Ravebot

Luiza Rozova is said to be the daughter of an alleged affair Continue reading...

Undoubtedly one of the creators of melodic techno, Danish maestro Kölsch returns with a moving and deftly created remix of “Hollow,” a potent collaboration between dance music titans MORTEN and ARTBAT including the beautiful vocals of Bonn. Published on Insomniac Records, this remix transforms the soaring, anthemic sound of the original into something equally grandiose but quite introspective. Kölsch’s rendition of “Hollow” embraces emotional depth but the original, throbbing, synth-driven intensity appropriate for peak-time sets shines. Starting with rich, sad piano chords that reflect Bonn’s honest words, the remix creates a sound tapestry of dazzling melodies and varied ambiance. The tune develops into an emotional trip, well suited for morning events on the dancefloor when the world seems still and endless. This remix is evidence of Kölsch’s capacity to give every project a fresh emotional life rather than only a musical gift. His unique sound enhances Bonn’s honest lyrics, therefore enabling words to become whirling sonics, tugging at the heartstrings yet still commanding the dancefloor. Kölsch has a close relationship with MORTEN and ARTBAT. With their own explosive remix of Kölsch’s “All That Matters,” last year ARTBAT turned the vocal-heavy track into a techno symphony that enthralled listeners all around. Kölsch’s two-decade connection with MORTEN has established a mutual respect and creative synergy, therefore making this cooperation both natural but also unique. The post Kölsch remix of the Anthemic “Hollow” by MORTEN & ARTBAT appeared first on The Groove Cartel.

Indo Warehouse, the innovative label at the forefront of house music, continues to carve out a unique niche with their Indo House sound; a seamless fusion of South Asian cultural influences with electronic beats. The label continues to push boundaries with its latest groundbreaking release. Co-founder Kahani teams up with Jeff Veliz to present “Chaiyya II,” a reinterpretation of the iconic Bollywood anthem “Chaiyya Chaiyya.“ Originally composed by Academy Award-winning AR Rahman and immortalised by its train-top visuals, the track has been transformed into a mesmerising blend of deep, rhythmic beats, hypnotic grooves, and transcendental vocal chants. This modern rendition pays homage to its South Asian roots while connecting with today’s global dance floors, a testament to Indo Warehouse’s mission to spotlight cultural authenticity in electronic music. Having already become a favourite at Indo Warehouse events, “Chaiyya II” stands as a genre-defying piece that bridges traditional heritage with contemporary sounds. Kahani Says: “Creating Chaiyya II let us dive into the nostalgic power of one of the biggest Bollywood records to ever be created. As we’ve played it around the world on tour this year, it has brought smiles to thousands of faces. To be able to bring it to dance floors with our signature sound is a dream come true.” KAHANI PLAYS “CHAIYYA II” AT INDO WAREHOUSE SHOWCASE IN MUMBAI The Collective are also set to make history with their recent announcement debut at Coachella 2025, marking a significant milestone for them and their groundbreaking Indo House sound. Their performance, set for Saturday, April 12th and 19th 2025, will highlight their distinctive talent for seamlessly integrating South Asian cultural elements with electronic music, offering a dynamic and innovative showcase solidifying their place on the global stage. As part of this monumental debut, they will join over 20 other acts, promising an unforgettable fusion of music and culture that exemplifies their mission to bridge genres and audiences. This appearance not only highlights their meteoric rise but also represents a pivotal moment in bringing South Asian-inspired house music to one of the world’s most renowned festivals. Earlier this year, Indo Warehouse embarked on a sold-out 9 city US tour, captivating audiences at iconic venues like the Brooklyn Mirage in NYC. They’ve now unveiled the highly anticipated content from their Brooklyn Mirage show, offering an immersive glimpse into the experience. Their sets are now available to stream on their YouTube channel: Link Here Their journey embodies a vision of bridging cultures through music by redefining house music with a South Asian twist, the collective remains dedicated to authenticity while amplifying their heritage within the electronic scene. This is just the start of their mission to establish Indo House as a globally recognised genre, breaking new ground with every step. Instagram Links: Indo Warehouse IG || Kahani Merchant IG || Kunal Merchant IG Stream Indo Warehouse: STREAM “CHAIYYA II – JEFF VELIZ, KAHANI, INDO WAREHOUSE” BUY “CHAIYYA II OUT NOW: STREAM INDO WAREHOUSE LIVE AT BROOKLYN MIRAGE, NYC The post Indo Warehouse Pioneers Indo House Genre with Bollywood remake of “Chaiyya II” and Prepares for Coachella 2025 debut appeared first on Electric Mode.

STREAM BUY Afro house pioneer AMÉMÉ joins forces with rising star Franc Fala for their highly anticipated collaboration, “Wait For You,” released via Armada Music. Premiered at AMÉMÉ’s One Tribe event during ADE at Amsterdam’s renowned Shelter, the track has already captured the attention of industry heavyweights such as Black Coffee, Themba, Camelphat, BLOND:ISH & more. “Wait For You” is an irresistible Afro house journey, combining infectious guitar riffs, hypnotic percussion, and sultry vocals to craft a feel-good experience that radiates warmth. The track exemplifies the creative synergy between the two artists, seamlessly blending their individual talents into a vibrant and dynamic production. Speaking about the collaboration, Franc Fala shared: “When AMÉMÉ and I first started working on this track, we immediately felt the power of the guitar and percussion together. There’s something about that rhythm, simple but full of energy, that grabs you right away. We couldn’t stop sending the file back and forth. Every time we added a new touch, we found ourselves falling deeper into the track, more obsessed with the idea. In AMÉMÉ, I saw the same drive that pushes me forward. It’s the kind of passion that doesn’t just fuel the track, but also the friendship between us. It’s not just about the track anymore; it’s about the journey we’re on together.” AMÉMÉ’s ability to spotlight emerging talent like Franc Fala is a testament to his vision of fostering growth within the Afro house community. Their collaboration not only reflects their mutual respect but also highlights the burgeoning potential of the genre. “When Franc first sent me the first draft , and I heard the guitar riffs, I knew we had something to play with here,” says AMÉMÉ. “But it wasn’t until we were done with the track I realized what we created – and when I listened back, I felt like it transported me.” “Wait For You” encapsulates the duo’s shared passion for creating music that transcends borders and unites listeners. Now available to stream via Armada Music. Instagram Links AMÉMÉ IG // FRANC FALA IG The post Afro House Hit “Wait For You” Highlights AMÉMÉ and Franc Fala’s Creative Fusion appeared first on Electric Mode.

A court in Belfast called the British government’s decision “unlawful and procedurally unfair” Continue reading...

As we approach the final month of the year, many look back on the past and lose sight of what lies ahead. But that’s not the case for Paradono TM, who is doing both—celebrating his achievements while gearing up for an even brighter future. With his latest release, ‘FIRE’, the artist caps off a remarkable year and builds anticipation for his upcoming EP. Paradono TM launched his artist project in 2024 after years of producing music for other artists. This bold leap into the spotlight proved to be the right move. He debuted with ‘New Day’, a track that set the tone for his distinctive style and marked the beginning of a streak of songs. In just one year, he has released seven singles, with ‘FIRE’ being the grand finale of an already impressive catalog. ‘FIRE’ is an electrifying anthem featuring powerful vocals, high-energy production, and captivating melodies. With its progressive house vibe and a long, tension-building second drop reminiscent of Swedish House Mafia, the track is a testament to Paradono TM‘s talent for creating music that resonates both on festival stages and in personal playlists. Whether you’re dancing under the lights or listening through headphones, ‘FIRE’ is designed to ignite the energy within you. But Paradono TM isn’t stopping here. With 2024 as his breakout year, he’s already promising that 2025 will be even bigger and better. If ‘FIRE’ is any indication, the future is blazing bright for this rising star. Stream this single below.

In an exclusive conversation with EDMHouseNetwork, Ben Nicky reflects on his genre-defying set at Transmission Bangkok, his evolution as an artist, and the emotional core of his music. Known for seamlessly blending trance, psytrance, and hard dance, Ben Nicky shares insights into his unique approach, the inspiration behind his Emotional Havoc set, and his unwavering commitment to creating unforgettable moments for fans worldwide. Whether it’s a packed festival arena or a local club, Ben Nicky’s rollercoaster sets continue to redefine the live music experience. It’s so good to have you here on behalf of Bangkok fans and EDM House Network and love how you brought your Emotional Havoc set to Transmission. How do you feel about that? It was great. I’ve been to Bangkok DJing many times and I’ve played for Transmission many times but it’s like tonight wasn’t full trance but also not hard. I wanted to play to the crowd here because you’ve got a lot of trance and edm fans so I didn’t want to go too underground. It was kind of like a normal Ben Nicky set where there are lots of genres in one but still on the edge of trance and keeping to my Emotional Havoc set. But it wasn’t 100 percent Emotional Havoc because if you watch ASOT or my UK sets they’re a lot more trance. I play to the crowd and they went mad. I play for the crowd, that’s my job so I want to make people happy. I kinda go with how the reactions are and it worked. Speaking of Emotional Havoc, what inspired you to create this set which is vastly different from your Misfits set? My original brand back in 2015 was called Headfuck and it was about taking emotional music and giving it a crazy hard drop and mixing genres like uplifting trance with dirty techno drops. If I’m honest, Misfits is the same. Emotional Havoc is just a nicer word than Headfuck, and a more brandable and PG word. Nothing has changed, it’s just the mixing up of a couple of genres. Some of your sets resonate with fans not because of the commercial music but because it invokes emotions. How does that make you feel when you see fans resonating? I’ve been doing this for a long time. People don’t say this a lot. We’ve been on aeroplanes our whole life so sometimes you’re jetlagged and you’re just doing it very often, playing similar tunes so when you see people react that’s what really makes you realize why it’s so important and why it’s so worth doing. Sometimes when you’re tired and you see someone sing along and connecting with someone in the crowd makes it so much more worth it. The crowds are always so reactive during my sets, so it makes it so much more worthwhile and I would never change that, I love it. You blend elements of trance, psytrance, hard dance like you did tonight at Transmission Bangkok, so how do you approach fusing all these together?~ To be honest I have a certain formula in my sets and I don’t tell anyone how I do it. It’s not that I wrangle all the tunes together and it kind of comes out. I hyperfocus on my sets so I spend a lot of time on intro and outro moments and I never put it online, but I do make edits in a certain way that flow in a certain key and it resonates with emotions. I have this kind of intuitive way of making my music and I never ever give away how I do it because you might hear I’ll go from a very hard track then back to slow and it’s quite hard to do that because you have to give it a lot of reverb and sometimes you have to cut and make edits from one bmp to another. Normally djs do that, they start at a slow bpm and as the set goes on it gets harder and harder but for me it’s a bit of a rollercoaster. So my brand is very much a journey but something I’m very protective of because I’m the only DJ doing it like a rollercoaster. Next, I would like to know what you think about Asia in terms of its crowd seeing as you’ve performed across the content multiple times? The Asian market is very different. Some DJs are only big in certain markets but I feel I’m really privileged to be able to play big shows around the whole world and have a big fan base. But when it comes to Asia, you really have to understand the Asian market. For example, in Indonesia, it’s all table clubs so you don’t really have a dance floor so everyone sits and watches you DJ. My friends who are new to it don’t really understand it, they think they’re terrible because no one danced, but it’s normal. You have to understand that Asia is very different. Take Jakarta for example, which has an amazing scene right now. Kuala Lumpur too, which is probably one of the top cities in terms of fan engagement and how they’re on another level. Marquee Singapore is one of my favourite clubs in the world. Asia is good but you have to understand the market and the needs. I consider myself very lucky to be able to play here and get the reactions that I do. Looking ahead, what’s next for Emotional Havoc, Misfits and your whole journey? I don’t know right now, but we’re taking Misfits to another level so we’re now doing major arenas. Creamfields UK for example this year had one of the biggest arenas and I was able to host my Misfits brand there. We’re now hosting a lot of festival arenas via Misfits and I think we’ll start doing a lot more of those. Everything else will definitely be bigger. Do you have any final messages for your fans and thoughts about Transmission tonight? I’ve been doing this a long time and I really appreciate everyone. My music isn’t about having commercial hits in the charts but when it comes to DJing, I will never let people down. If you go to a festival and know a Ben Nicky set, you know it will never let you down and I guess that’s why I’m sitting here right now. Thank you so much for your time today and your set.

David Guetta x Kiko x Olivier Giacomotto – Home David Guetta teams up with Kiko and Olivier Giacomotto for ‘Home,’ a melodic techno track with an entrancing atmosphere. With its hypnotic basslines, subtle melodies, and sophisticated production, the track offers a fresh take on Guetta’s sound, leaning into a more underground vibe while retaining dancefloor appeal. FISHER & AR/CO – Ocean FISHER and AR/CO team up on ‘Ocean’, the sun-kissed new single, arriving on CATCH & RELEASE. Harnessing AR/CO’s feel-good energy, FISHER lays down a tech house groove, laden with sharp synths, while AR/CO provide their distinct blend of infectious melodies and catchy vocals. Arriving just in time for Aussie summer, this is a bright and uplifting anthem that makes you want to bomb down Gold Coast beach and dive headfirst into the sea. Dimitri Vegas & Like Mike, Armin van Buuren, Vini Vici, Push – Universal Nation This all-star collaboration reimagines the trance classic ‘Universal Nation’ with a modern twist. Dimitri Vegas & Like Mike, Armin van Buuren, Vini Vici, and Push unite to deliver a festival-ready anthem packed with psytrance energy, big room drops, and euphoric melodies. This track is a powerful homage to the genre’s roots, reworked for today’s massive stages. Klubbheads x Thomas Newson – Left To Right (James Hype Edit) James Hype puts his spin on Klubbheads and Thomas Newson’s ‘Left To Right,’ transforming it into a high-energy house banger. With its driving bassline, crisp percussion, and infectious rhythm, this edit is a certified crowd-pleaser, perfect for peak-time sets and energetic dance floors. Sevdaliza – Alibi (Tiësto Remix) Tiësto reworks Sevdaliza’s hauntingly beautiful ‘Alibi’ into a progressive house masterpiece. Retaining the ethereal vocals and emotional depth of the original, Tiësto adds pulsating beats and uplifting synths to create a track that feels both introspective and ready for the dance floor. A stunning fusion of artistry and energy. Ambrxse, Milan – Alive Ambrxse and Milan team up for ‘Alive,’ a groovy tech house track that combines catchy lyrics with rhythmic production. Featuring infectious samples, a driving beat, and a funky tone, the track captures the essence of tech house music. It’s a song that resonates both on the dance floor and in your headphones. Honorable mentions: Bassjackers – Last Christmas Blasterjaxx – Wonderful Dream (Holidays Are Coming) Bryan Kearney & Bo Bruce – Shine A Light (Sean Tyas Remix) Culture Shock, Grafix – Make It Pump deadmau5 – familiars Dimitri Vegas x Timmy Trumpet – All I Want for Christmas Is You Dombresky – Hi Life Dr Phunk x F4ST – Feliz Navidad Fedde Le Grand – I Am Ready Hypaton – Bang Bang John Summit & HAYLA – Shiver (Wilkinson Remix) Loco Dice x Skrillex x Fireboy DML – Heavy Heart Manse, Jordan Jade – Circles Mark Knight, Gene Farris, James Haskell – Go Deep MOGUAI – Here To You Naeleck x Sound of Legend – Deck the Halls Patrick Topping – 4 For The Floor (EP) Plastik Funk, Esox & Tara McDonald – Looking At You Swanky Tunes & Shapov – Feel Me Baby Tungevaag & joki – Drip Down Vicetone – Honey Water Wuki x Dave Summer – Smoke Stream all these tracks and more in our New EDM Friday playlist – follow here.

Grammy-nominated FISHER and indie dance duo AR/CO team up on ‘Ocean’, the sun-kissed new single, arrived via CATCH & RELEASE. Harnessing AR/CO’s feel-good energy, FISHER lays down a tech house groove on ‘Ocean’, laden with sharp synths, while AR/CO provide their distinct blend of infectious melodies and catchy vocals. Arriving just in time for Aussie summer, this is a bright and uplifting anthem that makes you want to bomb down Gold Coast beach and dive headfirst into the sea. ‘Ocean’ ‘Ocean’ is the follow-up to FISHER’s recent single, ‘Boost Up’, featuring fellow Grammy-nominee Flowdan. Since its release in August, it’s racked up over 11 million Spotify streams, and regular airplay across daytime BBC Radio 1. Around the single collaboration, FISHER has stated: “Trying to bring the ocean to the groove. Every time I play this track, the dance floor explodes like a whale’s blowhole! With such a saucy beat and AR/CO’s euphoric vocals, it’s hard not to move. “It was such a pleasure writing this track with AR/CO. These legends are definitely ones to watch out for in the future.” FISHER AR/CO have also added: “While we were in Oz chatting with our mates about standout artists on the scene, one name kept coming up: Fish. He’s a national treasure over there and has been making waves around the world too. “We’d written a track called Ocean, and with Fish being not only one of the biggest DJs in the world but also a pro surfer, the collaboration felt like it was meant to be. The vibe between us is super laid-back and full of good times on both sides, so it all came together naturally. “Every time we hear this track, we fall in love with it all over again. We can’t wait to share it with everyone.” AR/CO FISHER Certified Australian party starter FISHER has got the globe moving this year. He launched his massive 2024 with Out 2 Lunch, his 30,000-capacity festival on the Gold Coast (Clip HERE), before selling out San Francisco’s Cow Palace in March (Clip HERE) and packing out Brooklyn Navy Yard for three nights over the 4th of July. All summer, he brought his usual high-energy vibe to Ibiza, through his weekly residency at Hï Ibiza. In August, FISHER hosted a festival at London’s Gunnersbury Park (Clip HERE) with supporting guests Purple Disco Machine and Vintage Culture. Since his Grammy-nominated breakout ‘Losing It,’ which has now hit over 600 million streams, FISHER’s been turning out hit after hit. This year, he reworked Jennifer Lopez’s ‘Waiting for Tonight,’ remixed Gotye’s stone-cold classic ‘Somebody That I Used to Know,’ and transformed Bob Marley’s ‘Jamming’ into a peak-time dance track. AR/CO AR/CO are the rising Australian-British indie-dance duo, consisting of Mali-Koa and Leo Stannard. Their music invites listeners to escape into a vibrant world of freedom and community. Their melodies represent their influences from Maori and Trinidadian roots. With dual male/female vocals, they have attracted attention from top DJs worldwide. For example, they have collaborated with names like Tiesto and Rudimental. Moreover, they perform at high-profile events like Radio 1’s Big Weekend. Now, they are expanding their reach, touring in the UK, the US, and Europe alongside major acts. AR/CO’s music is all about letting go and embracing a bold new age with infectious dance hits. Two energies collide in a massive way on ‘Ocean’. Ready to ride the wave? The post FISHER & AR/CO Ride The Wave With ‘Ocean’ appeared first on EDMTunes.

Loco Dice, a German DJ and producer, has teamed up with Skrillex and Nigerian Afrobeats star Fireboy DML for ‘Heavy Heart.’ The track is coming from Universal Music/Virgin Records and marks the first single from Loco Dice’s upcoming studio album, slated for release in 2025. This trio collab brings us a mix of underground techno, electrifying dubstep, and Afrobeats. ‘Heavy Heart’ promises to captivate a large range of listeners. A Powerful Collaboration Loco Dice, known for his signature deep, groovy techno, has carved a lasting presence in the underground scene with performances at top festivals and releases on major labels. Skrillex, the dubstep pioneer, who has recently decided to start releasing music on his own. Fireboy DML, the Nigerian hitmaker behind ‘Peru,’ brings his Afrobeats energy to the track, resulting in a seamless blend of rhythmic styles. ‘Heavy Heart’ Heavy Heart brings together Loco Dice’s infectious grooves, Skrillex’s electrifying and alternative drops, mixed with Fireboy DML’s smooth vocals. The track’s combination of dark, rolling basslines and upbeat, vibrant rhythms creates a unique sound that is both emotionally charged and attention grabbing. All together, this collaboration delivers sounds never heard before and a new listen to cleanse musical palettes. Loco Dice’s new album This track marks the beginning of a new era for Loco Dice. The first single on the album, ‘Heavy Heart’ showcases his evolution, support from industry legends, and brings a more commercially-oriented sound while staying true to his roots in techno. Therefore, this release signals an exciting shift for Loco Dice’s musical journey, setting the stage for his much-anticipated album in 2025. You can listen now below. The post Loco Dice, Skrillex & Fireboy DML Join Forces for ‘Heavy Heart’ appeared first on EDMTunes.

Spotify has become the latest service to integrate with Google’s Gemini AI through its Gemini Extension, marking a significant step in enhancing user convenience and music accessibility. Following the rollout of the WhatsApp Gemini Extension, Spotify now joins the lineup of third-party integrations, bringing powerful “play & search” functionality similar to what is found on YouTube Music. However, this new feature is currently exclusive to Android users. How It Works To use the Spotify Gemini Extension, you need to connect your Spotify account to your Google Account. Once linked, you can interact with Gemini via simple commands, such as asking it to play, search, or browse music on Spotify. Here’s how to set it up: Link Your Spotify Account: If your account isn’t already connected, the Gemini app will prompt you with the option to connect. Follow the Instructions: On-screen steps guide you through the linking process. Issue Commands: Once set up, you can ask Gemini to play specific songs, albums, playlists, or even search for music based on lyrics or genres. What It Can Do Gemini’s Spotify Extension supports commands like: “Play music for [activity] on Spotify.” “Search for the song that goes [lyrics].” “Find a Spotify playlist with [genre] music.” However, there are limitations. For instance, the feature cannot create playlists or radio stations on Spotify. Also, if multiple music services are connected, Gemini defaults to the last used one unless specified. Current Limitations Platform Availability: The Spotify Gemini Extension is not yet visible in the Extensions list on Android for most users. Additionally, it is unavailable on Google Messages, the Gemini web app, or iPhone. Language Support: For now, it only works when Gemini’s language is set to English. Subscription Requirement: Spotify Premium is necessary to play specific tracks. Broader Context This rollout is part of Google’s gradual deployment of five new Gemini Extensions, including integrations with WhatsApp, Phone, and Messages. While some services, like Google Home, have achieved broader availability, most are still in early stages of release. Spotify’s integration with AI marks another step in blending AI-driven personalization with music streaming, offering users a smarter and more streamlined way to enjoy their favorite tracks. With the feature expected to expand over time, it’s clear that Spotify and Google are working to redefine how we interact with music and smart assistants. The post Spotify Gemini Extension Now Live appeared first on EDMTunes.

Heisenberg, the renowned minimal house label, marks a decade of groundbreaking music with the release of ‘Ghost Sequence’. The captivating new EP from label head Saktu offers a glimpse into the future of the innovative imprint. With three meticulously crafted tracks, it captures the essence of the label’s signature sound. Founded in 2014, Heisenberg began as an underground club, quickly establishing itself as a beacon for unique music and immersive atmospheres. It has since evolved into a label and global force that’s respected in the electronic music scene. Over the past 10 years, the imprint has released over 20 vinyl cuts and over 100 digital releases. Recognised for championing cutting-edge artists while hosting unforgettable showcases across the world, Heisenberg and Saktu have created a sizable mark with their trademark sound. ‘Ghost Sequence’ serves as a resounding testament to Heisenberg‘s evolution and Saktu‘s production talent. Each track on the ‘Ghost Sequence’ EP highlights a different dimension of the buoyant minimal house genre, navigating from hypnotic grooves to nuanced textures, delivering a sonic experience that will resonate with fans and DJs worldwide. Saktu describes the EP as “an important benchmark for the label, celebrating the past, present, and future as we return to Europe as our home and kick off 2025 with a fresh approach.” Featuring three expertly crafted minimal house tracks, ‘Ghost Sequence’ perfectly reflects the labels distinctive sound, spanning refined grooves, intricate rhythms, and a profound atmospheric depth. Ardent fans and newcomers to the imprint will find a flavour of a well seasoned collective. Widely respected for his pioneering contributions, Sasha has been a key figure in the minimal house scene for over 25 years. With performances at some of the world’s most revered clubs, he has built a global audience and loyal following. As a producer under various aliases, Saktu boasts an impressive catalog of vinyl and digital releases on leading labels. His sound has garnered continued support from prominent figures such as Ricardo Villalobos, Sammy Dee, Thomas Melchior, Arapu, Raresh, Apollonia, Sonja Moonear, Marco Carola, Tobi Neumann, and Dorian Paic. Kicking off the 10-year celebration, Saktu and Heisenberg have a series of activations lined up to propel the label into its next decade with fresh momentum. Ten years is a remarkable milestone, but just the beginning, as they start to unveil a preview of what’s to come. ‘Ghost Sequence’ will be available on Heisenberg from 19/12/25, promising to be a standout release for electronic music fans around the world. Pre Order Here: https://fanlink.tv/HSBRG105

2Spade releases his second EP ‘H₩OARANG’ under K-Pop major SM Entertainment’s electronic imprint, ScreaM Records, as the talented artist continues rising through the global EDM and dance music scene. 2Spade first took the bass and trap scene by storm, making a name for himself through his prolific output and releases with labels such as Sable Valley, Dim Mak, and Circus Records, culminating in his debut EP ‘Shadow’ to tell the story of “becoming 2Spade”. With his second EP, 2Spade showcases his musical range with a much more vibrant dance and groove focused sound, while keeping his signature sound blending influences across hip-hop and dance music. The EP features distinctly Asian influences along with influences from the OG SoundCloud trap a decade ago, notably following 2Spade’s releases earlier this year of Asian-inspired anthems, such as ‘Patala’ with past12 on Yellow Claw’s label Barong Family and ‘Dragon Dance’ on UZ’s label Quality Good Records, as well as official remixes for K-Pop stars such as aespa and NCT 127. The EP also follows 2Spade’s tours across Asia in countries such as Japan, Thailand, and Myanmar and his Ultra Korea debut this year. With the premiere of his ‘H₩OARANG’ EP, we sat down with 2Spade for an exclusive interview: The Interview First off, congrats on the release of your second EP! Could you tell us more about the story that you wanted to tell through it? Thank you! Before starting the story, I want to talk about the name “2Spade”. 2Spade represents two “spades” each with their own identities “Hwoarang” and “Asura” – where Hwoarang represents a hero and Asura represents a shadow. This world-building through these identities originate from my duality as a person, which I wanted to channel into my artistry. I chose “Spade” because I thought the single Ace of Spades looked cool before deciding to base it on the 2 of Spades as the strongest card in the Asian poker game “Big 2”. Can you tell us more about the Hwoarang identity and sound? So throughout my life, I’ve felt like I had to “fight to survive” – you know, to just take on all of the hard things in life that you need to in order to reach your dreams. But I also learned that I can “live to thrive” – to also enjoy life, have fun, and good vibes. So this is reflected in the two personas of 2Spade, and Hwoarang represents my lifestyle. I listen to a lot of music genres such as hip-hop, R&B, pop, world music, and jazz. I also attend a lot of techno, tech house, and hip-hop music parties, because there’s not many bass music shows in Korea. So through Hwoarang, I wanted to incorporate my lifestyle into my music and express my artistic desires in a way that I couldn’t fully do through just bass music. Even before the EP, I’ve been releasing a lot of music through my ‘HWOARANG Hypeboi & Loverboi” flip series to showcase this sound. Your EP features a lot of Asian influences, can you tell us more about that? Of course, through my Hwoarang persona, I really wanted to define myself to the world as Korean and as Asian. The name Hwoarang means “Flower warrior” and refers to a group from the ancient Korean kingdom of Silla, of handsome young warriors who trained their minds and bodies, wrote poetry, and sang songs (essentially ancient Korean warrior idols). My interest in Hwoarang grew after I learned one of my ancestors was the leader of thousands of Hwoarang warriors, which made me proud and inspired to integrate my Korean roots into my music identity. As an Asian artist, even though so many people in Asia listen to electronic music today and there are so many big EDM festivals, usually headliners are all from US and Europe, never from Asia. I’ve been touring a lot around Asia and many Asian fans often tell me how they are proud to see someone from Asia like me doing what I’m doing and taking my music to the world. This inspires me to achieve my dreams so that others can believe that they can too. You released your EP with SM Entertainment, can you tell us about working with a K-Pop major? Even though there are few international Asian music stars in EDM, there are many through K-Pop. SM Entertainment is one of the biggest K-Pop music companies and also has the most focus on electronic music through their label ScreaM Records. ScreaM Records has released a lot of remixes of K-Pop songs by really dope artists like Nitepunk, ZHU, Habstrakt, and Valentino Khan through their iScreaM remixes. ScreaM Records has also been focused on rising Asian electronic artists too, and I’m really grateful to the ScreaM team for all their support in my vision. I’m excited to be joining them for the first ScreaM label tour in December! OK back to the EP, could you tell us about the story? So H₩OARANG is the first chapter showcasing my Hwoarang identity. To capture the Hwoarang lifestyle, I drew inspiration from five distinct times of the day – morning, noon, evening, night, and dawn – and translated that into music. I imagined what I would want to listen to when I wake up, leave my house at noon, meet up with friends in the evening, partying at a club at night, and finally going to sleep at dawn – a day in the life of Hwoarang. Last question, post EP what’s next for you? I’m really excited to be flying to the US next month for a SM Entertainment / ScreaM Records label tour. It’ll be my first time touring North America, and I’m excited to meet fans in each city and to showcase my Hwoarang sound on tour. Also I know many of my long-time fans miss the bass music I used to frequently upload on SoundCloud. I’m still making bass music and will be back with my best yet. My next release will be a full “2Spade style” EP on Barong Family to continue my story, and I’ll also plan to showcase the full “Asura” sound in the future too. My journey as an artist is really just beginning, and I hope many people can join me on this journey and enjoy following my story. Thank you! The post [Interview] 2Spade Talks ‘H₩OARANG’ EP, Asian Identity, Upcoming US Tour appeared first on EDMTunes.

The globally renowned electronic dance event, Don’t Let Daddy Know (DLDK), is gearing up for another unforgettable night at Amsterdam’s iconic Ziggo Dome on March 1st, 2025. Following the success of its sold-out tenth anniversary edition, this year’s event promises to surpass expectations with a stellar line-up and unmatched production. DLDK Amsterdam has become a melting pot for dance music enthusiasts from over 65 countries, earning its reputation as a premier global event. Known for its electrifying energy and immersive visuals, the 2025 edition will feature headline performances from some of the biggest names in the electronic music scene, including Axwell, Ben Nicky, Rebelion, Showtek, and W&W. Fans will also enjoy dynamic sets from artists like Seth Hills, Third Party b2b Matisse & Sadko, and supporting acts Jordan John and Thomas Newson b2b Magnificence. Full Lineup:Axwell Ben Nicky Rebelion Seth Hills Showtek Third Party b2b Matisse & Sadko W&W Tickets are already on sale for this monumental event, so secure your spot now for a night of unforgettable music and energy at DLDK Amsterdam 2025 here!

Heisenberg, the renowned minimal house label, marks a decade of groundbreaking music with the release of ‘Ghost Sequence’. The captivating new EP from label head Saktu offers a glimpse into the future of the innovative imprint. With three meticulously crafted tracks, it captures the essence of the label’s signature sound. Founded in 2014, Heisenberg began as an underground club, quickly establishing itself as a beacon for unique music and immersive atmospheres. It has since evolved into a label and global force that’s respected in the electronic music scene. Over the past 10 years, the imprint has released over 20 vinyl cuts and over 100 digital releases. Recognised for championing cutting-edge artists while hosting unforgettable showcases across the world, Heisenberg and Saktu have created a sizable mark with their trademark sound. ‘Ghost Sequence’ serves as a resounding testament to Heisenberg’s evolution and Saktu’s production talent. Each track on the ‘Ghost Sequence’ EP highlights a different dimension of the buoyant minimal house genre, navigating from hypnotic grooves to nuanced textures, delivering a sonic experience that will resonate with fans and DJs worldwide. Saktu describes the EP as “an important benchmark for the label, celebrating the past, present, and future as we return to Europe as our home and kick off 2025 with a fresh approach.” Featuring three expertly crafted minimal house tracks, Ghost Sequence perfectly reflects the labels distinctive sound, spanning refined grooves, intricate rhythms, and a profound atmospheric depth. Ardent fans and newcomers to the imprint will find a flavour of a well seasoned collective. Widely respected for his pioneering contributions, Sasha has been a key figure in the minimal house scene for over 25 years. With performances at some of the world’s most revered clubs, he has built a global audience and loyal following. As a producer under various aliases, Saktu boasts an impressive catalog of vinyl and digital releases on leading labels. His sound has garnered continued support from prominent figures such as Ricardo Villalobos, Sammy Dee, Thomas Melchior, Arapu, Raresh, Apollonia, Sonja Moonear, Marco Carola, Tobi Neumann, and Dorian Paic. Kicking off the 10-year celebration, Saktu and Heisenberg have a series of activations lined up to propel the label into its next decade with fresh momentum. Ten years is a remarkable milestone, but just the beginning, as they start to unveil a preview of what’s to come. “Ghost Sequence” will be available on Heisenberg from 19/12/25, promising to be a standout release for electronic music fans around the world. Saktu – Ghost Sequence EP Pre Order Here: Fanlink Tracklist: Ghost Sequence Circuit Muted Glow Find Out More & Follow Saktu | Instagram | Soundcloud Heisenberg | Instagram | Soundcloud | Bandcamp | Discogs | Spotify The post Heisenberg Announces 10 Years Of The Label With ‘Ghost Sequence’ EP appeared first on Electric Mode.

The six weekend tour is in partnership with the Music Venue Trust and will raise funds for grassroots venues and awareness for how more artists can do the same Continue reading...

Nvidia has pulled off a trick unheard of! The computer chip giant has added to their artificial intelligence contributions. It has developed a new generative AI audio model that can “produce sounds never heard before.” Named Fugatto, the model can synthesize “high-quality singing voices” from text inputs. Nvidia quotes its new technology as “a Swiss Army knife for sound”. Fugatto stands for Foundational Generative Audio Transformer Opus 1. Nvidia claims it is able to generate, transform and manipulate sound using text and audio prompts. This creates sounds like a trumpet barking or a saxophone meowing. The main capabilities of Fugatto is inclusive of creating music snippets from text prompts. It can also modify existing songs by adding or removing instruments, changing voice characteristics like accent and emotion, and generating entirely novel sounds. Nvidia exhibited the capabilities of Fugatto in a video, highlighting how users can generate sounds through prompts like: “Create a sound where a train passes by and becomes a lush string orchestra.” Fugatto also allows users to isolate voices from songs, among other features, as per the video. Fugatto uses ComposableART, a method that enables users to mix instructions not originally seen together during training. This indiactes users can request complex audio transformations, such as ‘text spoken with a sad feeling in a French accent’, as clarified by Nvidia. Nvidia also quoted that its research team from India, Brazil, China, Jordan and South Korea spent over a year developing a dataset containing millions of audio samples to develop Fugatto. It can be applied in multiple industries including music production, advertising, language learning and video game development, as per Nvidia. The post Nvidia Introduces AI Audio Generator ‘Fugatto’ – Can Produce Sounds Never Heard Before appeared first on EDMTunes.

“I stepped into Disclosure’s world and together we created an atmosphere that blends where we’re both coming from,” says the rapper Continue reading...

The ultimate festive gift, celebrating five decades of iconic nightlife—now available worldwide on Amazon. The Limited Edition Coffee Table Book Traces the Pacha Ibiza legacy – from its Nascent Stage, to its Present Glory. Celebrate the magic of the festive season by gifting a piece of Ibiza’s history with Fifty Years of Bliss, the ultimate tribute to Pacha Ibiza’s legendary five-decade journey. Now available on Amazon (Global), this beautifully crafted book is the perfect gift for music lovers, capturing the essence and legacy of an iconic haven for music lovers that has welcomed guests since 1973. Brimming with vibrant memories and the spirit of recent decades, it’s a timeless keepsake that brings the singular vivacity of Pacha Ibiza right into the heart of the Christmas season. Fifty Years of Bliss celebrates Pacha Ibiza’s legendary journey through a collection of historical photographs and heartfelt tributes. The book explores how Pacha Ibiza and the island have evolved together, shaping each other’s identities over time. Since the very beginning, Pacha Ibiza has become a vibrant part of the island’s history, offering a decadent oasis of celebration. It revolutionised club culture by blending music, production, and live entertainment, creating a unique atmosphere that fosters a deep sense of belonging for ‘Pacha Lovers’ worldwide. Inside the pages of the book, a definite collector’s item, a vivid and extensive collection of images chronicle the evolution of Pacha Ibiza. From its early days to its present day acclaim – along with sepia-encrusted memories from those who’ve lived the Pacha Ibiza experience first-hand – celebrities, DJs, notable personalities and employees all have nostalgic stories to tell. The book also recalls some of the most remarkable chapters of the Pacha Ibiza history – with headliners that have over the years, included Marco Corolla, Solomun +1, CamelPhat, Bedouin Saga, Robin Schulz, Ministry of Sound, David Guetta, Swedish House Mafia; and a priceless black book of others. Now available across the globe on Amazon, Fifty Years of Bliss is more than just a collection of memories; it is a celebration of the spirit and soul of Pacha Ibiza, an enduring icon in the world of entertainment and nightlife. Fifty Years of Bliss serves as a reminder of the passion and dedication that has shaped its legacy – one that holds the promise of so much more that’s yet to come. Fifty Years of Bliss is now available for purchase on Amazon. The post Fifty Years of Bliss by Pacha Ibiza Now Global via Amazon appeared first on Electric Mode.

Known for her sharp production skills and her ability to craft tracks that balance intensity with deep groove, Kyrist has earned her place as a leading name in the D&B world. However, her latest project ‘Plexus EP’ on Overview, marks a significant moment in her career. A labor of love, it’s not just a collection of tracks but a reflection of her personal journey through self-care, and a redefined relationship with creativity. After taking a brief hiatus from music to focus on her well-being, Kyrist returns with a fresh perspective, both sonically and personally. The project showcases a more refined and introspective side of her artistry, as she explores the balance between physical health, mental clarity, and the pursuit of musical excellence. As Kyrist looks toward the future, her story serves as a reminder that success in music doesn’t just come from pushing through every obstacle. It’s about taking the time to reconnect with oneself, recalibrate, and embrace the journey. In this interview, we get a closer look at her approach to music-making, and her vision for the future—both for her label- Kynetic Sound, and for the wider world of bass music. How are you? I’m doing okay. I’ve taken a sort of break from writing music just because I’ve been going through some mental health stuff and looking after myself is more important to me than trying to push through and just write music that’s not up to my standards. I don’t want to sit there and write half-arsed tracks, so I thought I’m just gonna take time out and go out into the world. Go on walks, connect with nature and get back into fitness. That’s really helped me mentally to just figure out life. Obviously, I’m a music producer and a DJ but it’s not all about that. For me, it doesn’t define who I am 100%. I’m trying to balance physical health, and then creativity at the same time. And I’m kind of getting there. Buy/Stream Plexus EP here. What have you been up to? Recently writing the EP for Overview has been quite a labor of love. I started it in April and then took some time out. Lots of the tracks were on the back burner and I just wasn’t feeling them. And then when I got back to it I did too much to one of the tracks. Pete and Ollie were like Pete and Ollie were like, ‘What have you done? We want you to go back to what you’ve done before and just polish it up a little bit.’ So I just got too in the zone which isn’t a bad thing. It’s slowly all coming together. Usually, these things would be done months before the release but they’ve made allowances for me which is really nice of them because they know what I’ve been going through. They’re just being really chill about it, which is really kind of them. Other than that I’ve been spending time with my family and seeing lots of friends again. I’ve been reconnecting with friends in my hometown who I haven’t seen in quite a long time. I’m spending a lot of time with my best friend of 25 years so it’s good. They’re the kind of friends that, you don’t see for a while but it’s like nothing’s ever changed. It’s important to keep your non-industry friends close to you as well. They keep you grounded… They know what I do and they see me online but I’m still Kirsty to them, I’m not anything huge. Some people come up to me and they’re like “Oh my God!” They get so overwhelmed, I’m just a regular human being, I’ll never get used to that. No matter the amount of success I have, I’ll still be the girl from Luton making music because I love it. So that’s what I’ve been up to really, just spending a lot of time balancing everything and not getting too overwhelmed with writing music. Obviously, this has been a big project for me so I’ve been trying to be on it every day, setting myself a few goals, like doing two hours and then moving on to something else and just making sure I’m not getting too overwhelmed with one thing for too long. Otherwise, I just lose interest When you first interviewed with us, you mentioned you got your first decks at 16 before you started buying D&B. Where did your love for D&B come from? That came from older friends at school- my best friend was two years older than me. We’d go to her house and she had a computer in a conservatory, she was one of the only ones who had the internet and this was in the days before YouTube. One of our friends would go on this website, called Hard To Find Records and play little 30-second previews of DJ Hazard and TC tracks. I was like “This is sick! I love this! After that, I think YouTube came around then and then UKF introduced me to a lot of music as well. When I was 12 I went to this DJ Academy in my hometown with my best friend where they taught us how to mix on vinyl. I then went back there when I was 19 that’s when they taught me how to produce, but it was 140 and dubstep at first. I wanted to make drum and bass because I loved it so much so a guy there just showed me the basics. I went to college and there was a record shop there, when I was on my break, I’d always go in the record shop and just sift through all their drum and bass vinyl and built up this big collection. I spent all my money every lunchtime on just buying vinyl and then go home and mix. I connected with people all over the place, there were guys that I’d made friends with in London, I went to see them every now and again I’m not connected with them anymore but it was a big, important thing for me to branch out of my hometown Let’s talk about your label and why you started off- how it’s going? During lockdown, there was absolutely nothing to do so I needed to have some sort of income, there were no gigs and I thought what better way than to just make the music and just put it out on Bandcamp and get it on Spotify? It was just a way for me to still be creative and also keep things ticking over, keep my creative mind working. I already had a connection to Triple Vision in The Netherlands from working with Dispatch. The label was originally called Kyrist Music but I didn’t really like the name so after a couple of releases I changed it to Kynetic Sound. It is linked to the way I think about music because I used to dance when I was younger. When I write a track I ask myself “How are people gonna move to this? It’s a bit of a weird way of thinking about it, but, I just think about movement and shapes and things like that. I wanted to get some more artists on there. So far we’ve had Revaux, Bidl, Infrah, Clearance, Ed.it & Creatures and Minor Forms. So it’s still in its infancy, I’d say, this year, we’ve only had one release which was back in January but that’s because I didn’t really want to rush things. I don’t want to release music that’s not up to my standards. I’m just going to wait until the time is right. I’m not under any pressure from anyone apart from myself. With Kynetic Sound I just want to release music I love. My favourite era of D&B is 2010 to 14 that period, when Critical Music, Shogun Audio and all those labels were at the pinnacle. That’s the kind of sound, I wanted to push out again. I don’t give a s*** if it’s not trendy or, it’s not Current. I’m not really in any rush to be competing with anyone, I don’t want to be the next 1985 or Critical, I’m just happy having an output on my own imprint. If I’ve got a track that I think is really good but no other labels want it enough, I’ve created the space for that sound on my label. I don’t have to answer to anyone, I’m not on anyone else’s schedule. it can happen quickly as well, I can write a track and then get the artwork done, get the master done, and then a month and a half later, it could be out. Rather than waiting for a label and then that could be six months because you’re in a queue of other artists. Sounds good, releases come when tracks are ready. I think it means that there’s more quality control because nothing’s been rushed for the sake of a schedule… I’ve been guilty of that in the past, to be honest. There are so many tracks of mine that I listen back to, and I wish I’d taken more time to refine that one sound or just learn a little bit more about this one thing. But it’s a learning curve, isn’t it? I wanted to talk about women in D&B… When I first was introduced to you, I was working at DJ Mag and there were, hardly any female producers being pushed out there, I got an email making a big fuss about how you were a woman, I reviewed your track but refused to mention you were a woman, I felt like the amazing music should speak for itself. Knowing the importance of pushing females I may have done it differently these days. I’ve always thought of you as one of the people who changed the curve for Women in D&B. Do you think times have changed since your first release? Yeah, I’d say so. I released on Dispatch in 2017, things are definitely coming along. I don’t ever feel like I had any sort of resistance from anyone in being let into the scene. People were just coo face to face, real human interaction, but online it’s different. People are more surprised then rude, or they were back then at least. They’d write on YouTube comments “Oh my God, this is a girl. Wow!”. We can also make music, haha. Those kinds of comments always made me just think that the poster must be very narrow-minded to just think only men can succeed at this. In terms of how far things have come, I think the biggest shift was definitely during Covid, and lockdown. All these women DJs sort of came out of the woodwork and I thought that was amazing. What better time to, just get yourself out there and just be like, “Hey, I’m a DJ as well. I want to do this and I’m serious about it.” ‘There are so many amazing women and non-binary producers in the scene and I’m more than happy to big them up and let them know I rate their music. We need to be building each other up and supporting our peers!’ Do you think there’s more acceptance? It’s more commonplace now to see women online ups now. There’s still the odd promoter. That just doesn’t bother. I think it’s really s*** of them to not even branch out and look for new talent or think “What woman or non-binary person would fit on this line up?” It just requires a little bit of homework on the promoters part to find someone that will slot in. . I guess that leads me on to Dynamics. I don’t really have a big part to play in Dynamics. It’s more Enada’s brainchild. I used to live with her and we went on holiday to Croatia, and we were sat on the beach and she was just talking about women in 140. And we didn’t really get very far. She was like “Something needs to be done about this, I’m gonna start a database.” She found out there was already something like that somewhere else in the world. So she decided to build on the idea, create a website and then build artist profiles and have a bio and their soundcloud links on there and how to contact them. Then there could be no excuse for promoters- there’s this is a tool that you can use, so do with it what you will? You’ve got all these people, you can narrow it down, you can search by location, genre of music, you can really refine it to what you’re actually looking for. People have had great bookings come off the back of it. Respect for Enada’s and everyone’s work… I wanted to talk about your production style- dark and techy and I always find crazy how it’s the kindest, smiliest, happiest artists who make the darkest music. How do you get into that mindset? Are you just sitting smiling away in the studio making these dirty beats? I honestly don’t know where it comes from.I have no idea. This is going to be really hard to describe but, the way I think about music is I try to transport myself back to when I used to go out when I was younger to Cable. I think about the music that I was listening to, and how it made me feel, the vibe of the crow. And I try to recreate that- give my music that atmosphere and vibe. So people can really get in the zone and get in their heads when they listen to it. I try to imagine it as a big sonic palette, all of these different textures. I describe music like art . When someone is creating a painting, they’ve got all the layers. They’ve got the stuff in the background, then they build up all the layers of the picture. The thing that they want you to take the most notice of will be at the front. That’s how I imagine putting music together.The drums will be at the front because they’re the driving force of the music but then you’ve got all these different other things that carry it through, all the atmospherics like the pads, they could be at the back because they’re quiet and then they’re really spacious. That’s the way I visualize it- to think about it like that more of a bigger picture rather than just focusing on one sound. It also comes from just hearing cool sounds as well. Then an idea just snowballs. I’m mostly sample-based, I do spend time actually making basses as well, but I get more enjoyment out of recreating, something new out of something someone else has created before. So some people have a real issue about using samples, but drum and bass is sample-based. Same as hip-hop, it all comes from samples, being chopped up and rearranged. That’s he way I like to do things and also it saves loads of time. If some people sit there and they have fun making kicks, and snares, and all that it’s great for them, but it’s not for me. I like to use other people’s sounds and build on them. I’ll often sit there and say “How can I make this or top this one bit of a bassline out?” Then I’ll twist it and put loads of effects and loads of weird stuff until it comes out as something completely new. That’s a big part of my production, but that’s what makes every producer unique, because we’re not one person, even if we’re given all of the same samples the finished track is going to sound completely different. What is your production process? Do you find the samples first and then kind of build on them or do your ideas come when you’re out walking or taking a shower? Sometimes I have an idea. And sometimes, I haven’t done it in a while, but I used to get out the recorder app on my phone and sing a baseline into my phone. I thought it would sound cool but then when I listen to it back, it doesn’t make any sense. So I have done that but generally it starts from hearing a pad or an effect or something, and then I’ll put some drums behind it. Just placeholder drums to get a feel of how it is with the beat. And then I’ll find a bassline that I’ve made before and try that in there. It’s just a case of trial and error, really. Trying lots of different sounds in the project and seeing which one sticks and which ones are good and which ones aren’t. Sometimes they come together really quickly. Sometimes it can take a few days or a few weeks, but I do try and persevere with stuff. I’ll never abandon a project completely, I’ll come back to it because there’s potential there. If something doesn’t work I can take those sounds out and try them in a different project. There’s never really any set formula for how I write music. It just depends on how I feel on the day, or what I’ve been up to or what I’ve heard. I don’t really listen to a lot of drum and bass in my spare time. I listen to 140, UKG, house, disco, soul and funk, loads of different stuff. And there could be a sound in a track which I think is really cool.I’ll try and find something like it or try and recreate it in my own way. The only thing that I’m very nit-picky about is colours in the project. I have to colour code stuff, all the drums will be red, the kicks and snares will be red and then it’d be like hi-hats will be yellow and then the basses are always pink or purple. That is always the same and that’s never changed since I started making music. I’ve worked with people before and their project is all the same colour. How do they find anything? It just hurts my head looking at their projects. Let’s talk about your Overview release… I’ve been in talks with Pete and Oli for ages about doing a full release with them. The link up with Inside Info happened because I’ve known Paul for years, I went todo a studio day with him and we came up with some really cool ideas. That’s how the track ‘Trivium’ came about, I sent it to Pete and Ollie and they loved it, and there’s an Inside Info remix on there too, which I like a lot. Then there’s the solo tracks. The first one I sent them was ‘Plexus’, I wrote that about two or three years ago, but they liked the vibe of it. I did too much work on and I just went too far. All I needed to do was just get rid of some s***. But it ended up being the first one that they actually signed and we built the release around it. And then the other one ‘Mutation’, I wrote that really quickly. The other tracks were ready, and Peter asked “What else have you gone?” I’m like “S***. I don’t have anything really substantial to show you guys!” So I had this idea on my laptop which had potential so I just kind of built on it a little bit. I sent them out a two minute demo and Pete was like “Yes I love that!”. So I carried on with it. That’s how it’s come about but I love working with the overview guys, they’re so lovely. And they’re really supportive as well. They do events all over the shop, so it’s awesome to be involved, and become a core artist, further down the line because I do intend to do more releases with them. What should we be talking about more in bass music? I’d probably say mental health, and just looking after yourself. I feel like producers and DJs can get so caught up with making music and that being there is their “thing”, they kind of lose the sense that there’s more to life than this as well. And that’s something that I’ve developed over the years of this. Just getting older. I appreciate things that are outside, real world experiences and family and friends and try to not only be so focused on my goal, which is a career. You shouldn’t forget where you’ve come from, what you’re actually about. You’ve got to look after your own sanity, and keep people around you that make you grounded- appreciate those people. Drum and bass is for the clubs, so it’s easy to get caught up in drugs and alcohol, and things like that. So, taking time away from that is really important as well. I know so many people that have got addictions from being a DJ, people that can’t play out without doing drugs. And I just find that really sad. That there’s more to life than music. Take some time out and have a breather. Don’t forget there’s a world outside. Go and see it.

Last year the total revenue from recorded music, publishing and royalties reached $45.5bn compared to global box office revenues of $33.2 billion Continue reading...

Are you ready to showcase your DJ prowess and create a mix that stands out from the crowd? Artists & Relations, Rent Sound System, LabelRadar and Lumberjack, the French DJ and producer duo, invite DJs and music enthusiasts to participate in the highly anticipated Lumberjack Mix Challenge, a unique competition where talent and creativity take center stage. This exciting contest challenges DJs to craft an unforgettable mix featuring Lumberjack’s latest banger “Welcome to the Game”. What’s at stake? The winners will not only receive prestigious recognition from Lumberjack but also awesome prizes from brands like Beyerdynamics, ACE Studio, Steinberg, Pitch Innovations, Bleass, D16Group, Meldaproduction, GForce, DH Plugins, Ujam, IK Multimedia and more! Who can participate? Whether you’re a seasoned DJ or just starting your journey, the Lumberjack Mix Challenge is open to all skill levels. If you have the passion and creativity to create a show-stopping mix, this is your chance to shine. How to Enter: Visit the official contest portal : https://bit.ly/lumberjackdjmixchallenge Download Lumberjack’s latest banger “Welcome to the Game”. Upload your mix through the portal by the submission deadline.Deadline for Submissions: Don’t miss your chance to participate – entries close on December 11, 2024. Why Enter? Gain valuable exposure to an international audience. Unlock prizes and opportunities to grow your career.Lumberjack, known for their high-energy performances and top quality productions, are thrilled to give back to the music community with this challenge. “We want to discover fresh talent and celebrate the art of mixing,” they shared. “We’re excited to hear how DJs play our music in their own unique way!” Ready to rise to the challenge? Visit the contest portal today to get started: https://bit.ly/lumberjackdjmixchallenge For more updates, follow Lumberjack and Artists & Relations on social media. About Artists & Relations: Artists & Relations connects artists with audio brands to unlock exclusive opportunities and collaborations. We also help brands and labels promote their products and releases through creative partnerships and innovative marketing strategies. About Lumberjack: Lumberjack is a dynamic DJ and producer duo from France known for their infectious beats and high-energy tracks that captivate audiences worldwide.

In their new single “RAMA,” which is out on Dreamstate Records, Giorgia Angiuli and Shanti People have a profound musical dialogue pushing the boundaries of electronic music’s spiritual potential. “RAMA” is a spiritual trip imprinted in sound, not only a musical track. Working with Shanti People pushes the work above a standard electronic music release and creates a transcendent experience that links modern electronic production with age-old spiritual practices. The song moves like a well-crafted ritual. While pulsing psy basslines give a grounding, almost shamanic beat, whispered chants produce an instant sense of closeness and reflection. Volatile lysergic guitar-like riffs dance around ethereal melodies to produce a musical environment that is both incredibly enticing and confusing. Described as “dizzying vox,” the vocal parts give a human touch that keeps the tune from being entirely abstract and preserves an emotional link with the listener. Artist’s Genesis: Angiuli and Shanti People Giorgia Angiuli Originating from Puglia, a southern Italian area renowned for its rich cultural tapestry, Giorgia Angiuli came from a classical musical background that forms the basis of her original artistic style. Her path from classical instruction to electronic music invention is evidence of the transforming ability of musical inquiry. Angiuli contributes a multi-instrumentalist’s sense to her work, therefore transcending conventional genre lines, unlike many electronic artists who approach music from a merely technical perspective. Drawing on psytrance, techno, house, and pop, her sonic pallet is a vivid mosaic that produces a sound both recognizable and yet fresh. The electronic music scene has not overlooked this mixed attitude. Working with well-known musicians including Rodriguez Jr., Dantiez Saunderson, Teenage Mutants, and CIOZ has confirmed her reputation as a flexible and creative producer. Shanti People The Ukrainian group Shanti People offers an original viewpoint on this cooperation. Their strategy of combining modern psytrance and techno with old chants reflects Angiuli’s own genre-defying attitude. Having played legendary events such Ozora, Sunburn, and Ikarus, Shanti People have become known as leaders in producing dance floor-ready, spiritually significant music. Their remarkable array of partnerships, which includes heavyweights like Vini Vici, Mandragora, and Skazi, reflects their standing among the worldwide electronic music scene. Working on “RAMA” with Giorgia Angiuli marks a meeting of musical brains dedicated to stretching emotional and spiritual limitations. The larger background of RAMA At a remarkable junctural point in electronic music, “RAMA” arises when the lines separating spiritual practice, cultural inquiry, and musical invention are blurring. Not only are musicians like Angiuli and Shanti People producing music, but they also help listeners to broaden their knowledge of sound, rhythm, and consciousness by means of experiences challenging their perspective. This piece is a discussion between civilizations, between traditional and modern musical styles, and between the physical and spiritual spheres of human existence, not only a musical partnership. The post Giorgia Angiuli and Shanti People ‘RAMA’ appeared first on The Groove Cartel.

The longstanding music venue said its future is in “jeopardy” after plans to build housing nearby were approved Continue reading...

East London artist Charlotte Archer is set to present her most ambitious art exhibition yet at Fabric nightclub in London on December 6th. Celebrating its 25th anniversary, the iconic venue will host an art event unlike any it has seen before, spotlighting the vibrant and influential UK underground rave culture through a unique blend of art, sound, and visuals. Charlotte Archer, a self-taught multidisciplinary artist, began her artistic career in 2015 in Ibiza, creating murals and installations for the island’s largest nightclubs including DC-10. She has since amassed an impressive portfolio of portrait and abstract paintings, showcased both at her solo exhibitions and through collaborations with well-known record labels and DJs. Her innovative fusion of art and music has led to successful exhibitions across Europe including Barcelona and London, garnering attention from prominent figures in the music industry. The upcoming exhibition at Fabric promises to evoke nostalgia and joy, celebrating the significance of UK-born genres like Jungle and UK Garage, both of which continue to thrive three decades after their inception. Archer’s artwork captures the essence of once-in-a-lifetime connections made on dance floors and the escapism and freedom associated with live music events. Music legends from UK club culture that Charlotte has painted for the new exhibition include: Heartless Crew Stevie Hyper D, the legendary MC, following the release of his recent documentary ‘Hyper: The Stevie Hyper D Story at cinemas this month Mike Skinner Kano GQ DJ Randall, British jungle and drum and bass DJ and record producer who sadly passed away in July aged 54 In addition to Archer’s paintings, Fabric will host a collection of works of respected photographers, fashion archivists, and artists who have inspired Archer’s project. Contributors include: Rhiannon Isabel, a 90s/00s fashion stylist and archivist Tristan O’Neil, a photographer renowned for capturing the 90s rave, D&B, and jungle scenes Junior Tomlin, a famous rave event flyer artist The evening will be hosted by Mighty Moe from Heartless Crew, with performances by DJ Jamie Rodigan, Mighty Moe (Heartless Crew), and Normski. This event offers art enthusiasts, music and culture aficionados, and event goers a rare opportunity to experience the intersection of art and music in one of the world’s most celebrated nightclubs. The exhibition will run from 17:30 to 22:30 in room two at Fabric, ahead of the ‘Return of Playaz’ party with Drum & Bass legends, Hype and Hazard, in the main room. WHEN: 17:30 to 22:30pm on Friday 6th December 2024. TICKETS: £5.50 per ticket available via Resident Advisor Here The post Drum & bass and UK garage legends to feature in new ‘UK Underground Rave Culture’ art exhibition at Fabric appeared first on Decoded Magazine.