic of circumstances three years ago. ‘Heaven’ became the first in a track series, which then bloomed organically into what we’re looking at here today: the young Bulgarian producer and DJ’s debut LP. ZOYA goes on to explain: “In 2021, I lost my mother to Covid. It happened very suddenly, and it brought into perspective just how short and transient everything is. My grief was so great that nothing made sense anymore. I found solace only in music – it saved me! I created the first track of the following series, titling it ‘When Heaven Calls’, which is dedicated to mom. My inspiration grew from that piece of music into a full album. Each track on it carries its own story and individual emotional thread, creating a tapestry of my journey through grief and healing. Through my music, I would like to allow others to connect with those emotions, creating a shared experience that they too can also find comfort in. My story is a testament to the enduring nature of love expressed through art. I decided to call it ‘Eternity’, as through it, I wanted to gift you a piece of myself. Music is eternal and therefore, one day when I am gone, you will still be able to feel a part of my soul, that will live through my tracks – a part of the ‘Eternity’.” ZOYA’s album release brings to a head the most transformative year in her career. In the illustrious form of ‘In Search Of Sunrise 20’, it saw her mix her first music compilation (which also became her debut vinyl release), while playing in a host of new cities and countries, and remixing leading scene lights, Markus Schulz amongst them. For those with keener ears, some of ZOYA’s sorrow will be discernible across the thirteen tracks that comprise the album. ‘Gone’, ‘Endless’ and ‘Eternity’ itself speak titular volumes to the loss that sparked its process. Moreover though, it’s as also a celebration of life (or one life in particular); a cathartic listening experience, rich with creative, intuitive, heartfelt melodies and nuanced production moments. Taken as a whole, ‘Eternity’ plays start through finish much like a ZOYA set, each piece beautifully complimenting the last, while in turn framing the next. Where words might prove a distraction, ‘Eternity’ doesn’t shy from instrumentalism. The progressively natured ‘Gravity’, the harmonic ebb/flow of ‘Riverside’ and her most recent single, the Balearically-shaded ‘Crystal Cove’, illustrate her stylistic range. They though only heighten the emotional impact of its vocal numbers. ‘Gone’ grips from its very first lyrical line, while ‘One [We’d Be Love]’ is as sweetly sung as ‘Free’ (with FACTORe & SCHROEDS) is as dramatic and breaks-driven. With ZOYA taking the lion’s share of production duties on her own shoulders, collaborations are only occasional on ‘Eternity’. ‘Freya’ sees ZOYA reteam with Nourey (after ‘All Night’), which takes tangible inspiration from the Norse goddess of love, beauty and fertility. The album’s close-out moment meanwhile comes by way of ‘Purple Skies’: a pulsing, meditative swansong, teaming her with Dennis Sheperd. ZOYA’s ‘Eternity’ gives the producer/DJ the album launchpad she may not have intended … but was likely always destined to make. Released Dec 6, you can pre-order/save it from today, here [blackhole.lnk.to/eternityalbum]. ++++STOP PRESS+++ On episode 605 of their Group Therapy radio show, Above & Beyond announced the release of ‘Eternity’, just ahead of a special guest mix from ZOYA herself. You can catch her lighting up the ABGT decks here. Tracklist: ZOYA – Eternity01. Crystal Cove 02. Freya (with Nourey) 03. One [We’d Be Love] 04. Eternity 05. Gone 06. Endless 07. Gravity 08. Riverside 09. Synapse 10. Power 11. Free (with FACTORe & SCHROEDS) 12. When Heaven Calls 13. Purple Skies (with Dennis Sheperd) instagram.com/zoyasmusic youtube.com/c/zoyasmusic open.spotify.com/artist/5eqThkuR9VjiLuYfzESTp7 beatport.com/artist/zoya/390052 facebook.com/zoyavocalist x.com/zoyasmusic blackholerecordings.com instagram.com/blackholerecordings soundcloud.com/blackholerecordings facebook.com/blackholerecordings twitter.com/BlackHoleRec The post ZOYA Releases Her Album Debut, ‘Eternity’ appeared first on EDMTunes.

This winter, Zamna returns to Tulum to once again to infuse Mexico's Riviera Maya with an unforgettable blend of music and mystique. As is tradition, the world-renowned festival will transform Tulum into a sanctuary of rhythm, welcoming the global house and techno fandom to bask in the region's tropical splendor under the stars. Featuring influential acts like Keinemusik, Boris Brejcha and Tale of Us, this year's Zamna is shaping up to be the brand's most ambitious yet, with fresh stages, enhanced visuals and a comprehensive talent lineup. As the sounds of Zamna thrum through the jungles of Tulum, electronic enthusiasts should prepare to be transported by the music, energy and sheer beauty of this unique festival. With each breathtaking backdrop and performance, the event promises moments that blend the surreal and sublime, capturing the spirit of Tulum like never before. Read on to discover an essential guide to over a dozen can’t-miss events Zamna events taking place in Tulum over New Year's Eve and beyond. You can find out more about next year's festival here. ARBAT TulumDate: December 31, 2024Artists: ARBAT, special guestsTickets: Purchase here c/o Zamna BORIS BREJCHA TulumDate: January 2, 2025Artists: Boris Brejcha, Moritz HofbauerTickets: Purchase here c/o Zamna METAMORFOSI TulumDate: January 2, 2025Artists: Joseph Capriati, More TBATickets: Purchase here c/o Zamna EXPERTS ONLYDate: January 3, 2025Artists: John Summit, More TBATickets: Purchase here c/o Zamna NO ART TulumDate: January 3, 2025Artists: TBATickets: Purchase here c/o Zamna Afterlife TulumDates: January 4 & 6, 2025Artists: Tale of Us, More TBATickets: Purchase here c/o Zamna Bedouin Presents SAGADate: January 7, 2025Artists: Bedouin, More TBATickets: Purchase here c/o Zamna ANTS TulumDate: January 7, 2025Artists: Adam Beyer b2b Ilario Alicante, Andrea Oliva b2b Gordo, Franky Rizardo, Ms Mada, Paco Osuna b2b Melanie RibbeTickets: Purchase here c/o Zamna PHASE ONEDate: January 8, 2025Artists: Tiësto, Mathame, Colyn b2b Innellea, Cassian, Korolova, Alfa Romeo, Tickets: Purchase here c/o Zamna KEINEMUSIK TulumDates: January 10 & January 13, 2025Artists: Keinemusik, more TBATickets: Purchase here for each date c/o Zamna ADRIATIQUE TulumDate: January 12, 2025Artists: Adriatique, more TBATickets: Purchase here c/o Zamna TIME MACHINEDate: January 12, 2025Artists: Agents of Time, more TBATickets: Purchase here c/o Zamna GATES OF AGARTHADates: January 16-19, 2025Artists: TBATickets: Purchase here c/o Zamna

Tomorrowland is set to return in 2025 with a new chapter in its ever-evolving story. This year’s edition will explore Orbyz, the latest addition to the enchanting narrative of the Great Library. Fans worldwide are already counting down the days to secure their spot at one of the most iconic music festivals on the planet. Key Pre-Registration Information Pre-registration for Tomorrowland Belgium 2025 tickets begins on December 5, 2024, at 15:00 CET via your Tomorrowland Account. To ensure a seamless process, make sure your personal details are updated in your account before pre-registration opens. For details about ticket sales, pricing, and the various packages available, visit the Tomorrowland Belgium website. Ticket Sale Dates Here are the important dates to keep in mind for the Tomorrowland Belgium 2025 ticket sales: Global Journey Travel Packages: Saturday, January 18, 2025 – 17:00 CET WorldWide Pre-Sale: Saturday, January 25, 2025 – 17:00 CET WorldWide Ticket Sale: Saturday, February 1, 2025 – 17:00 CET Exclusive Opportunity: First 20 Initiative Tomorrowland is offering a special opportunity for the first 20 people to pre-register from each country of residence*. These lucky individuals will receive a dedicated ticket link to purchase up to 4 tickets before the WorldWide Pre-Sale. Note that WorldWide Ticket Sale prices will apply. Winners of the First 20 initiative will be informed before the Pre-Sale begins. Get Ready for Tomorrowland 2025 With the promise of an unforgettable tale and an unparalleled lineup, Tomorrowland Belgium 2025 is shaping up to be an unmissable event. Mark your calendar for December 5, update your Tomorrowland Account, and prepare for a magical journey into the world of Orbyz. For more information, head over to the Tomorrowland website. The post Tomorrowland Belgium 2025 : Pre-Registration Begins appeared first on EDMTunes.

The “first ever” global study on the impact of AI on music found that revenues of AI services will spike in the next four years Continue reading...

Toolroom once more shows why it’s a powerhouse in electronic music as we draw to the finish of the year. The label offers two huge tracks assured to rule clubs and events both, with a perfect mix of nostalgia and forward-looking inventiveness. From James Haskell‘s explosive debut on the main label with Go Deep to Maur‘s amazing reworking of Dave Spoon‘s timeless At Night, these releases are evidence of Toolroom’s unequaled ability to develop the sound of now while honoring its historic past. Maur & Dave Spoon – At Night This is the summer anthem with dance floor chatter and Shazam searches increasing. Finally, Maur’s reinterpretation of Dave Spoon’s legendary At Night lands on Toolroom, and it’s really amazing. Considered the pillar of Toolroom’s golden age from 2006, the song was innovative for its day. To create something ahead of their time, Dave Spoon—now Shadow Child—combined strong tech house beats with electro-laced melodies. By 2024, Maur’s updated version will preserve the core that made the original unique while adding its trademark big-room energy and melodic sensibility. Following an astonishing 30+ million streams last year, Maur explains why they are front and foremost in the scene. Already sparking club nights all around, this song has early backing from Gorgon City, Danny Howard, Adam Beyer, and Nicky Romero. At Night is likely to rule playlists and festival sets well beyond 2024 with its driving beat, evocative buildup, and unquestionable energy. James Haskell, Mark Knight & Gene Farris – Go Deep James Haskell is demonstrating from the rugby field to the DJ booth that he is not only a one-trick pony. Label founder Mark Knight teamed up with Haskell and Gene Farris for Go Deep, which is evidence of Toolroom’s dedication to developing new talent. From the Toolroom Academy to the main label, Haskell’s path has been explosive, dotted with notable releases and big events. This most recent partnership highlights his artistic development and Toolroom’s talent for identifying and supporting new talents. Peak-time tech house banger Go Deep was created for the most electric moments on the dance floor. It’s raw, throbbing, and deftly created; Gene Farris gives the song even more clear vocal flare. Mark Knight’s production quality is outstanding; it ties everything together with a degree of polish that screams “main stage materials.” Early support from heavyweights including Gorgon City, Adam Beyer, and Tini Gessler will help Go Deep to become a mainstay in the tech house scene. The next chapter for Toolroom Both songs perfectly capture Toolroom’s ongoing impact as well as its capacity to close the distance between the classics and the modern edge. The label still leads the way in electronic music whether it’s recreating a song like At Night for today’s listeners or highlighting the next great artist like James Haskell. Given these disclosures, Toolroom’s legacy is not just safe but also vibrant. The post Toolroom’s Unstoppable Groove with Maur & Dave and James Haskell appeared first on The Groove Cartel.

The club celebrates its lease extension with a party featuring Nowadays founders Eamon Harkin and Justin Carter Continue reading...

The largest outdoor spatial audio festival ever to hit the UK is coming to Crystal Palace Park from 2 to 4 May 2025. Presented by spatial audio pioneers Polygon Live, in partnership with Full Fat 360 and OpenLab, Polygon Live LDN will see groundbreaking performances by Arooj Aftab, Gold Panda, Halina Rice, Jon Hopkins, Nitin Sawhney, Photay, Tinariwen, and more. Step inside this immersive world and redefine your perception of live music. Polygon Live LDN will feature the world premiere of Polygon’s dual-dome stage design. Each hemispherical structure will be rigged with an impressive 12.1.4 system: 12 L-Acoustics speaker arrays surrounding the audience, a festival-grade sub-wall delivering earth-shaking bass, and four overhead arrays raining crystal-clear sound from above. With almost 100 speakers across each dome, the total count features five times the number of speakers typically used for a stage of this size. The structure also features a vast lattice of LED lighting that will enhance the space, enveloping audiences in a cocoon of spatialised sound and synchronised lighting. Polygon will welcome the effortlessly cool Pakistani-American singer, Arooj Aftab, who will showcase her extraordinary vocal range, producer and composer Gold Panda, celebrated for his intricate, sample-driven soundscapes and genre-blurring artistry. Halina Rice will showcase her ambient textures and complex synthesiser work, while Jon Hopkins, fresh from collaborating with NASA and the release of his seventh album Ritual, will demonstrate how ideally suited he is for a Polygon performance. British producer and composer Nitin Sawhney, renowned for his contributions across various creative platforms is also on the bill, as will Polygon veteran Photay, who will bring his intricate fusion of organic percussion, warm synthesisers and field recordings to the stage. Tinariwen closes off the first release of artists with an interplay of traditional Tuareg music and electronic sounds that lends itself so naturally to spatialisation. “Originally, our deployment of spatial audio emerged from the live sets of electronic music,” explains Polygon CEO Nico Elliott. “Live DJs use a number of sounds, textures, frequencies and rhythms, which helped to push our understanding of what’s possible in spatial audio.” “At Polygon Live LDN, our programming has evolved. Working in partnership with renowned curators OpenLab, we’ve brought together an incredible line-up of visionary artists spanning electronic, world, jazz and experimental music to showcase their work in our 360° environment.” The artists performing at the festival will collaborate with Polygon’s spatial sound engineers to tease out the individual components of every track using L-Acoustics’ L-ISA processor. This allows every element to move around, above and through the audience as the artists perform, completely immersing the audience in sound. Talking about the technology, DJ and producer Be Svendsen said it was “hands down one of the best sound systems I have ever heard and played on”. Though critical, the sound is not the only part of the experience. Polygon is intent on creating a truly immersive and multisensory environment. This involves synchronising the music with an enormous web of lighting across both domes, creating a unifying experience that feels nothing short of transcendent. After highly successful events this year at TOKEN2049 in Singapore, the ADE in Amsterdam, and Wonderfruit Festival in Thailand, Polygon is set for in London in 2025. Early bird tickets are on sale now via the Polygon Live website. The post The largest outdoor spatial audio festival ever to hit the UK is coming to London appeared first on Decoded Magazine.

We caught up with the co-founder of Golden Wings Music (GWM) Walter Gutierrez to celebrate our 10th birthday along with an exclusive mix. GWM, spearheaded by WCross, originated from the famed GWM Radio and has since become a beacon for high-quality Progressive House music on a global scale. The journey of Golden Wings Radio began humbly in WCross’s kitchen, evolving steadily into a professional entity. It welcomed its first guest, Denis A, in August 2011. To reach broader audiences, WCross transitioned to Innervisions Radio in the UK. The growth of GWM has been significantly powered by the partnership of two close friends: Arturo Mercado, who cemented the brand’s presence in Mexico, and Iván Castro, who expertly managed its daily operations from Germany. GWM’s distinctive approach and dedication to excellence have attracted artists from prestigious platforms such as Proton and Frisky. As WCross proudly mentions, “Everyone who plays on the station does it with respect and love,” highlighting the passion and commitment that set GWM apart in the music industry.” Decoded Magazine · Decoded Magazine Presents WCross Golden Wings Radio famously started in your kitchen (we all know the best ideas and parties happen there), as a true passion project. What kind of challenges did you face in getting it off the ground, and how did you manage to grow it into the influential platform it is today? Thank you for this interview. It’s important for me and the team I represent to be able to share our story in a respected publication like Decoded Magazine, where so many significant figures from our scene have appeared and been featured. As you mentioned, the story is real. Golden Wings Music Radio (GWM) began broadcasting from a small table in my kitchen. In 2013, CID INC and Scotty.A each stayed with me for 15 days after performing at a GWM party. They wanted to visit the radio’s studio. I laughed and said, “What studio?” Everything they saw was operated from my home. I showed them my table, covered with stickers, notes, dates, and future guests’ names, along with a whiteboard I used as a schedule for shows. They couldn’t believe it. Now, looking back with a professional, dedicated studio, it makes me smile and feel nostalgic about those days. While I cooked for them, they watched me design e-flyers and run the radio. We’d listen together to mixes sent in by artists who wanted to be part of the programming. While they stayed with me, they helped define the mix quality that would air on the station. It was fun, and I learned a lot. Golden Wings grew organically, and the final product was always professional and polished. Henri (CID INC) and Scott expected a team production, with employees, radio programmers, and designers. But seeing how I did it, they kept supporting me because GWM was functioning on a large scale—attracting followers, setting trends, introducing new DJs and producers, and allowing them to share the lineup and e-flyers with world-famous artists like Sasha, Rodriguez Jr, Riva Starr, Danny Howells, Guy Gerber, and more. We hosted popular shows like Tronic Radio (Christian Smith), Suara (Coyu), Renaissance, Radio Therapy (Dave Seaman), Perspectives (Darin Epsilon), and many others. Having these artists drew others to want to be part of our lineup. Many who are now well-known in the industry, like Brian Cid, Simos Tagias, Silinder, East Cafe, Nikko.Z, Dale Middleton, and more, first had their music broadcasted on Golden Wings. As for the challenges, the main one was overcoming the fear of rejection—and learning to say no myself, without coming across as arrogant or hostile. I had to manage my ego and that of many artists, understand how the industry works, and even more challenging, figure out what to do when prominent figures in our scene said yes. It’s stressful to ensure everything runs smoothly—from the radio sound, server reliability, and software, to ensuring the art resonates with listeners. Another challenge was realizing that artists aren’t necessarily loyal—they’ll often move on to other stations. Sometimes, artists who requested airtime for months would leave for other stations after finally securing a slot. And one of the most significant challenges was recognizing that I was on my own and responsible for everything, even the smallest detail. In a close-knit industry, where everyone knows each other, people can be very supportive when things are going well, but it can also be brutal. They don’t always realize the power of their vote—or their veto. Over time, with a lot of hard work, GWM became a recognized brand synonymous with quality. Even if someone didn’t want to broadcast on my station, they knew what GWM was about. Our programming stood out from other stations with unique features we continue to offer, like being free for listeners, and airing DJs and producers at the prime time for their country, so they can interact with their fans live. Launching GWM gave me several advantages as an Argentine radio station—it was the only station exclusively dedicated to our genre with the world’s top DJs. Argentina has always had a strong global presence, with a fanatical audience that understands electronic music, especially the progressive style, thanks to the influence of Hernán Cattaneo. Almost all artists loved the idea of finding a new way to reach Argentine audiences, and GWM was a showcase for their talent, opening doors to perform in Argentina. Another success was designing e-flyers that gave each artist—from Sasha to lesser-known underground DJs—an individualized promotion, something other stations weren’t doing. I remember when Sasha aired on my station, and a listener posted a photo from Tomorrowland, saying he was listening to Sasha from the festival. Our listeners often shared these kinds of beautiful gestures, sending photos of their laptops or phones tuned into the station. It was amazing. It was a huge amount of work, but it all paid off when artists shared their experience of airing on GWM and the live connection with listeners. I kept a close eye on what happened and what people wanted from the brand. Over time, two close friends joined me, strengthening GWM’s growth. Arturo Mercado, a DJ and producer from Mexico, helped establish the brand in the Mexican scene, hosting events and bringing progressive Latin and Central American artists to the station. Then there was Iván Castro—now my partner in GWM—a Colombian DJ living in Germany. He’s a programmer and the reason the station airs daily. Iván had his own show on GWM and offered help with web programming, app design, and technical maintenance. His show, Introspectives, featured artists like Patrice Bäumel, Roy Rosenfeld, and Olaf Stuut. Together, we grew GWM, and soon artists who previously broadcasted on Proton and Frisky wanted to have their shows on GWM. It transformed from a hobby I created to broadcast my mixes into a major responsibility. When someone shares their music, it’s an act of love for their craft. They put their trust in us, sharing their work, reputation, and brand with us. The reason we’ve been able to return with more strength is that we’ve always respected that. Did Golden Wings Radio achieve financial success from the start, or did you go through some tough times? How challenging was it to get people to invest in the brand and the station in the beginning? In 2012, I launched the station with a clear vision and goal: to get my name out there as a DJ and feature the best in our scene. I wasn’t focused on monetizing it at all—it never brought in any income, except for one single dollar donated via PayPal. It was always funded from my own pocket, and every sponsor I had came through service exchanges. Even the Golden Wings parties I organized, where DJs like DAVI, CID INC, Marc Poppcke, Rich Curtis, Ioan Gamboa, Scotty.A, Nikko.Z, Derek Howell, Mike Griego, Kevin Di Serna, Juan Demenicis, Marcelo Vasami, and Sound Process performed, were all about building and establishing my brand. It was actually cheaper to throw a party, even if it didn’t generate much revenue, than to run a global marketing campaign. Back then, fans shared the content that artists posted on Facebook like crazy. There was no Instagram. When a DJ or producer would post on their page that they were playing in Argentina at one of my events, it was great for GWM because it caught the eyes of artists, labels, brands, and the audience. There weren’t as many social networks as there are today, so everything was more centralized, without having to compete with so many other channels of communication. As a result, many top promoters and artists started reaching out to play at my events, and others even recommended artists to me—like when Hernán Cattaneo suggested Rich Curtis in 2013. And if the maestro recommended him, it had to be done! Speaking of rejection, how hard was it to face it when you were sending your mixes to other radio stations? Did that experience inspire you to create your own station? Before enjoying the success that GWM had in its first stage—and continues to have today—I went through plenty of frustration and anger. I wanted my mixes to be played on major radio stations but had no idea how to break through. I’d spend hours perfecting my mixes and downloading music, just like thousands of DJs around the world. But when I’d send those mixes to the top stations at the time, they wouldn’t even reply to my emails. That left a mark on me. So, I changed my strategy and started with smaller stations. I remember the owner of Xelestia Radio (Puerto Vallarta, Mexico) heard one of my sets that I posted on Facebook and invited me to play on his station, even though it wasn’t electronic music-based. He liked it and offered me a monthly spot, and that’s how Golden Wings by WCross began. The name Golden Wings came from a listener’s comment on that same set: “You make me fly like Golden Wings.” I asked for a two-hour slot to play my exclusive mix along with one from a guest DJ. Within a few months, thanks to the number of artists who wanted to join and the program’s success, we covered 70% of Xelestia’s schedule. We had a solid audience because it was unique for a Mexican station, not even fully electronic, to feature artists like Armin Van Buuren, DAVI, DENIS A, and Robert Babicz. Plus, it stirred curiosity—“Who is WCross?” (my alias). On Xelestia, fans could listen to entire sets from their favorite artists for free, and download them from the website and SoundCloud. After a while, I felt the need to grow further and moved to Innervisions Radio (UK), run by Gary Harkin, where I could develop the concept I envisioned for my WCross brand. Artists like David Grahna, Marc Marzenit, and Henry Saiz all played on the show. The station change was a big leap, but everyone followed me. That gave me the strength to establish myself as a DJ and launch my own 24/7 online radio station dedicated to progressive house in Argentina. It was important to me to give DJs and producers from almost every province in the country a chance, not just focus on Buenos Aires. This led to FM stations in different provinces playing the mixes I provided. Thanks to that, artists like Scotty.A and Derek Howell got to perform in places across Argentina—Rosario, Mendoza, San Luis, San Juan, Mar del Plata, Jujuy, and Salta. We were creating a new way of engaging with music, sharing stories through it, and leveraging social media to connect. Let’s talk about Denis A. How did you manage to have him as your first DJ on the radio show? Wow, the very first guest—you guys really know GWM! I reached out to him in August 2011, inviting him as a special guest on the radio show I was running on Xelestia Radio. I felt that my show needed artists who were in the big leagues, and I loved his productions. So, I worked up the courage to message him, and he just said yes. It was such an incredible feeling because he was the door that opened to artists like Monaque, Phonic Deep, Ezequiel Marotte, Julio Largente, DAVI, Dpen, and Victoria R, and everything that came after was amazing. Every time we talk, I thank him for his support because it was so important for my project. He trusted me without even knowing me, and when I launched my own station, DAR Session was one of the first shows we aired. You’re known for giving everyone an equal shot, from big names to emerging DJs just starting out in their bedrooms. What drives you to support artists in this way? Great question, let me think… It’s my own story that drives me—knowing that someone trusts me and my platform, that artists believe I’ll protect their brand or help build it. Because, like I mentioned, when someone sends me a mix, so much is on the line—their passion for music, their craft, their trust, part of their journey, and how they want to shape their personal brand and style. What also drives me is wanting DJs to avoid the frustration I went through, which I was lucky to overcome with something even greater. When someone anywhere in the world, whether they’re a pro or underground DJ, spends hours sending me a mix for the station, it moves me, and I’m deeply grateful. I love when the same e-flyer has Sasha, Art Department, and an underground artist side by side. The happiness and gratitude in the messages I receive—that’s what fills my heart, and it’s a big part of our success. It inspires many artists to bring their best and deliver quality mixes, knowing that the magic of radio is you never know who’s on the other side listening—it could be a huge opportunity. When I say it’s my story that drives me, it’s because after GWM and my personal brand grew, I finally got to play on major stations as a guest, which was gratifying in its own way. I believe people who work hard and give their all deserve a shot. You don’t have to be a big name to get a chance. You have to trust and take risks, which is why I always make room for everyone who brings quality. One day I told my partner Silvia, who was essential in all this because she supported me through everything, “I’m going to create my own station to play my mixes. I’m never asking another station for a slot again. And I’ll make it one of the best online stations in the world.” That was the spark of an idea that grew into a recognized brand. Thanks to my effort, dedication, and GWM, I’ve been able to play in some of Buenos Aires’s best clubs and across Argentina, in places like Club Pacha. I’ve even played in Mexico and the United States. I got to host and do b2b sessions with CID INC, DAVI, Marc Poppcke, Scotty.A, Derek Howell, and Rich Curtis, creating amazing moments together. I’ve also been able to send music to, and communicate with, legends like Hernán Cattaneo, Nick Warren, Nick Muir, and John Digweed, and meet great people like Steve Parry and Mitch Alexander, who help me so much with my project. Could you tell us about your process for ensuring the music and format on the station stay top-quality? Any funny stories about receiving music files? The process starts with listening to a lot of mixes from underground artists—because with established names, we already know what they’re bringing, and there are no issues. But I do listen to them in advance as well. Before a new artist goes live on GWM, I listen to two or three of their mixes. Then, I invite them to submit an exclusive one in 320 kbps, which is the quality we broadcast at and part of why we’re known for our sound. I put a lot of emphasis on DJs—while many today also produce, the focus is always on the DJ, which I believe is the essence of our scene. When selecting, I listen carefully to the transitions. Reading the tracklist lets me know if it fits the station’s musical style, but you can’t just put a mix on air based on the tracklist alone. It could have issues when exported, sound inconsistencies in the track choices, or volume discrepancies in the transitions. As a funny detail, there are artists who send me “cloned” mixes with the same tracks that Hernán uses in Resident, his weekly show. I also sometimes get repeats—when I ask for an exclusive mix, many send me one that’s already played on other stations. I watch out for those details; if I tell them it’s not exclusive, they either disappear or take a month to send a new one. The ones who clone mixes don’t get airtime, and we don’t invite them back. In 2017, you paused Golden Wings to complete your law studies. How challenging was it to put your dream on hold and come back to it later? It was a tough, very emotional decision that came at the right moment and impacted me positively. I believe that GWM would have faced a lot of wear if it had continued. A cycle had been completed, and I needed to focus on my studies, but the brand didn’t disappear. Instead, I used that time to further grow GWM Label, which I’d started with Mariano Favre in 2014. Many prominent artists have released and still release music on my label, with great support from names like Sasha, Digweed, Cattaneo, Warren, Guy J, and Patrice Baumel. The label brought me a lot of joy because, in a way, the artists were still connected to GWM, and I to them. But without a doubt, closing the radio left a big gap in the scene, as artists and listeners have told me. During the seven years it was off the air, the brand was preserved, and it maintained its standard of artistic and musical quality through the label, which regularly ranked high on various charts. Even though the radio wasn’t broadcasting, many artists and listeners kept reaching out, talking about GWM’s quality, the good memories, and its events. But most importantly, it stayed linked to an era that felt special. We’d created something that gave everyone access to quality music, for free. That’s the highest form of recognition a brand can achieve in a musical environment—GWM had established a unique standard. In 2023, I decided GWM had to come back, and I did it in two phases. The first was a weekly two-hour show every Friday on a local FM station in my city (yes, a local FM! [laughs]), which helped me gauge its impact on artists and listeners, who were thrilled to have it back. I received many congratulatory messages. Then one day, with a team that loves music and is committed to raising the bar, I reconnected with amazing people in our scene, like Steve Parry, Lexicon Avenue, Anthony Pappa, Nick Muir, Kasey Taylor, Gai Barone, Luke Brancaccio, Jamie Stevens, Dave Walter, Sean Harvey, Ranj Kaler, Four Candles, Fordal, East Café, Zuker, Paul (AR), Silinder, and others. Even though they knew it was a local station, they joined with such humility and grace, and the show’s growth on Secla FM skyrocketed. Seeing its impact, I knew something special had stayed dormant, just waiting for a second chance. So, one night at 2 a.m. in Germany, I called my partner Iván, and we reopened the online radio. Right away, many artists reached out to get their monthly show or to appear as guests. I’d always thought that if I ever brought GWM back, it would have to be big—and that’s exactly how it turned out. In recent years, we’ve seen how progressive house has taken on unique forms in different parts of the world, but it seems like South America is shaping something truly special in this space. From your perspective, how do you see the evolution of the electronic music scene in South America? There seems to be a contagious energy coming from the continent. Would you say it’s finding its own identity, or is it still heavily influenced by global trends? I’m pretty critical when it comes to how South American, and especially Argentine, artists tend to imitate styles. Many want to sound like Guy J, copy the trendy labels, or make music just so some big name might play it on their show or live set. And if they get lucky, they often forget where they came from or how they once asked to be played on the radio. They turn into trend-followers with no real identity, and then they don’t last. Many get caught up in the latest sound trends, with poorly mastered, noisy, and compressed tracks. I see them chasing likes on social media and putting the music second. The mass appeal of it all has made it more about posing for the photo than giving the music its own personality. Unfortunately, a lot of Argentine producers aren’t very supportive of each other—not everyone, but the majority. They’re often quick to criticize, rarely congratulating one another when they achieve success. It’s a shame because that attitude doesn’t build anything, and it only makes them seem antisocial. I don’t see this in places like Mexico, Colombia, Chile, Brazil, Uruguay, the United States, parts of Asia, or Europe, where there’s a lot more mutual support. On the other hand, there are artists here who are on another level, with their own unique sound and style, like Simon Vuarambon, David Calo, Mike Griego, Fefo, Abity, Golan Zocher, Gux Jimenez, Karlos Elizondo, David Podhel, Matias Larrosa, Santi Mossman, Berni Turletti, Nico Sparvieri, Doffo, Demis Almada, Derk, Paul (AR), and the duo EANP (Nicolas Petracca and Ezequiel Anile). These artists are constantly pushing, searching, and improving their craft. Since its comeback, Golden Wings Radio has climbed to the top of the game, hosting some of the biggest names in the industry. How did you manage this transformation from a kitchen mixing project to a global heavyweight? I like that “global heavyweight” line, even if it’s not quite there yet—it sounds nice (haha), say it again, my ego’s awake! I was able to enjoy the transformation, even with the stress that comes from maintaining a quality standard. I grew personally and as a DJ too. Earning respect in our industry isn’t easy. There’s plenty of good music and quality radio out there, but if we were offering just more of the same, it wouldn’t be worth it. That’s why, when we talk about transformation, I believe GWM changed the rules of the game in a way and carved out its place. Everyone who plays on the station does it with respect and love. How has this journey been for you, and what can we expect in the future? The journey has been beautiful, filled with music, solidarity, respect, and responsibility, because what may be a hobby for one person can be a livelihood or a moment of divine connection for others. Our focus is on maintaining high artistic and musical standards; we’re developing a new website, apps, and testing artificial intelligence. We had to adapt to the new forms of communication. In this stage, we’ve given it a local touch, communicating in Spanish and emphasizing that we’re a radio station from Argentina. Before, we did it in English, and I think that’s why we were listened to more in other countries than in my own. Thanks to the addition of Pepe Arias to our team, who is the curator of GWM and someone very influential in social media for the progressive scene, as well as the founder of a follower group for John Digweed and Bedrock, we’ve been able to shift in that direction, unifying our networks, different platforms, and communication channels. It’s been very positive. This year, we’re participating for the first time as guests at ADE, and we want to be one of the associated brands next year and have a larger role in this great event. Today, listeners aren’t redirected to a website during a show; they decide when and what to listen to, which is why we’re working on opening GWM to different platforms. But radio will never die, even if listeners prefer different platforms; for DJs, being on the radio is important, or they wouldn’t have radio shows. Thank you again for the interview! I know it was lengthy, especially in times when people think they don’t have time to read, but I felt it was important to share how a guy like me, somewhere in the world, came up with an idea that turned his frustration into a unique opportunity with something I love. Tracklisting Pablo Bolivar, Sensual Physics – Backen Punch (Pedro Capelossi Remix) [Seven Villas Music] Stelios Vassiloudis – One Man Down (Original Mix) [Default Position] Tone Of Arc – The Hard Road (Larrosa (AR) x Nico Sparvieri x SACK Reinterpretation) Sasse – Stelios Vassiloudis – The Z (Original mix) [Bedrock Records] The Black Atlantic – Fragile Meadow (Rampue Remix) [Vordergrundmusik] Ingrid Chavez – Justify My Love (Charles Webster Midnight Mix) [Ten Windows Records] Charlie May – Midnight (Nhar Remix) [emFire] Flowers And Sea Creatures Wrong Jeremy – The Very Next Day (Adriatique Remix) [My Favorite Robot Records] Wild Dark – Pleasure People (Original Mix) [Nazca Records] Nevidomij – The White Shadow FR – The Sky (Original Mix) [Tenampa Recordings] Carerra Tavares – Ardent [Music is 4 Lovers] Donato Dozzy – Cassandra (Original Mix) [Claque Musique] Raxon – Andromena (Original Mix) [Ellum] Larrosa (AR), Nico Sparvieri, Sack (AR) Overfall (Dove City – Remix) [Golden Wings Music] C’hantal – The Realm (Auggi+ Edit) Patch Park – Mutant Marc Marzenit (Haunted House Remix) [Ground Factory Records] Raxon – Destiny (Original Mix) [Bedrock Records] Fabrication – Hot Foot (Jamie Stevens – Anthony Pappa Remix) [Recovery Collective] Daniel Curotto – Mediterraneo (Gai Barone Remix) [Golden Wings Music] Rockka – Necromancer (Digital Mess Remix) [Mango Alley] Daniel Curotto – Mediterraneo (East Cafe Balearic Remix) [Golden Wings Music] Lee Van Dowski Bastian Bux – Nine Lives (Original Mix) [Bedrock Records] Chris Cargo – Synergy (Framewerk Remix) [If You Wait] The post Decoded Magazine presents Walter Gutierrez (WCross) appeared first on Decoded Magazine.