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Friction walks in. He’s finishing something on his iPad before tucking it away with a friendly greeting, a little hoarse after just getting back from a big USA tour. K-Tee appears at the same time from a different entrance, and we get seated around waters and ginger tea. This morning, we’re in business mode. There’s a late-summer sun peaking through the glass panes and reflecting off Regent’s Canal. There’s an ambience of 11am café chatter and clatter. The conditions are ripe for a deep dive on the last 20 years – the different eras, the good times, the challenges, and the community that keeps making it happen. We pull in our seats as I hit record, and I ask them: Let’s start from the top… 2004 marks the point of origin for Shogun Audio. Founded around a decade after jungle and drum & bass first took root, the label sits among that second generation, reinforcing the bedrock laid out by the likes of Renegade Hardware or Metalheadz. Harking back, it was a bubbling scene of originators and inspired newcomers – and among that rising cohort were a couple of fresh faces in Ed Keeley (Friction) and Keir Tyrer (K-Tee). Emerging as one of the most talented DJs in the genre, and with a string of music on labels like Dillinja and Lemon D’s Valve, or Doc Scott’s 31, Friction was quickly becoming sought after from promoters and ravers across the continent. Amid all the surging talent, labels, and commerce, drum & bass was growing in new directions: More sub-genres establishing, super-clubs emerging off the back of new licensing laws, and DJs gaining celebrity-like fame and fortune – the table was set and those in the industry were filling their plates. While Friction could have continued to dine like the rest, with offers of exclusive deals from top labels, he had a vision that was too strong to ignore. “What do you think of ‘Shogun’” Ed posits one night in the pub. “Yeah, that’s pretty cool mate, why not give it a go?” replies his eventual business partner Kier. Then comes the logo: the shape of a human figure in Japanese typography style – designed by Stewart Procter AKA SP:MC, the future voice of some of Shogun’s biggest tracks and most memorable nights. The origins are a patchwork of connections, favours, and friendships – and the first release continues that thread. Jay Frenzic, the original owner of ATM Magazine, worked with Ed on a music fanzine. The connection led to Shogun’s first release, as Jay was able to get the samples of ‘R-Type’, the classic jungle tune produced by Jo in 1993. The two worked on a remix together, and lo-and-behold, Jo approved it for release 001 on Shogun Audio, along with the original. A killer logo, concept, and first release wasn’t where Ed stopped. He found a natural talent in A&R. With the help of employee number two Dave Kennett (one half of SpectraSoul), working from his lounge, and communicating via. AOL instant messenger, Ed struck gold left, right, and centre with early tunes from Break, Noisia, and Commix. However it was sub-label SGN:LTD, a space he started for up-and-coming artists, where the signings of some true label legends would be made. A young Alix Perez & Sabre’s ‘Solitary Native’, SpectraSoul’s ‘Tempest Dub’, and Icicle’s ’Time To Remember’ would all mark the start of something special not only for the label, but for the genre at large. With things taking off, the workload began to take it’s toll. Dave lent a hand in those initial years, but the label needed more rigour. At this time, Keir, who’d had some releases with the label already and a strong friendship with Ed, came to him with a proposition to take the label to the next level. Keir would provide a seasoned background in marketing and business, combined with a passion for the musical direction that Ed was taking Shogun. “It got to the point where we were releasing so much, and Kier came in to help that business side of it … I knew he knew the music, he’d been making tunes for years”. The dynamic became an immediate win for the label – evidenced by the releases and events to follow… It’s 2008. Subwave’s techy, rolling 12” ‘Think / Indigo’ marks the 21st release for Shogun, and the first release under Keir’s tenure. It sits near the start of a 5-6 year era cherished by many, and truly led by Shogun. With solid foundations across their roster, Ed and Keir began to focus further on artist nurturing, and encouragement of bigger projects – this led to a string of era-defining releases including one of the most memorable drum & bass albums of all time: Alix Perez’s deep, cutting-edge 1984. With tracks like ‘Forsaken’ still getting played regularly in 2024, this album does more than stand the test of time, it continues to set a standard young artists aspire to. It also neatly presents many of the underground styles at the time – the maturation of liquid, the popularity of dark and glitchy drum & bass, and the innovation of the autonomic and halftime sounds. Following 1984, came two more crucially impactful releases: starting with Icicle’s Under The Ice in 2011. Shogun became known for this minimal, technical sound, and Icicle is the leading culprit – driving the genre forward and breaking the boundaries of music production in the process. The Icicle brand was cold, calculated, and vast. And much like Perez’s ‘Forsaken’ (but in the complete opposite style), Icicle’s ‘Dreadnaught’ gets the exact same love more than a decade later. Then it was SpectraSoul’s aptly titled Delay No More the following year. Which Ed coincidentally had just been re-listening to “It’s crazy how SpectraSoul used to be able to manipulate a sample and create a real emotion from the track”. SpectraSoul were leading the modern liquid drum & bass sound on tracks like ‘Sometimes We Lie…’ and of course getting stuck into more fringe sections of electronic music on ‘Away With Me’ and ‘S.O.U.R.’. “… it’s an unbelievable bit of music. I think it actually doesn’t get the credit it should. Beyond the albums, you’ve got countless classics from across the sub-genre spectrum that define this moment in drum & bass: Spor’s ‘Aztec’ (2009), Total Science & S.P.Y.’s ‘Gangsta’ (2010), Rockwell’s ‘Full Circle’ (2010), and the ‘Evolution’ series – which were always a buy-on-sight, loaded with four killer tracks apiece. Around the world, in those late-2000 to mid-2010 years, there’s not a chance you could’ve attended a drum & bass night and not heard dozens of these tracks. It was domination. For the lucky ones living in London and the UK at the time, it was the label nights at The End which brought it all together – showcasing the forward-thinking, 360-degree style that Shogun became famous for, and still retains in 2024. Ed recounts “I couldn’t believe it when we got The End … it really kick-started the Shogun brand from an events point of view … and our events really set the bar high.” And once The End was forced to close its doors, the nights moved into Cable. “When I look back on nights there, they were unbelievable. Everywhere I go around the world, so many people still talk about Cable.” Shogun events had huge power in the way they brought cohesion to all the various branches of sounds that were coming out, providing both familiar and fresh experiences to the crowd. But it was all presented as the sound of the label – amid smoke, red laser lights, and a great-big Japanese-inspired logo that only has one translation: This is Shogun. Shogun and its roster have always leaned into experimentation: from Rockwell’s IDM-influenced rhythms, to GLXY’s dabbles in UK garage. While it’s not forced, it’s not a coincidence either, it’s a product of Ed and Kier’s management – providing artists with a platform to express their artistic desires on their terms. From the size of the project, to production techniques, to musical style, to artwork and supporting assets – there’s a mutual trust between label and artist. Art comes first, but a gentle guidance of marketing savvy and business backing from the label is always present. This is how the classics are reached: creators create, labels nurture. The anchor of such an incredible legacy allows for this artistic flexibility among newer signings. In conversations with Shogun’s current roster, an unprompted red thread of admiration for these classics emerges. Sustance, for example, takes big inspiration from the previous era: “… I grew up listening to Shogun tunes – old Icicle and old Alix Perez. I feel lucky to be part of something like this. For the drum & bass I generally like and produce, it’s more minimal, stripped back, soulful sometimes. When it’s not soulful it’s techy but in a sort of ‘less is more’ way. Definitely inspired by that early Shogun sound.” Pedigree keeps that standard of excellence high across the modern Shogun catalogue. But it can’t all be the same as before. This is a very different world, where adaptation is a necessity. “Evolve or die” says Kier when discussing some of the challenges the label has faced. He recalls their distributor calling him up about “this new Spotify thing” and whether he wants to get involved. Ed remembers it too: “I was thinking, man, we’re never going to make any money out of that. How are we going to live?”. But the experimentation ethos prevailed. They leant-in early as Kier recounts the story, astutely describing the financial dynamics of traditional vinyl distribution versus streaming. “Today you don’t get the big up-front lump, but you get paid for the rest of your life for the copyrights on those songs”. But the mastering and marketing costs remain up-front, creating a cash-flow and immediate return on investment issue. It was their lean-in approach though, that allowed for these woes to be largely avoided and certainly overcome by now, while labels that hesitated continue to feel the pain in full. Keir catches himself and jokes “that’s actually quite a boring financial conversation”. Aware that he could go on for hours, the conversation switches focus. The events landscape is another area of substantial change. The End and subsequently Cable fell victim to the classic, capitalist case of more profitable redevelopments. But these were just two of many discarded venues, then Covid eventually joined the (anti) party and added gasoline to the fire. With events providing such a glue to what Shogun was all about, they stood to lose a crucial part of their business and marketing strategy. But again, being entrepreneurial was the modus operandi. A decorated corner of their Brighton office became the genesis of Shogun Sessions during Covid – streamed globally, providing an outlet for the label and a bit of light in the dark for fans. It wasn’t a new idea, but the execution was a cut-above. Views and streams were trending upward, the feedback was good, and it was becoming known as the ‘boiler room of drum & bass’. As Covid restrictions were lifted, what was a closed door affair suddenly became open to the unshackled public, and the Shogun Sessions concept was taken to a new height. Still bringing the best DJs and MCs in the genre, still live-streamed and recorded, but now with the energy of 300-plus ravers in the room. Shogun were not only back hosting events, they were giving artists an elevated platform to showcase themselves locally and globally – with one of the major success stories being Lens’ November 2023 set with Tempza. Kier recalls it as a special moment for the series: “She went viral off the back of it. Suddenly there were clips everywhere raking up tens of millions of views. And we were like ‘oh shit ok, when this goes, that’s what it could be’. Yeah, her set was a really cool moment”. It goes back to what Shogun are always trying to achieve – setting their artists up to maximise their abilities, be themselves, and get in front of an audience that loves what they do. “… whether it’s a viral YouTube video, or releasing an album like 1984, that’s the way the business has grown. Whatever is right for the moment in time.” Kier and Ed welcome the new technology, the new conventions and norms, and they use it to their advantage. As streaming eventually became the dominant mode of consumption, Shogun adapted to the new way of releasing music. Music discovery now comes from playlists and algorithms, so releasing a few singles followed by a 12-15 track album often means so much gets lost in the machine or skipped amid dwindling attention spans. Drip-feeding more singles and growing their roster, Shogun’s release rate has skyrocketed as a result “It took 4-5 years to get from first release to number 21, to now when we’re doing almost a release every week”. Combined with more opportunities to release, comes more tracks being sent to the Shogun inbox – further enabled by the lowered barriers of entry to music production. With Pete (Deadline) now on board as Head Of Music, he, Ed, and the rest of the A&R team tackle the job – finding and nurturing new talent and maximising the output of the roster. As quantity goes up, quality remains uncompromised, and their ability to reach multiple ends of the sub-genre landscape is only enhanced. The past decade has seen the label hit the target on a range of new names and sounds. From Emily’s Makis’ instantly recognisable vocals, to Javeon’s soulful R&B-inspired lyrics, to Duskee’s steezy-smooth bars – the modern voice of Shogun is in outstanding shape. Each of these talents, alongside IYAMAH, Zara Kershaw, Catching Cairo, and too many more to name, hop on tracks across the release schedule to provide more of that Shogun glue. While singles are the new normal, there is room for tradition if that’s the vision. The beloved, full-length albums did not stop in the Perez-Icicle-SpectraSoul era, they inspired others to follow. “Part of what we can do with our artist-centric approach, is give artists the freedom and the structure to write albums like Delay No More, or the Technimatic albums, or GLXY’s Research & Development. We’re here to support their vision and make those things happen for them”. That support couldn’t be more evident than with Pola & Bryson’s 2021 album Beneath The Surface – 15 tracks including 6 singles of their patented ‘liquid sculptures and big boy rollers’, woven together by a detailed concept, and finally packaged up in a beautiful box-set. The album is a journey through styles and feelings, and marks a crucial release among this iteration of the Shogun roster. It’s got the characteristics of a classic, with tracks like ‘Friend’ and ‘Under’ keeping a long shelf life. Even though the marketing and distribution are beefed up for the modern era, the inspiration from the classics is evident as Jack (Pola) muses on the responsibility they have after eight years with the label: “To suddenly find ourselves in that position, where it’s now our job to take the reigns, was a bit daunting. But it’s been exciting. And a very proud experience”. Presently, the label is firing. A dynamic roster of highly talented and adored artists, one of the best event series in the world, and an approach that’s risk-taking but backed by an incredible legacy. 20 years in, Ed and Kier are just as passionate about presenting listeners and ravers with their ever-evolving brand of drum & bass. They have a deep understanding of what this music means to people – how casual listeners can be transformed into D&B heads. They’re constantly making tweaks and decisions to strike the balance between continuous improvement and respect for the heritage. As we discuss the commercialisation of the genre – and how that’s accelerated in recent years – there’s acknowledgement that Shogun does contribute. But that’s not a negative thing as they see it, it’s part of that journey so many listeners will take to eventually dig deeper. That’s why there’s such emphasis on a range of sound. “If you listen to ‘Phoneline’… brilliantly produced liquid drum & bass with a vocal and topline and catchy melody. That’s one end. And then on the other end, we can release a naughty little underground Sustance tune. And people don’t think that’s weird … those are the boundaries for us…” . As purists themselves who love all sides of the genre, Ed and Kier are hyper-aware of the dangers of selling out. But once again, commercialisation is a macro-environmental factor that’s going to occur whether you embrace it or not. “Yes there will be some absolutely horrific drum & bass that comes out of it [commercialisation], but you’ll also get people to come into it, and then find people like Sustance or GLXY”. They don’t moan about change, they embrace it and find a route to make it work for them. Tied to the commercialisation conversation is the globalisation of drum & bass, another area Ed and Kier are optimistic about. There’s a confidence from the two, that the label and wider genre are too established, the roots are too deep to lose that underground pulse. “I think we are all ready for it, we’ve been talking our whole lives about ‘wouldn’t it be amazing if this thing went global’. Well, every time we’ve got there it’s like ‘ooh, it’s a bit scary’. But now, 30 years in, it feels like ‘yeah, we’re ready’”. The future of music is hazy at best – changing exponentially from the culture, to the technology, to the way it’s experienced. No label or artist is immune to the uncertainties. But with what Ed and Keir have built, coupled with their relentlessly positive approach, they remain in position to keep adding moments of lore to drum & bass for another 20 years and beyond. We depart the café and make a short walk over to meet the rest of the Shogun roster. On the agenda is a photoshoot. As each artist rolls in, the theme of community (touched on throughout the interview) emerges – it’s hugs, hearty handshakes, and lots of laughter. They eagerly discuss each other’s next projects, tours, and reminisce on some of the summer’s festival moments. Ed and Kier’s life’s work is all here personified. Jon (GLXY) reinforces the notion: “We’ve kind of all grown up together. We joined about a year after Jack [Pola] & Harry [Bryson], and have been friends with them for ten years. It’s just like, everyones just come together. It’s beautiful man.” The lunch spread has been mostly devoured, and as the shoot wraps up, the vibes are too good to end it there. A rooftop in Hackney, on potentially the last truly hot summer’s day of the year kept the discussions rolling. “They’ve always just held me like family. Shogun, to me, is community and family” says Emily Makis after grabbing content for an upcoming song. Fresh off her single ‘Be There’, intended for the 20 Years of Shogun compilation, IYAMAH reflects “What does Shogun mean to me? It’s definitely community. It’s like-minded, genuine people … It’s really nice to be part of this thing. Shogun are just like the kings of cool. It’s weird because there’s so many artists, but they have such a universal similarity when it comes to sound. A super well-produced fusion between clean and dirty”. From old signings to new, from the founders to the newest members of staff – the Shogun ethos permeates. Calling it a day, the 20 Years of Shogun celebrations certainly don’t stop there. The 20 track compilation has just been released in full, including a limited-edition box set, vinyl, and coffee table book – shaping up to be another classic VA output. And events are scheduled throughout the final weeks of 2024 – where Ed promises something particularly special for his set with SP:MC + guests at Troxy, London. One last look back at the Shogun team leaves me thinking; there’s way more to come.

With fast-growing British-Gambian rapper Pa Salieu, multi-platinum duo Disclosure shares their new single “King Steps,” an incredibly exciting partnership. Released today on Disorder/Capitol Records, the larger-than-life track is Disclosure’s first fresh music since receiving a GRAMMY® nomination for their chart-climbing summer blockbuster “She’s Gone, Dance On.“ Built on their fiercely creative sound design, “King Steps” enhances Disclosure’s long-standing reputation of boundary-pushing collaborations with such diverse acts as The Weeknd, Lorde, Aluna George, Aminé, slowthai, and Sam Smith (who featured on their platinum-certified breakthrough single “Latch, a No. 7 hit on the Billboard Hot 100). This time around, brothers Guy and Howard Lawrence present a very contagious anthem driven by the supremely commanding vocal work of Pa Salieu — one of the most dynamic new voices in Britain’s developing hip-hop scene, whose widely praised new project Afrikan Alien offers “a new blueprint for pan-African pop,” according to Pitchfork. How the track was born Pa Salieu joined Disclosure onstage to premiere a live version of “King Steps,” immediately generating great excitement for the music, during their concert last month at The Warehouse Project in Manchester, UK. Disclosure’s production provides a strong background for Pa Salieu’s head-turning lyrical ability with its explosive collision of aural elements — fast-bouncing beats, frenzied textures, dizzying synth that feels beamed in from another dimension. Rooted in a bass-heavy, profoundly hypnotic groove and core elements of UK Garage, the outcome is an immediate hit of pure energy and maximum pleasure. We’re excited to continue showcasing the darker, harder side of our sound with “King Steps.” UK Garage has always been a core influence in our music, and it’s incredible to see its impact growing so much over the past year. Collaborating with Pa Salieu—who’s delivering some of the best music coming out of the UK right now—makes it the perfect time to release this track. – Guy Howard Pa Salieu has returned following a difficult stint of incarceration with a fresh sense of direction and channeling of his thoughts into his music as he challenges limits in both sound and narrative, his latest songs, “Belly,” “Allergy,” and “Round & Round,” as well as freestyles “Epiphany/Crash,” point to a brave new phase. Pa Salieu keeps using his voice as an instrument of expression since new projects are in development, trying to inspire and uplift while providing an honest view of his path. Declaring his genre as freedom of expression, he captures his revolutionary attitude and dedication to honesty. I’m an Afrikan Alien, and I know that garage music isn’t a genre people might expect me to jump on- but that’s what being an alien is about, moving from planet to planet, sound to sound. I stepped into Disclosure’s world and together we created an atmosphere that blends where we’re both coming from. That is true collaboration. – Pa Salieu About Disclosure Earlier this month, Disclosure celebrated their most recent milestone in a historic year when “She’s Gone, Dance On” received a nomination for Best Dance/Electronic Recording at the 67th Annual GRAMMY® Awards — a sequence of events that makes the pair 9-time GRAMMY®-nominated artists. Disclosure went on to earn nominations for Record Of The Year (for production on Khalid’s “Talk”), Best Dance Recording (for “My High,” ft. Aminé and slowthai), and Best Dance/Electronic Recording (for “Higher Than Ever Before.” After earning their first career GRAMMY® nomination for their 2013 full-length debut Settle (in the category of Best Dance/Electronic Album, a triumph later repeated with 2015’s Caracal and 2020’s ENERGY). Originally released in May, “She’s Gone, Dance On” debuted at #16 on Billboard’s Hot Dance/Electronic Songs chart and garnered raves from tastemakers including The FADER, NYLON, Consequence, Stereogum, and V Magazine. Vincent Catel (Hermès, Dior) directed a brilliant video for the song. The post Disclosure Share New Single “King Steps” With Pa Salieu appeared first on The Groove Cartel.

Pretty Lights and his band have an uncanny ability to leave a cosmic footprint in any city they perform in, leaning in and listening closely to the distinct heartbeat of each city on their tour. This was certainly the case when the Soundship Spacesystem landed in the nation's oldest city, St. Augustine, Florida. The three-night run transformed the city's timeless charm into kaleidoscopic ecstacy. In a twist of fate, the Pretty Lights show coincided with St. Augustine's iconic Night of Lights festival, which illuminates the city with over three million twinkling Christmas lights. Some of the many highlights from the highly anticipated weekender included Pretty Lights' electric rendition of Chappel Roan's hit "Pink Pony Club" as well as Lynyrd Skynyrd's ageless "Freebird," the latter of which featured a gripping live guitar performance by Pretty Lights' Production Manager and Audio Engineer, Phil Salvaggio. While the band's live covers, samples and flips enthralled us, Pretty Lights' original music lit the fuse of the night's explosive energy. "Rainbows and Waterfalls," "New Heights," "Only Yesterday" and "Color of My Soul" were a few of the many highlights throughout the weekend. The St. Augustine Amphitheater served as the ideal backdrop for the magical weekend, with perfect stage views around the entire venue. The Amp, which was built to memorialize the 400th anniversary of St. Augustine's founding, rooted the performances in the city's history while allowing for futuristic, jaw-dropping visuals and top-tier sound. Watch all three nights of Pretty Lights' St. Augustine run on YouTube below. Follow Pretty Lights:Instagram: instagram.com/prettylights X: x.com/prettylights Facebook: facebook.com/prettylights Spotify: spoti.fi/2GkoC5A

Subtronics cast his watchful eye over the Tacoma Dome as his Cyclops Army assembled. I want to think he’s what Sauron would have been like if he had been shown more affection. The dubstep superstar and an all-star lineup planted the one-eyed flag of victory at the second annual Cyclops Dome November 15-17. “Please drink some water, eat some food, and tell your friends and family how much they mean to you,” Subtronics said after each night in Tacoma. “Please be f—ing nice to each other. Lastly and most importantly, if you are driving and are remotely f—ed up, don’t drive. Get a sober friend or an Uber to take you home safely. And once you get home, smoke as much weed as humanly possible!” Fans of Subtronics are familiar with his regular closing remarks, but hearing it three consecutive nights emphasized why people rally to him. Compassion, collaboration and humility are integral to the Subtronics experience. That sentiment touched everything in sight. Cyclops Dome 2024 featured an impressive supporting lineup with Alison Wonderland, Dimension, NGHTMRE and RL Grime among the most popular names on the billing. You don’t always see supporting acts with popularity on par with the headliner, but Subtronics has the gift of bringing people together. Alison Wonderland and Subtronics on Night 2 of Cyclops Dome 2024.Jason Fenmore/Oh Dag Yo Subtronics anchored the show with three terrific headlining performances over the weekend. He welcomed Wonderland on Saturday to debut their since-released collaboration "No One Does It Like" and his wife LEVEL UP on Sunday. It wasn’t unusual for Subtronics to take small breaks to express gratitude for the audience, who he thanked for allowing him to play personal or unreleased tracks without judgment. The occasion wasn’t lost on him. Headlining three consecutive days is a complex task. Subtronics was refreshingly mindful that he was performing for distinct audiences: three-day ticket-holders, two-day guests and single-day visitors. In a clever effort to provide something for everyone, he would play different versions of popular songs like “Griztronics” and “Into Pieces” on separate nights. This ensured most fans would hear their favorite songs while rewarding repeat customers. The Tacoma Dome is a well-established and competitive Pacific Northwest venue. Subtronics came equipped with the appropriate lasers and lights for the occasion but incorporated a new production element that sets Cyclops Dome apart. Nearly a dozen specially designed panels hung from the venue’s rafters. Each rectangular panel was fitted with LED screens, light strips and lights. The panels—programmed along with the show’s other production elements—were versatile tools adding incredible depth to the show. They sometimes replicated the screen visuals or functioned as synchronized lights. A personal favorite was when the rigs rappelled down nearly within reach, and those dancing directly underneath bathed in the lights. The panels provided an immersive experience up close and added theatrical elements further back, providing unique vantages depending on where you stood. Cyclops Dome’s impressive lineup lived up to the hype, satisfiying dubstep enthusiasts while providing more variety than comparable shows in its genre. Wonderland threw down so ridiculously hard, you'd think she had a point to prove. Her thrashing set was accompanied by a cinematic intro and eerie visuals evoking the work of her husband, horror film director Ti West. Dimension and NGHTMRE were a match made in heaven. B2Bs can struggle with sounding disjointed or so similar you can’t tell the artists apart, but that wasn’t the case here. Apologies to the bathroom patron who boastfully—and disappointingly—claimed the duo would perform a "bass house" set. Dimension B2B NGHTMRE was a perfect marriage of the former's drum & bass and the latter's trap and dubstep leanings. NGHTMRE took the lead in the first half, easing fans into Dimension’s breakneck pace down the stretch. The "Angel" collaborators were very effective at blending their styles, taking a beloved NGHTMRE track like “Alive” or “FEELING GUD” and touching it up with frenetic drum & bass rhythms. The stage screens were turned off for large portions of the set, allowing lights and lasers to shine while giving the 21,000-capacity venue an underground atmosphere. It was a marked contrast from the set that came before. INZO deserves special acknowledgment for putting together a touching set. The Visionquest producer penned a beautiful script that was at times invigorating or wondrous. Cyclops Dome's scale implored INZO’s set to be everything one would imagine. The visuals were warm, the vibes were immaculate and at least one patron in my party visibly sobbed. The togetherness experienced during his finale was a poignant reminder of what brought everyone together. To that end, Subtronics genuinely seems to care. It’s evident by the warm environment fostered by his fans and his actions that weekend. The wait to get into the venue on Friday was admittedly painful—the line wrapped around multiple times and caused long delays getting in, seemingly due to limited entry points. Subtronics apologized on social media in real-time, assured he was addressing it and that it wouldn’t be a problem the following days. Not long after, the entry process picked up and stayed smooth for the rest of the weekend. Subtronics is on the cusp of something special. He’s building an empire not with an iron fist, but with a loving hand. His music is the foundation of his success, certainly, but the camaraderie with his audience and peers are the cornerstones reinforcing his growing domain. If the original Cyclops Dome was a test pilot, this sequel strongly affirms a bold future. Follow Subtronics:X: x.com/subtronics Instagram: instagram.com/subtronics TikTok: tiktok.com/@subtronics Facebook: facebook.com/subtronicsofficial Spotify: tinyurl.com/yupr7jmk

Black Coffee, South Africa's most illustrious DJ, used his international platform to give back to the youth of his country. Earlier in the month of November, the house music superstar brought together DJs and other local celebrities to St David's Marist Inanda, a school in Johannesburg, for a charity outing. Benefitting the school, the fundraising event featured performances by South Africa's DJ Fresh, Que DJ and pioneering Amapiano producers Major League DJz, among others. The brotherly duo of Major League DJz even brought their mother onstage during the wholesome show. Alongside the artists lending their talents for a good cause, corporate sponsors also donated to the Black Coffee Foundation during the event. That includes Sompire Kids, who donated over $16,000 of children's clothing to the organization's cause. "The Black Coffee Charity Concert was a night to remember," the foundation wrote in a celebratory Instagram post. "A phenomenal lineup of performers, a passionate audience and a shared commitment to giving back made this event a resounding success." You can learn more about the Black Coffee Foundation here. View the original article to see embedded media. Black Coffee:X: x.com/realblackcoffee Instagram: instagram.com/realblackcoffee TikTok: tiktok.com/@realblackcoffee Facebook: facebook.com/realblackcoffee Spotify: spoti.fi/35OeOeg

Spotify executives have reportedly cashed out over $1.1 billion in company stock in 2024, a figure that would take artists an astronomical 314 billion streams to match through royalties. That's according to Music Business Worldwide founder Tim Ingham, who today bemoaned the disparity in a LinkedIn post. A report published by the outlet on Wednesday says Spotify CEO Daniel Ek has sold 875,000 shares of Spotify for a total of $283 million this year. That figure pales in comparison to the cash amassed by Ek's co-founder, Spotify ex-Chairman Martin Lorentzon, who has sold 1,488,364 shares for a staggering $556.77 million. Spotify CEO Daniel Ek.Stuart Isett/Fortune Brainstorm TECH This eye-popping disparity underscores the ongoing tension between streaming platforms and musicians, who have long argued that the today's compensation structure is fundamentally broken. Streaming has transformed music consumption, but most artists—particularly independent musicians—struggle to earn a living wage from the royalties their songs generate. A recent study suggested that independent artists currently need to accrue five million streams to earn the equivalent of the U.S. minimum wage. That was before Spotify's controversial announcement that musicians and songwriters would need to meet a minimum streaming threshold before they're eligible to accrue royalties. The backlash recently came to a head after Ek myopically claimed that the cost of creating content is "close to zero" before attempting to walk back his comments, which he characterized as "clumsy." Electronic music icon deadmau5 lambasted him at the time and threatened to remove his music catalog from Spotify. Spotify stock has surged by 141% since the beginning of 2024, more than doubling in value, per Barron's.

Danish-Egyptian artist Ashibah returns with ‘Autumn’, a captivating melodic house track released on Lane 8’s label This Never Happened. Known for her heartfelt vocals and lush production, Ashibah once again proves her ability to create music that resonates deeply with fans. An Emotional Journey Through Sound ‘Autumn’ captures the beauty and melancholy of its namesake season. Ashibah’s soulful vocals pair perfectly with pulsating basslines and crisp beats, creating a track that feels both intimate and energizing. Its organic melodies and warm tones make it a standout, reflecting the signature style that has earned her comparisons to artists like Lane 8. A Natural Fit for This Never Happened This Never Happened is known for its introspective yet dancefloor-friendly tracks, and ‘Autumn’ fits right in. The song combines emotional depth with rhythmic energy, aligning with the label’s vision of heartfelt, vocal-led house music. By joining this roster, Ashibah solidifies her place as a rising talent in melodic house. A Glimpse of What’s Ahead ‘Autumn’ offers a taste of Ashibah’s artistry as she prepares for her debut album and the launch of her own label, Fatima In Trouble. For now, this track is the perfect addition to any playlist, blending warmth, soul, and energy. It’s the ideal soundtrack for autumn evenings and beyond. The post Ashibah Unveils ‘Autumn’: A Melodic House Journey on This Never Happened appeared first on EDMTunes.

We are back from the Queen Mary and resting from an entire weekend of dancing and dreaming. This year’s edition of Dreamstate Southern California was nothing short of amazing and impactful. To a top notch production, to a crowd flow that alleviated most of our concerns that were raised last year. This Insomniac production has quickly become one of our favorites, so let us tell you why. Jamal Eid for Insomniac The Production At Dreamstate This year’s Dreamstate Music Festival in South California saw its return to the Queen Mary Waterfront. This is just the second edition that took place in the venue, and the production took a huge step up from last year. First, the shuttles that took you from Long Beach to the festival grounds and back were not on the main street that crossed the city, but rather near the marina. This helped with the main traffic within the city and it was safer for ravers to commute through the more calmer streets. Jake West for Insomniac Then, each stage had a big improvement with visuals that gave us bigger immersive experience. Each set was a wonderful audiovisual journey. Each stage had its own package of pyros, smoke machines, lasers, and great vibes that carried on through the night. Furthermore, let’s not forget about the raging afterparties on the Queen Mary. Two nights of insane and special sets that lasted til sunrise, within three separate ballrooms on the ship. It was heavenly to have shuttles that lasted through the afters as well. The Music The festival crafted a magical selection of tastemakers this year, including legendary sets that people have waited for years. Sets we must mention include the Judge Jules (classics set), Darude, and Ferry Corsten presents Gouryella, which is the first time Corsten does a set under thos alias in the US in many years. The set was special cuz he only has a handful of tracks under the alias, which represent the meaning of heaven in different languages. Even though the Gouryella project began with Tiesto, Corsten took over the project and now brings it back from time to time, and we were the lucky ones to experience such a special set this weekend. All media is ritefully owned and created by Keiki-Lani Knudsen. Other sets we loved included psytrance specialists Out of Orbit, Giorgia Angiuli, and Captain Hook. On the Techno side, we danced our booties off to Funk Tribu and day 1 closer of the Void stage Clara Cuve. Then, we heard the violent yet fun basslines of Hard Trance, which included David Rust, and David Forbes & Matthew Sherry present Thick as Thieves. The Main Stage (The Dream) gave us all we needed. Trance pioneers such as Armin van Buuren, Markus Schulz, and Giusseppe Ottaviani pres Ottagon controlled the crowd with their melodies. Moreover, day two saw even bigger diversity with an Anjunabeats takeover lead by Above and Beyond. Other progressive artists we enjoyed were Grigore, Amy Wiles & Leena Punks, and Andrew Bayer, who closed the weekend with a Trance remix of ‘Eusexua’ by FKA Twigs and made our entire night. Favorite Set of the Weekend Our top set of Dreamstate SoCal 2024 goes to Giorgia Angiuli. Her frequencies are extremely seasoned and dark. Her audio-engineering skills that allow her to perform with her own made up instruments that resemble child toys while still touching on adult emotions is sublime. In addition, the mantras she displays on her visuals are extremely positive and uplifting, which leads into some hardcore dancing with her insane kicks and rumbles. This is one extremely talended artist and we hope she returns to Dreamstate SoCal consistently. The Vibes We will never quiet down about how amazing the Trance crowd is. Dreamstate is a sea full of respectful individuals. They continuously set the bar extremely high with the marvelous behavior and public etiquette. With their permanent smiles, and respectful behavior, Dreamstate’s audience is the PLUR personified. Since last year, others are wary of the Techno crowd. As the festival includes Hard Techno artists since last year, attendees remain calm and collected as we cherish each beautiful interaction we had with them. The post [Event Review] Soaring Through the Stars at Dreamstate SoCal 2024 appeared first on EDMTunes.

FL Studio 2024.2 has officially landed just in time for the holiday season, offering music producers more flexibility and precision—and relief on their wallets thanks to a solid Black Friday deal. FL Studio, the storied digital audio workstation (DAW) from Image-Line, has raised the bar with the release of FL Studio 2024.2. Packed with a treasure trove of user-requested workflow tweaks, the update offers a more intuitive production arsenal and—true to Image-Line’s ethos—it's completely free for existing users thanks to their Lifetime Free Updates policy. "At Image-Line, we’re all about helping music makers—whether they’re just starting out or seasoned pros," Image-Line CEO Constantin Koehncke said in a press release. "With AI shaking up the music world, we see both exciting possibilities and new challenges but it doesn't change our goal: making music production easier and more fun for everyone." A standout addition to the DAW is Transporter, a real-time looping FX plugin that empowers producers to create on-the-fly effects and dynamic loops. The Transporter plugin in FL Studio 2024.2.FL Studio/Image-Line Elsewhere, hot-swappable loops from the FL Cloud service make real-time sound experimentation a breeze, while scalable plugins—now supporting 8K resolution—ensure a more modern interface for plugins like DrumPad and Effector. Also on the list are features like Ghost Notes in the Piano roll, which make melody-crafting more intuitive; and a low-latency monitoring mode for real-time recording accuracy. Meanwhile, FL Cloud Pro subscribers gain access to over 4,000 presets, with new FLEX packs rolling out regularly. The Ghost Notes feature in FL Studio 2024.2.FL Studio/Image-Line For new users, FL Studio's Black Friday sale offers significant discounts and its best pricing yet, catering to global markets. "We’re thrilled to see so many new producers choosing FL Studio, motivating us to keep innovating with updates like FL Studio 2024.2," Koehncke adds. "This holiday season, we’re offering FL Studio at its best price yet, with pricing tailored to different markets to keep it accessible to everyone." The software's popular Producer Edition is available for $139 (€169) while the Signature Edition has been reduced to $199 (€239). A 30% discounted rate of FL Studio's expansive production toolkit, the All Plugins Edition, is also available for $314 (€379). The Black Friday promotion also extends to FL Cloud, annual subscriptions of which users can save up to 38%. The service also democratizes the music distribution process for users, who are able to easily release their songs on Spotify and Apple Music, among many other streaming platforms. The Black Friday sale is available exclusively through the Image-Line website and concludes December 5th, 2024 at 11:59pm PST. You can find more information here. Follow FL Studio:Instagram: instagram.com/flstudio TikTok: tiktok.com/@flstudio_official X: x.com/fl_studio YouTube: youtube.com/@fl_studio Facebook: facebook.com/flstudio

Swedish artist and creative director Alexander Wessely has been announced as the Creative Director for DJ and producer Anyma. Wessely is renowned for his revolutionary visual storytelling and groundbreaking music collaborations. The news comes ahead of Anyma’s highly anticipated Anyma: “The End of Genesys” live performance series at the Sphere in Las Vegas. It spans eight sold-out shows between December 27–31, 2024 and January 1, 10 & 11, 2025. The series is set to be a highlight of the music calendar. Wessely & His Star Studded History Wessely served as Creative Director for Swedish House Mafia from 2019 to 2023. He was instrumental in shaping their visual and artistic identity. Since his tenure with Swedish House Mafia, Wessely has continued to shape the creative visions of global icons. These include The Weeknd, Grimes and Kanye West. Celebrated for his boundary-pushing approach to live show design, Wessely’s multidisciplinary expertise spans performance, sculpture, film and photography. A New Chapter with Anyma His latest collaboration with Anyma marks a significant evolution in his career. It opens a bold new chapter overseeing the creative direction, stage design and co-directing key performance elements. Earlier this year, Wessely joined forces with Anyma as Co-Creative Director for The Weeknd’s concert in São Paulo. It laid the groundwork for their continuing partnership. Afterlife Presents Anyma: “The End of Genesys” will mark the first electronic music act at the Sphere, led by Matteo Milleri of Tale of Us. Known for seamlessly blending art, technology, and music, Anyma has captivated global audiences with its cutting-edge visuals and techno soundscapes. The residency will feature a carefully curated lineup of guest artists, with each performance delivering a one-of-a-kind experience. It will be combining Anyma’s signature style with the Sphere’s state-of-the-art capabilities. I always sought projects that push the boundaries of creativity and technology. Joining Anyma ahead of his shows at the Sphere offers an unparalleled opportunity to redefine what’s possible on the live stage Alexander WESSELY After years crafting live show designs for some of the world’s most iconic artists, including The Weeknd and Kanye West, Wessely has distilled his diverse background across theater, concert venues, and art institutions into a singular, groundbreaking vision. Anyma: “The End of Genesys” represents the next era of his creative journey. It is bound to be a culmination of collaborations, inspirations, and lessons that redefine the boundaries of creative expression and push the limits of what’s possible. The post Multidisciplinary Swedish Artist Alexander Wessely Named Creative Director for Anyma appeared first on EDMTunes.

VLTGE shatters genre boundaries with his new single, "Forever & Always," a space opera-themed banger that pirouettes between tender jazz intimacy and heavy-hitting dubstep. The unique track appears on the producer's new EP, A Space Love Story, which tells the story of a pair of desperate lovers separated by time and space. "Forever & Always" is the project's undeniable standout, where sultry saxophone whispers are suddenly obliterated by ferocious bass drops that feel like heartbreak made audible. VLTGE stuns with his production, in which vulnerability and rage coexist in breathtaking tension. Each transition is a calculated emotional assault, punctuated by delicate melodic moments that dissolve into grinding, aggressive soundscapes echoing the turbulent separation of its protagonists. Capturing the ache of their fragmented connection, the track ultimately becomes a metaphorical battlefield where melancholy and mayhem collide. It's less a song and more a sonic memoir of passion's most violent, vulnerable moments. Take a listen to "Forever & Always" below. Follow VLTGE:Instagram: instagram.com/vltgemusicc Spotify: tinyurl.com/yppcwxzp

Pendulum have announced a rare concert they're calling the "biggest ever live show" of their career. The influential electronic band is set to take the stage of England's massive Milton Keynes Bowl, which has a capacity of 65,000. While it's their first headlining performance at the venue, it's not their first time performing there. Back in 2008, Pendulum supported Linkin Park before sharing the stage with The Prodigy two years later. The supporting artists for the upcoming show, scheduled for August 9th, has not yet been revealed. Check out the band's announcement below. 🔥 OUR BIGGEST EVER LIVE SHOW 🔥 Pendulum LIVE. Milton Keynes Bowl, August 9th 2025 💥 Pre-sale: Thursday 5th December 10am local General sale: Friday 6th December 10am local Sign up for exclusive access to the pre-sale here: https://t.co/mKJ570aRKN pic.twitter.com/P4jgU1lj0U — Pendulum (@Pendulum) November 26, 2024 A few months ago, Pendulum wrapped up a long-awaited North American tour that saw them perform Los Angeles, Denver and other major cities. Since then, they've been revealed as part of UKF's gigantic takeover of the Drumsheds alongside Rusko, Caspa, Flux Pavilion, Joker and more. Pendulum frontman Rob Swire also completed a side quest over the summer when he joined Armin van Buuren onstage at Tomorrowland, where they performed their collaborative remix of "Sound of You." Pre-sale tickets to Pendulum's show at Milton Keynes Bowl go on sale December 5th, 2024 at 10am here. Follow Pendulum:X: x.com/pendulum Instagram: instagram.com/pendulum TikTok: tiktok.com/@pendulumofficial Facebook: facebook.com/pendulum Spotify: spoti.fi/3cxHXAH

As if 808 Festival’s lineup wasn’t already massive—with Anyma making his first-ever stop in Southeast Asia, a Drumcode takeover led by Adam Beyer, and DJ Snake unveiling his The Outlaw alias in Asia for the first time—808 just turned up the heat. The festival has added even more star power to its 2024 edition, announcing Zedd, Merow, Just Us, and Marie Vaunt as part of its explosive lineup. Zedd Returns to 808: A Magical EncoreZedd’s return to the 808 stage is a dream come true for fans who witnessed his unforgettable set in 2022. That performance wasn’t about flashy visuals—it was all about the stage and Zedd’s unmatched energy. His iconic tracks like Clarity and Stay electrified the crowd, creating a connection that only Zedd can deliver. His ability to command the audience with pure artistry left everyone buzzing, and his 2024 appearance is sure to deliver yet another masterclass in live performance. Fresh Faces to Watch: Merow, Just Us, and Marie VauntBringing even more depth to the lineup, 808 welcomes first-timers to its festival with Merow, Just Us, and Marie Vaunt. Merow’s innovative approach to electronic music, paired with Just Us’s energy-packed performances, promises moments that festival-goers will be talking about long after the lights fade. And then there’s Marie Vaunt, whose hypnotic techno beats are the perfect addition for those who love to lose themselves on the dancefloor. Together, these rising stars add a layer of freshness and unpredictability to an already iconic festival. The Perfect Playground for Dance Music LoversWith a lineup that includes global heavyweights, emerging talent, and unique debuts, 808 Festival continues to cement its place as a must-attend event on the global electronic music calendar. Whether you’re a fan of melodic anthems, dark and driving techno, or genre-defying surprises, this year’s festival promises to be a once-in-a-lifetime experience. Grab Your Tickets Before They’re Gone808 Festival Bangkok 2024 is shaping up to be the ultimate year-end celebration, and tickets are flying fast. Don’t miss your chance to be part of this legendary event. Secure your spot now and get ready for a December filled with music, memories, and magic. Tickets are still available so grab them now! Act fast, because this lineup is too good to miss!

Police officers in the southern part of the Netherlands discovered an MDMA-covered garden gnome. The Dongemond Police Force, which covers the municipalities of Oosterhout, Geertruidenberg, Drimmelen and Altena, discovered the MDMA garden gnome earlier this month during a drug bust. According to an article from the BBC, the gnome weighed 2kg (4lb) and the Dongemond police authorities stated, “Drugs appear in many shapes and sizes, but every now and then we come across special things”. Knowing there was suspicion surrounding the odd placement of the garden gnome, the police also added, “”In itself a strange place to keep your garden gnome. That’s why we decided to test [it] for narcotics”. To make things even funnier, police officers later concluded, “The gnome himself was visibly startled”. This was in reference to the garden gnome covering its mouth. Mixmag reported that the 2kg (4lb) MDMA garden gnome is equivalent to around “8,000 ecstasy pills weighing an average of 250mg each”. Afterwards, the drug bust continued onwards in the southern Netherlands. The drug bust occurred shortly after debate in the Netherlands regarding the potential regulation and legalization of MDMA in the Netherlands. As for the relevancy of MDMA legalization in the United States, this comes after the FDA rejected MDMA therapy for PTSD in Phase 3 clinical trials. The post Dutch Police Found a Garden Gnome Made Entirely Out of MDMA appeared first on EDMTunes.

A new report from AIF shows that the number of festivals cancelled from 2023 to 2024 has doubled Continue reading...

Announcing two intimate shows at The Cause, the duo said “we will be debuting all of the new music that we’ve been working on!” Continue reading...

Multi-platinum trio Cheat Codes has joined forces with rising pop sensation salem ilese for their latest single, ‘TYSM.’ This infectious dance-pop track transforms heartbreak into an empowering anthem, blending Cheat Codes’ signature euphoric production with Ilese’s witty lyricism and sparkling vocals. Cheat Code’s latest release, ‘TYSM,’ is a refreshing departure from their usual high-energy, club-ready tracks. This time, the trio opts for a more mellow, nostalgic vibe, creating a sweet and sentimental tune that’s perfect for a quiet moment. The song’s production is simple yet effective, with soft, dreamy synths and a gentle beat providing the backdrop for Salem’s smooth vocals. The lyrics express gratitude and appreciation for someone special, making it a heartfelt and relatable track. Despite the sadder lyrics, Cheat Codes lightens up the mood with their uplifting production. The post Cheat Codes Teams Up with Pop Sensation salem ilese on ‘TYSM’ appeared first on EDMTunes.

The hills of Red Rocks may not have eyes, but on this night, they had ears. Of The Trees recently took over the iconic Colorado venue for a career-defining performance on November 16th, when we experienced the uncompromising energy of a generational artist coming into his own. "I never imagined taking this project as far as I have," said the DJ, whose real name is Tyler Coombs. "I have always had dreams of being a rock star—ever since I was a little boy, but I'm not sure I ever really grasped what that could mean." Of The Trees.Colin Patrick Coombs in 2021 founded Memory Palace, an innovative record label where artists are invited to push boundaries and create phantasmagoric beats that linger in our consciousness, like vivid dreams we can't quite shake. There's an underlying philosophy of music as a form of ecological dialogue, where the label's sounds can communicate deeper truths about interconnectedness. That's exactly what happened to the sold-out Red Rocks crowd, a gleaming sea of puffer jackets and neon beanies who moved like they were bewitched as lasers sliced through breath visible in the icy mountain air. We weren't just watching—we were being rewired. Over 6,000 feet above sea level, the dreamlike concert bowl whispered its usual promises of grandeur. But this time, it wasn't just its monoliths speaking—it was Of The Trees, whose sensory sorcery breathed life into the storied amphitheatre and wove its history through nature's exhale. Coombs, who doubled down with another performance the following night, debuted a stunning new stage production, DJing within an illusory cabin developed by Dark Moon Designs. The modular structure, the studio said, is an aluminum build with wood cladding, dense forest foliage and a rusted roof. Channeling the surrealist whimsy of Where the Wild Things Are through a rave lens, the cabin turned into a bioluminescent beast before our eyes. View the original article to see embedded media. Inside, an LED screen crackled with timeless woodland charm, often projecting visuals of an antique chair glowing in the amber light of a stone fireplace. Outside, LED screens behind and beneath the cabin's beams palpitated with primordial visuals of molten sunsets, shivering tree limbs and blooming ecosystems of fractal flora. Designed by Alec Maassen, the stunning visuals sometimes veered into the dark as well. One moment you were cocooned in the arms of Mother Nature, the next you were wondering whether you've stumbled into a secret forest coven convening under a full moon. Brittany Teuber Brittany Teuber If the cabin was Of The Trees' sanctuary, the music he played was ours. Every snarl of distorted bass felt like the surrounding forest growling back, shaking its roots and dancing with us. We heard a plethora of unreleased bangers, including a nasty trap track with the surging LYNY and a sublime song Coombs produced alongside the late CharlesTheFirst, who in 2021 tragically died at the age of 25. Coombs also fluidly threaded his hip-hop influences throughout, creating moments of liquid grace amid the barrage of woozy trap and bass music. An undeniable highlight was when he played an unreleased collaboration with the Grammy-nominated EarthGang duo, whose signature blend of Southern grit and cosmic lyrical curiosity feels like it was written in the stars for Of The Trees' sound. that new @OfTheTrees X @EarthGang 😮‍💨😮‍💨😮‍💨 pic.twitter.com/5ZibtAgaXR — liz🪼 (@lizzyseitzinger) November 17, 2024 Despite the spine-chilling complexion of his set, Coombs is a DJ with the soul of a wandering poet. It was clear why the EDM.com Class of 2024 breakout has emerged as one of the electronic music scene's most gifted storytellers, a reputation he's attained through hard-won authenticity cutting his teeth as a humble producer and visual artist in the frigid plains of Maine. The most human part of the night, however, wasn't the music or the visuals—it was the artist at the helm. Of The Trees, often silhouetted against his otherworldly cabin, paused frequently to take it all in. Each glance he cast across the amphitheater spoke volumes—disbelief, gratitude, pure unfiltered joy. His grin, impossible to miss, said what trees never could: this was the dream. "I looked up at the silhouettes of the famous rocks with my logos on them, at the several thousand faces staring back at me, at all of the stars twinkling in the chilly November sky—and it all hit me super hard," Coombs gushed. “We are really doing this shit." Fans can now catch Of The Trees on his North American tour, "Moonglade." Tickets are on sale here. Follow Of The Trees:Instagram: instagram.com/ofthetreesmusic TikTok: tiktok.com/@ofthetreesmusic X: x.com/ofthetrees Facebook: facebook.com/ofthetrees Spotify: spoti.fi/2YxTKb9

Tomorrowland has unveiled its 2025 Belgium edition theme, and it’s nothing short of promising. Titled “Orbyz,” this year’s concept introduces a magical, otherworldly universe crafted entirely from ice, unlocking the secrets of a hidden civilization that has thrived beneath a colossal ice cap for generations. A World Awakened The story of “Orbyz” revolves around an indigenous community that emerges as the ice and glaciers begin to melt. This newly revealed society is powered by mystical red-colored crystals and rocks, radiating light, energy, and power. Tomorrowland has once again woven an intricate narrative that promises to transport the People of Tomorrow into a fantastical world filled with wonder, exploration, and awe. With its creativity and attention to details, Tomorrowland is set to raise the bar with “Orbyz.” The visuals teased in the festival’s announcement reveal a striking combination of shimmering ice formations and glowing crimson crystals, symbolizing the balance between the cold and the powerful energy within. From towering glaciers to subterranean crystal caverns, the 2025 edition is set to be an immersive spectacle that blends nature, mythology, and cutting-edge production. Stray Thoughts Tomorrowland usually alternates between two different teams of designers. The team for 2025 is the same team behind Adscendo, Return of the Book of Wisdom, and Amicorum Spectaculum. To see this team working with a concept like ice makes us think of the Final Fantasy videogames. These games often revolve around crystals and feature a medieval magical setting with some steampunk elements Pre-Registration Details Pre-registration for Tomorrowland Belgium 2025 opens on December 5, marking the first step for fans eager to secure their place at this once-in-a-lifetime event. With Tomorrowland consistently selling out in record time, early registration is a must for those hoping to join the magic of “Orbyz.” checkout the official website. Make sure you setup a Tomorrowland account ahead of time on the site! The post Tomorrowland Belgium Reveals Theme & Dates for 2025 Editions appeared first on EDMTunes.

After a year of not releasing any original material, Gentlemens Club is back. This multigenre trio has never been afraid to break boundaries within the bass scene, experimenting with whatever subgenre that comes their way. Their mild release hiatus ended with ‘FEVER’, which came out on Deadbeats, and it’s one of many tunes to still come out. Gentlemens Club brings the energy we know them for, blending UK dub, bass, and breakbeat elements to create a fun track start to finish. It follows their back-to-back set with Levity at Zeds Dead’s Texas Jamboree in Fort Worth, and a tour around Japan this Summer. With a massive visual show at Rampage earlier this year, shows in Romania, Slovakia, Germany, and Belgium this autumn, the trio makes it clear they are here to stay. Right now, they are finishing up their European tour. After that, they will gear up to end the year with a bang in America. We thought it was time to catch up with the guys, and chat about their comeback, their crazy energy on stage, and what’s more to come from them. How are you doing? Coffi: We’re all good! We did a tour in Japan recently, are wrapping up tons of collabs, working on a bunch of releases. So yeah, we’re keeping busy. You also recently released ‘FEVER’, your first original song in over a year. What took you so long? Coffi: We were honing in on what we wanted to release. We were making so much different stuff, I think we got a little bit lost in the music, so we took a bit of time to step back and realign. We asked ourselves, “Alright, what do we want to release?” ‘FEVER’ was a track that came to mind along with all the other next releases we got coming up. Soloman: We were thinking too hard, we were thinking too much about radio placements and all of that stuff. But the main reason why we started making music is because we just enjoyed making the music. That’s what we started doing again, just making music that we enjoy making, not thinking about the consumer as much. We want the listeners to enjoy the music, but if we don’t enjoy the music then what’s the point. Coffi: I think that ‘FEVER’ encompassed the whole thing of a club tune. It’s a style that we all like. It came out really easy and it just made sense. Deadbeats liked it. We liked it. So we just rolled with that one. We’ve got so many songs scheduled to come out now, that it made sense in a longer term plan as well. How was it working with Deadbeats again? Soloman: It’s always good. We’ve done a lot of work with them and they’ve always been really good to us, so it’s always a pleasure to be welcomed back and carry on working with them. This isn’t the end either, we’ve got a lot more coming up with them. 50 Carrot: We like working with them, because they care about the releases. They put a lot of time into each of them, and they don’t just release for the sake of releasing. Everything’s got a purpose. Soloman: They’ve got a good roster, and good quality control as well. It’s consistently good music. You’re talking about good quality control. Having not released for over a year, that must be something that’s quite high on your list. 50 Carrot: We’re quite hard on ourselves with what we release, so that’s part of the reason why we hadn’t released in a while. We were procrastinating on finishing some of the music, but it’s good to find this is the end of that. It’s mostly Soloman wanting our music to be on the highest level possible, and that slowed us down more than we realised this past year. Aha! Would you say Soloman is the perfectionist in your group? And what are 50 Carrot’s and Coffi’s characters like, working together? Soloman: My perfectionism can drive me absolutely crazy, and probably drives the boys crazy as well, but it has its pros, because we don’t rush things out. Sometimes you can get a bit caught in the moment with some stuff. Being a perfectionist can slow down the process, and make it better in the end. In the early days, in 2012, it would be common for us to just upload a song straight to SoundCloud at 6 PM after a day in the studio. We’ve learned that it can be good to give it some time to breathe and revisit the track after a month or two. 50 Carrot: Absolutely, we don’t rush into things anymore and I think that’s a good thing. Where Soloman is the ‘quality control’, me and Lewis (Coffi) are the ‘creators’. Not that it’s only us having the ideas, but I feel like the bulk of the idea creation is probably coming from me and Lewis. Then we give it to Sol to remix and work on, and after that it’s ready to get sent around. And then it’s our task to tell Soloman, “It’s okay, it’s ready and good to go.” Soloman: Otherwise I’ll spend two weeks fiddling with something that no one will even notice! Other than tracks coming out, you’ve also got quite some gigs lined up. How are you looking forward to them? Soloman: We’re definitely looking forward to Denver on December 28. It’s gonna be our biggest headline play in Denver ever, and we’re gonna do some solo sets there, which we haven’t done for a very long time. We’re also going to get some special guests down and send off the year properly, we’ll give people a good party. It’s going to be cheap tickets, and it’s going to be 360 as well. We also recently played a few new countries we’ve never played before, like Romania and Bratislava. You’re playing shows in both the US and in Europe. What’s the biggest difference in energy between the two? 50 Carrot: Americans will fill the space on a breakdown of a song. When there’s a bit of silence in the track or something that breaks down, it can be a bit quiet in Europe, but in America they will fill that silence with enthusiastic noises. Depending on what area of America it is, down South they will shout a “yee-haw”, for instance. Coffi: Energy-wise they’re pretty neck and neck at the moment. Would you say that there was a time where that was different? Coffi: Absolutely! Certain things are more popular in America or certain things are more popular in Europe and then that makes a difference in itself when we’re playing the sets. Right now, it seems that people are pretty open to hearing anything and everything, which is cool in America. They used to be straight and narrow on just wanting heavy dubstep but now you can go out there and play UK garage and drum & bass and they’re starting to accept it and enjoy it even. There is definitely some change happening in the bass scene! There’s a lot more UK Garage and other genres than 140 and drum & bass that people play. What is the biggest benefit to you in that? Coffi: Being multi-genre has allowed us to adapt and stay current. It’s nice to be able to play what we want and be able to adapt. Same story with releasing music, we release whatever genre we want, and we don’t have to say, “This is our new drum & bass song” or “This is our new dubstep song,” it’s just, it’s a new Gentleman’s Club song. 50 Carrot: It keeps the sets interesting for us as well. We don’t know exactly what tunes they’re going to play next so it makes the sets more exciting for us, it works to keep the crowd engaged. If they aren’t feeling a particular genre of music we can switch to play the next genre. Soloman: At the end of the day, we’re DJs, and we read the crowd and see what’s entertaining them. A lot of DJs can be quite stubborn and play what they want to play. Then, when they look up, the crowd is just standing there. We’re not afraid to switch things up if something isn’t working. We make sure we keep the crowd at the best energy possible at all times. Not knowing what each of you is going to play definitely keeps it interesting! Soloman: We don’t communicate at all what we’re going to play, that’s the whole fun of it for us. Lewis could have just discovered a new song that we haven’t heard before and he’ll turn over and look at me, give me a wink, and then drop this filthy track. It makes for a good video too. The only set we ever planned was the one for Rampage, because it was all visual. The reason we don’t plan our sets is because we like to keep it more like a party. We like to have fun with it and have a laugh and just play some tunes. We’re definitely going to be partying behind the decks at all of our upcoming shows, and we’d love to see you all there!

Tomorrowland has revealed Orbyz as its 2025 theme, in an amazing continuation of its iconic themed storytelling. Following the epic narrative paths of past years like “LIFE” and “Adscendo,” the forthcoming edition promises to carry the People of Tomorrow into a hypnotic realm of ice, secret civilizations, and transforming energy. What’s Orbyz, Tomorrowland 2025 Theme? Orbyz is an immersive story landscape, not only a celebration theme. Imagine a large, frozen cosmos in which a whole civilization has been hibernating behind a massive ice sheet just ready to come alive. This Indigenous society arises when global temperatures change and large glaciers start to melt, carrying with them an amazing supply of light, energy, and power embodied by vivid, red-colored crystals and rocks. The story behind the Tomorrowland 2025 theme Tomorrowland has regularly pushed electronic music events beyond simple entertainment value. The event, which started in 2005, has created complex, magical environments to complement musical experiences. Following noted themes like “The Reflection of Love“, “Adscendo” in 2023, and the 20th-anniversary “LIFE” theme in 2024, Orbyz carries on this legacy. Tomorrowland will publish a companion book exposing Orbyz’s whole origin narrative in line with its values. This method lets guests delve deeply into the story before seeing the painstakingly created main stage, therefore turning the festival into an immersive storytelling event. Tomorrowland Belgium 2025 will happen over two weekends for those ready to join this glacial adventure: First weekend: July 18–20 Second weekend: July 25–27 Pre-registration starts on December 5, 15:00 CET using tomorrowland.com. Once more honoring its tradition of building a worldwide community bonded by electronic music, the festival will welcome 400,000 People of Tomorrow from more than 200,000 nations. What does the Tomorrowland 2025 theme mean? Orbyz represents more than just a festival concept. A potent parallel to the transforming force of electronic music itself, it is a symbolic trip of latent potential, of dormant energy ready to be released. Electronic music constantly pushes limits and reveals new auditory worlds, much as the secret society emerges from its frozen cocoon driven by enigmatic red crystals. Electronic music lovers all across wait for Tomorrowland to delve into this chilly story. Orbyz promises to be a deep study of emergence, energy, and the mystical junction of music and narrative rather than only a celebration. The post The Tomorrowland 2025 Theme: Orbyz appeared first on The Groove Cartel.

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