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In a groundbreaking move that has sent ripples of excitement through the electronic music world, two titans, Monstercat and Hospital Records, have joined forces to champion the next generation of drum & bass artists. This groundbreaking partnership kicks off with a week-long rollout of singles, culminating in a full compilation release on 31 January. The excitement begins with ‘What Are We Proving’ by the electrifying duo hayve and producer-songwriter DRIIA. This single sets the stage for an epic collaboration. Followed up by DNMO and SOLAH teamed up for ‘Find Peace’, a track that showcases the diversity and innovation within the drum & bass scene. Anaïs and hayve deliver ‘IDGAF’, a clash of high-energy big room drum & bass and Anaïs’s deep, roller sound, straight from her Bristol roots. Bensley, BOP, and Degs join forces for ‘Starchild’, a sonic journey that pushes the boundaries of drum & bass. The full compilation finally drops on Friday the 31st of Jan, spearheaded by ’99 Octane’ from London’s acclaimed MC P Money, Whiney, and hayve. This grime-infused drum & bass banger is designed for pure adrenaline. Monstercat and Hospital Records have built unparalleled reputations for their contributions to electronic music. Monstercat, founded in 2011, has become one of the most influential independent record labels globally, championing artists like Marshmello, Kaskade, and Virtual Riot. Known for its genre-diverse releases and presence at festivals like Tomorrowland and Rampage Open Air, Monstercat has also formed groundbreaking partnerships with gaming brands like Fortnite and Rocket League. Hospital Records, established in 1996 in South London by London Elektricity and Chris Goss, is an iconic name in drum & bass, representing artists such as Metrik, Danny Byrd, Fred V, High Contrast & many more. With its award-winning events brand, Hospitality, and a history of innovative projects, Hospital Records has become synonymous with pushing the boundaries of drum & bass on a global scale and bringing the melodic liquid sound into the mainstream. This historic partnership between Monstercat, renowned for its diverse catalogue of EDM, and Hospital Records, a cornerstone of the drum & bass scene, marks a pivotal moment in the respective genre’s evolution. The two labels have long shared a close bond, from casual team outings to supporting each other’s events at the Amsterdam Dance Event. Recognizing the global resurgence of drum & bass and fueled by fan enthusiasm, they embarked on a mission to shine a spotlight on the genre’s rising stars. Central to this project is a four-day writing camp held at TYX Studios in Tileyard London, back in February 2024. Twenty-three talented artists from both labels converged to create an impressive 24 demos, the best of which will be featured on the compilation. With artists from both labels collaborating under the guidance of both A&R teams, the result is a truly international sound that pushes the boundaries of drum & bass. This compilation not only celebrates the vibrant diversity and innovation within the scene but also underscores the strong connection between these two powerhouse labels. The Monstercat and Hospital Records drum & bass compilation is not just a collection of tracks; it’s a statement of intent. It’s a testament to the power of collaboration and a celebration of the genre’s bright future. With its diverse range of artists and sounds, this compilation is sure to have something for every drum & bass fan, but will definitely hit hard with those of use whose musical palette was curated on YouTube in the 2010’s. To celebrate this transatlantic compilation, we have an interview with Anaïs and hayve. Anaïs is a Bristol-based drum & bass DJ and producer known for her incorporation of 4 to the floor sound and high-energy performances, representing the Hospital Records team. While hayve, AKA Omar and Aaro, a production duo based in Finland who’s hard hitting productions has garnered them praise from the likes of Metrik, Kanine, Fred V and more, represented Monstercat. UKF sat down with the collaborators to get to know them a bit better and to get an insight of what went down in the writing camp. So where are you guys from? hayve (Aaro): I’m from Finland. hayve (Omer): And I’m from Tel Aviv, Israel but I’m staying in Finland now. What’s the drum & bass scene like in Finland? hayve (Aaro): Drum & bass Is definitely growing in Finland! There were a few events back in the day which would only have like 40 or 50 people at them. But now we’ve seen bigger acts in the festival scene like Kanine, Metrik, MUZZ, Delta Heavy, and Freaks and Geeks playing here recently. That’s great to hear! What’s the most popular genre in Finland at the moment? hayve (Aaro): I think techno is still the most popular EDM genre, especially in the live event scene. We like our hard techno in Finland. Anaïs, where are you from? Anaïs: I’m from Bristol, so lots of sick drum & bass here. You were both recently part of the Monstercat and Hospital Records writing camp in London. How did this collaboration between these two labels come about? hayve (Aaro): I just think that Monstercat respects a lot of labels that have been supporting a certain genre from the early days, not trend-chasing. Hospital’s been around for ages, and they’ve had some of the most legendary drum & bass artists. And Going Quantum, the guy we work with the most at Monstercat, is our main A&R and a good friend of ours, and he’s an artist as well. He’s been a big fan of drum & bass forever, and he’s a massive fan of a lot of Hospital artists. I think it was a good idea, two powerful labels in America and the UK. Anaïs: True. I think Monstercat is the opposite of greedy. They want people to succeed. They don’t really care about the money aspect or the competition. hayve (Aaro): I feel like Monstercat is like a tight family too. A lot of the artists who are there are releasing consistently, the same with Hospital. I feel like a good way for them to bring new artists for their fanbase to see is to do a label collab and get both of the artists exposed to another kind of fanbase. You love to hear it. Both of you have been doing bits in the drum & bass world. Have you guys ever met or worked together before? hayve (Aaro): We’ve actually never worked together before or even met before this. The first time we met in person was at the writing camp. It was interesting, the session was very spontaneous. We didn’t have any rough demos or anything. We didn’t even know each other’s styles either. We spent the first part of the session listening to each other’s tracks to get used to our individual sounds. Then we just threw in some drum samples, bass sounds, and figured out some riffs in Ableton. It took us a while to wrap up the tune, but I think it was, like, two or three sessions in a voice call, and we were done with the tune. hayve (Omer): Yeah, the first session we met with Anaïs . We got the original drop idea, the first drop idea, and a bit of a build-up idea. But then we did a Discord session later on, and that’s where we kind of made the whole rest of the tune in one go. Out of all the acts from both teams, how did you decide who to collaborate with? Were you familiar with each other’s work or was it a “pick a name out of a bucket” situation? Anaïs: The A&R teams did a really good job just putting together names that they thought would fit with each other. It seems like a good combo! So, tell us about the name ‘IDGAF’. Why did you guys land on that provocative name for the track? hayve (Aaro): We’re usually not very good at coming up with names for our tracks. Anaïs: We didn’t really care. We just did what we thought would be fun. hayve (Aaro): It was a ‘we don’t really care what happens with the song’ kind of vibe. I feel like that was also why it came together so quickly, and it was such a fun experience because it was very easy to make this tune. Usually, drum & bass is super technical and nitpicky, and you end up spending hours and hours just on an eight-bar loop, perfecting that. We just kind of made the whole track in a few hours, and then ended up, afterwards, trying to perfect every element. So, the name fits perfectly, the vibe of the session and how the song came together. Can you tell us a bit about the production side of things? ‘IDGAF’ sits right on that line between that Bristol sound and Belgium Jump Up. What did you use for the synths? hayve (Aaro): We’ve been using a lot of Minimal Audio’s Current and Kilohearts Phase Plant recently. For ‘IDGAF’ we did most of the stuff in Current. We’ve been heavy users of Serum for years and years, and now maybe a couple of years of Phase Plant, but Minimal Audio dropped this synth, Current, maybe one and a half years ago. We were just playing around with that. This synth has a feature where you can randomize all these effects, the presets and everything, and you can get very interesting and quick results without thinking about anything. Anaïs: I think I used mostly Serum for my sounds for this one. UKF: Tell us a little bit about those rich pads used in the intro? hayve: I think there might be a bit of Current. There is probably some preset that we made earlier, or it might be even out of one of the synths. I have a Sub 37 at home, and I have some other synths as well. Anaïs: I recorded one of my friends who plays violin, and we used some of that for the intro. There are definitely some parts out of synths, but there are some actual real recorded strings as well. Interesting. And what about the drums? They’re super crunchy. They’ve got that big room sound. It’s fantastic. hayve (Aaro): We had a session with Waeys before, and he had some really sick drums, and he actually recommended this one drum kit but I can’t remember the name right now. I just heard the drums, and I was like, ‘I really need these drums.’ I think I did some extra layering with some synthesizing, adding some noise and textures to the drums. But yeah, I think they’re mostly just out of this one drum kit that Waeys recommended. Don’t fix what’s not broken. Can you tell us a bit about the relationship between Hospital and Monstercat? Why do these two labels get on so well? hayve (Aaro): Yeah, they’re both very community-driven, and they also have a lot of crossover in terms of their listenership. What’s been your experience working with Hospital and Monstercat? Anaïs: I think it’s been great. Hospital, they’re all like my family, so working with them is easy. And then as soon as I was in the studio with these two, it was like everything clicked. I’m not necessarily the techiest producer, but I like melodic stuff, and I think my sound is quite UK, so the two of us working together, we created something pretty amazing. And I would have never made that if I was in the studio by myself. That’s why it’s so good to collaborate. Since all three of you seem to have grown up with both Hospital and Monstercat tracks on your playlists, let’s do some crate digging. First off, what’s your favourite Hospital tune of all time? Anaïs: I’m a big fan of Urbandawn. I literally love everything he’s released is great. His “Come Together feat. Tyson Kelly” is one of my all-time favourites. hayve (Aaro): That’s a difficult one. I’ve been listening to Hospital for a long time. I would probably say Netsky’s ‘Puppy’. hayve (Omer): Lots of recent Camo & Krooked stuff I really like. I can’t really name one, because everything is so different. Probably Camo & Krooked & Mefjus “Kallisto”. Great choices all around. Now, what about your favourite Monstercat release? Anaïs: This might be a bit of a cop out, but I discovered hayve’s music way before I met them in the studio, and I was like, ‘Yo, this is sick!’. Probably hayve & TYPHON “Clique”. hayve (Omer): I would say ‘Crab Rave’ by Noisestorm. What’s your favourite track on the whole compilation, besides your own? Anaïs: I really like the Bensley, BOP, and Degs track ‘Starchild’. hayve (Aaro): I also like the Waeys, Bensley, and Hoax track ‘Twerp’. hayve (Omer): And if I could choose one track where we are also included, it’s the track with P Money and Whiney, ’99 Octane’. What was it like working with P Money? hayve (Aaro): It was cool. It was quick as well. He just had ideas instantly. He recorded it really fast, and without retakes. He was just nailing it, time after time after time. It was crazy. That’s amazing! Will there be future camps or collaborations between you? Anaïs: Yes, we actually have another in the works. It’s in the very early stages, but it’s got a vibe, and that’s all that matters. I have the stems. It’s a bit of a sassy one. That’s great! So tell us, Anaïs, what’s in store for you this year? Anaïs: I’ve got an EP with Skantia which came out on Valentine’s, and I’ve got a track coming out with P Money. That’s great! And what about you guys, hayve? hayve (Aaro): We have these three tracks coming out on the Hospital and Monstercat compilation. We have a remix coming out, can’t say too much about the details yet. And hopefully a couple of bigger collabs as well. We’re leaving for the US tomorrow for some writing sessionsThis transatlantic collaboration between Monstercat and Hospital Records is more than just a compilation; it’s a testament to the power of community and the boundless potential of drum & bass. By bringing together artists from both sides of the pond, they’ve created a melting pot of ideas and sounds that push the genre in exciting new directions. hayve and Anaïs are just two of the many talented artists featured on this compilation. Their track ‘IDGAF’ is a perfect example of the magic that can happen when artists from different backgrounds come together and create something truly special. With its infectious energy and undeniable groove, ‘IDGAF’ is sure to be a dancefloor favourite for years to come. But this compilation is more than just a collection of bangers. It’s a celebration of the global drum & bass community and the spirit of collaboration that drives it. In a world that often feels divided, Monstercat and Hospital Records are showing us the power of music to bring people together. Whether you’re a seasoned junglist or a newcomer to the world of drum & bass, this compilation is sure to have something for you.

DGTL Amsterdam has already announced their line-up and their huge daytime programming for the 2025 edition. Their final release, a huge line-up for Saturday and Sunday nights, is the icing on the cake for their 2025 edition. The night programs give die-hard DGTL fans who want to get the most out of the fair a unique chance to keep going well into the early hours. A carefully chosen group of artists will play exciting sets that will make the nighttime part of the weekend one of the best times you’ll ever have. Friday April 18, 10:00 PM – 5:00 AM (Opening Night) Bubble Love (Ross From Friends), CC:DISCO! & Suze Ijó, Jasper Tygner [live], JUNGLE [DJ SET], Malou Saturday April 19, 11:00 PM – 5:00 AM Lovefoxy, Mall Grab, Marcel Dettmann [house set], Moody Mehran Sunday April 20, 11:00 PM – 5:00 AM DJ Boring, SAIDAH & Tsepo, Superstrings, Tiga Days at DGTL Amsterdam 2025 Friday’s opening night will feature a wide range of acts, making for an unforgettable evening. JUNGLE‘s soulful and funky sounds will be one of the main draws. They will have an exclusive DJ set at the NDSM building. Malou starts the evening off with her dreamy and sweet sound. Ross From Friends goes by the name Bubble Love, and plays lo-fi house with musical elements and a warm vibe. CC:DISCO! and Suze Ijó do a set together that is full of warm grooves and uplifting house, and then Jasper Tygner plays smooth UK Garage and ambient house. When you look at it all, Friday night’s lineup is the best way to ease into the big DGTL weekend. Saturday night at DGTL will be full of heavy beats and raw energy, with a never-ending lineup to keep the people moving. Lovefoxy from Berlin brings her fresh and energetic sound, which is based on the house music of the 1990s that shaped her childhood. Marcel Dettmann plays the drums for a private house set, which is a rare and special event for people who love to dance. He is a big deal in Berlin’s electronic music scene and often plays at Berghain and Hard Wax. He promises to play an exciting house set that everyone will remember. Mall Grab, boss of the Steel City Dance record label, has become a big star in Australia thanks to his contagious energy and sets that cross genres. He is now a dynamic stage personality and headliner. Moody Mehran ends the night with a unique set of classic pearls. Because he likes a lot of different kinds of music especially Chicago House, he can easily mix old favorites with new finds, making every set full of shocks. A carefully chosen line-up that blurs the lines between house, techno, and electro makes the last night of DGTL 2025 a happy ending. The show starts with a strong and highly anticipated back-to-back set by SAIDAH and Tsepo. She was born in London and loves UK Garage. SAIDAH has a new and exciting sound with R&B singing and fast grooves. Tsepo, who is known for his deep and interesting sets in movies like “De School” and “Shelter,” easily creates an atmosphere that keeps people moving. Tiga‘s set is full of energy and movement. His famous stage personality and unique mix of acid, electro, and festival vibes keep the crowd on their feet. Then DJ Boring takes over with his unique old-school and melodic beats. He mixes old favorites with new hits, which makes each show a unique experience. He is known for his unstoppable drive and surprising style. Five friends from Nijmegen called Superstrings close DGTL 2025 with a fun and emotional trip through the trance scene. They mix famous hits from the 1990s and 2000s, influenced by their own musical heroes, for a banging end to the event. The post DGTL Amsterdam unveils the full 2025 night-time lineup appeared first on The Groove Cartel.

Chinois Ibiza announces the eagerly awaited return of TRIP, the party curated by Johannes Goller, to usher in the 2025 pre-season, with four entrancing April events, including Get-traum and Collisions collaborations, Easter Weekend and the opening of International Music Summit. Featuring top underground talent in-house and techno, inc. debuts and welcome returners. 12th April: TRIP marks the debut of Parisienne Chloé Caillet, along with Running Back label boss Gerd Janson and Italian Chinois/Ibiza regular Tuccillo. 17th April: Easter Weekend opener with the revered Seth Troxler, and Ibiza’s local heroes Cesar Vinzent B2B Isbel B2B Hugo Martinez, founder of Rhythm Point Ibiza. 23rd April – TRIP & Collisions: IMS week opener with Collisions and Houghton festival founder Craig Richards; the mighty Ricardo Villalobos, who exquisitely closed TRIP last November and now returns in triumph; and fabric resident and Pleasure Club’s Bobby. April 30th– TRIP & Get-traum: TRIP’s third year collaborating with Traumer’s Get-traum label, one of their most anticipated parties each year – Traumer will be joined by [a:rpia:r] member and co-founder Raresh, and Body Parts Records’ label head Olga Korol. Can’t make April? Watch this space for more… TRIP at Chinois Pre-season Diary – Tickets HERE Saturday 12th April – TRIP w/ Chloé Caillet, Gerd Janson, Tuccillo Thursday 17th April TRIP w/ Seth Troxler, Cesar Vinzent B2B Isbel B2B Hugo Martinez Wednesday 23rd April – TRIP & Collisions w / Ricardo Villalobos, Craig Richards, Bobby. Wednesday 30th April – TRIP & Gettraum w/ Traumer, Raresh, Olga Korol The post TRIP unveils 4 Pre-Season April parties at Chinois including Easter Weekend + IMS Week opener appeared first on Decoded Magazine.

Are you passionate about underground electronic music? Do you have an ear for what it takes to make a perfect mix? What track is driving underground dancefloors? We looking for a dedicated music enthusiast to take the helm of our “Mix of the Week” and “Track of the Week” selections. About the Role We are seeking a knowledgeable and passionate curator who lives and breathes underground electronic music. No commercial EDM—just the unique, cutting-edge, and diverse sounds that push the boundaries of the scene. Your role will be to select and write about the best mixes and tracks each week, providing insightful commentary on what makes them stand out. What We’re Looking For: A Deep Knowledge of Underground Electronic Music – From deep house and techno to experimental breaks and leftfield sounds, you should have a broad and refined taste. Writing Skills – You must articulate why a mix or track deserves the spotlight in a way that captivates our audience. (although we don’t think you need to be Hemmingway) Global Perspective – We welcome applicants from anywhere in the world. Our readership is international, and we want someone with a wide-ranging musical appreciation. Commitment to Consistency – This role requires at least one hour per week to curate and write about selections. An Understanding of DJ Culture & Electronic Music Trends – You should be up-to-date with emerging artists, labels, and movements within the underground scene. Responsibilities: Select the Mix of the Week – Identify a standout DJ set that represents the best of underground electronic music and write a compelling feature about it. Choose the Track of the Week – Highlight a track that pushes the boundaries of the scene and explain why it deserves attention. Engage With Artists and Labels – Build connections with DJs, producers, and labels to stay ahead of the latest releases. Deliver High-Quality Weekly Write-Ups – Ensure that your selections are accompanied by engaging and insightful content. Why Join Decoded Magazine? Be part of a global platform in underground electronic music journalism. Share your passion with a global audience of like-minded music lovers. Gain experience in music journalism and industry networking. Help shape the taste of our readers and introduce them to groundbreaking sounds. If you’re ready to showcase the best in underground electronic music and have a knack for writing, we’d love to hear from you! How to Apply: Send us a short bio, a sample write-up of your chosen Mix of the Week or Track of the Week, and a brief explanation of why underground electronic music is important to you. Email your application to [email protected] with the subject line: Mix & Track Curator Application. Don’t forget to follow us on Instagram and Facebook The post Join Decoded Magazine as Our Mix of the Week & Track of the Week Curator appeared first on Decoded Magazine.

LIDO Festival, is the newest addition to London’s summer calendar, announcing the final addition to its series of concerts. Massive Attack has announced to headline LIDO Festival in Victoria Park; their first London festival show in 9 years. On Friday 6th June, the iconic Bristol band will not only perform their acclaimed live show (designed in collaboration between Robert Del Naja, United Visual Artists and documentarist Adam Curtis) but continue their work with ACT 1.5 to rapidly decarbonise live music events. With their ongoing partnership with clean energy provider Ecotricity, their performance at LIDO will be 100% powered by battery – significantly reducing both carbon emissions and local air pollution. Last year, ACT 1.5 and Massive Attack hosted their first large-scale climate action accelerator in Bristol that sought to completely reimagine how music events can be staged. The all-day outdoor event, described by the New York Times as the “gold standard for green gigs” delivered an unprecedented network of decarbonisation methods across all scopes, and was the first practical phase of work designed with scientists from the renowned Tyndall Centre for Climate Change Research. 3 Months later, they applied their science-based approach to an indoor event in Liverpool’s M&S Bank Arena joined by IDLES and Nile Rodgers & Chic. Continuing their partnership with clean energy provider Ecotricity, ‘ACT 1.5 presents…’ aimed to test, operate & adopt a range of measures to dramatically reduce the level of carbon emissions & air pollution that would usually be produced at live music events. Speaking about the event Robert Del Naja (3D) writes: “To present London’s first ever 100% battery-powered festival day with a dynamic range of artists is an optimum outcome for us. History shows it’s often the combination of art and science that overcomes the greatest challenges we face, so it’s good to see LIDO take learnings from our ACT1.5 event last year and apply those technologies to where they see emissions coming from. Clean productions beginning this journey to normalisation is good news for everyone, but especially for music fans that come to festivals and the local communities that live around them.” Support will come from a stellar line-up including the French duo Air, famed for their elevated and otherworldly pop, including classics such as ‘Sexy Boy’, ‘Playground Love’, ‘Cherry Blossom Girl’ and ‘Kelly Watched the Stars’. Also on the bill will be Yasiin Bey and The Alchemist are FORENSICS. Hip hop legends Yasiin Bey (formerly known as Mos Def) and The Alchemist recently presented a live-streamed performance of FORENSICS on Bandcamp and a full album is set to follow. They said: “FORENSICS is more than the name of an album, it’s descriptive of a new approach to delivering art, bringing together the experience of musical content with fashion, visual art, technology and community. The approach foments an intimate bond with the artists’ core audience, delivering an experience that resonates on multiple levels.” Jim King, CEO of European Festivals, AEG Presents, said: “Big changes require both courage and determination, and I cannot speak highly enough of Massive Attack and their team for embracing the challenge of launching this important initiative. AEG was fortunate to collaborate with Massive Attack on the ACT 1.5 event in Bristol last summer, which set the standard and inspired our team to continue the work they have started at LIDO. Massive Attack have demonstrated that there is a better way to operate for the future of both our planet and our industry. LIDO represents the next step towards a broader adoption of industry-leading sustainability principles across AEG European Festivals, all while continuing to bring the world’s biggest artists and the best production to deliver incredible experiences for fans at our festivals.” Massive Attack will join previously announced headliners Jamie xx (Saturday 7 June), OUTBREAK Fest (Friday 13 June), Charli xcx’s own party girl festival (Saturday 14 June) and London Grammar (Sunday 15 June) for the inaugural festival. LIDO is putting artists first and handing them control, for a festival entirely programmed by the headliners. They will bring their favourite artists, collaborators, newly tipped artists and their own style to each day. From the acts to the artwork and stage design – every aspect is personal to them. Named after Victoria Park’s Lido Field, the 10-day event will offer hand-picked music line-ups with a strong focus on sustainability, as well as community events during the week. More headliners, full line ups and programmes are to be announced. Follow LIDO on Instagram and join their newsletter here for updates and tickets. The post Massive Attack, London Grammar, Jamie XX and AIR are coming to London appeared first on Decoded Magazine.

With more than three decades experience running the world class Tresor club in Berlin, Dimitri Hegemann is now finding success with an alternative strategy at the previously-struggling sister venue in western Germany, and is dedicated to sharing the knowledge of successful club management across Europe and beyond. Patrick Hinton reports Continue reading...

MashApp, a new music app that allows users to curate and play back real time personalised ‘mashups’ of their favourite songs in an environment that supports artists and songwriters, has launched in the Apple App Store in the US. Tracks from music labels and music publishers including Universal Music Group, Sony Music Entertainment, Warner Music Group (including Warner Chappell Music and Warner Recorded Music), Kobalt Music and Universal Music Publishing Group (UMPG)—MashApp makes it easier to remix music and also provides artists, songwriters and rightsholders with content attribution for all user creations. MashApp lets you in real-time mix tracks available through the app into a single, personalised playback track by adjusting easy-to-use, intuitive settings for duration, start and end points, use of vocals or instruments, and tempo to get the combination just right. You can also share web links to allow MashApp’s user base of music groups. Members of the MashApp community can use parts of select tracks and listen to ‘mashups’ for free or subscribe to MashApp’s Premium tier for unlimited, ad-free mashup listening and to unlock the app’s full creative potential. MashApp is the only place to find and hear the ‘mashups’ made by other users in its community. “MashApp’s mission is to bring the joy of playing with music creation to non-musicians, to let people play with their favourite music, as they have long done through DJing, mix tapes, mashups, and karaoke,” explains MashApp CEO and founder Ian Henderson. “We want this new creative play to be a great experience for fans, but also for artists. This requires close partnerships with record labels and music publishers, and we’re excited that our partners have embraced our vision.” Said Mark Piibe, Executive Vice President, Global Business Development & Digital Strategy, Sony Music Entertainment, “We are pleased to be working with MashApp to help fans go deeper in how they engage with their favourite music through a new personalization and creation experience that appropriately values the work of our artists. This partnership furthers Sony Music’s ongoing commitment to supporting innovation in the marketplace by collaborating with developers of quality products that see opportunity in solutions that respect the rights of professional creators.” Nadir Contractor, SVP, of Digital Strategy & Business Development at Universal Music Group said, “UMG always seeks to support innovation in the digital music ecosystem. MashApp introduces another evolution of the streaming experience for users by combining the creativity of DJ apps, with the accessibility that streaming offers. Within MashApp, users can unlock their own creative expression to curate, play and enjoy in real-time musical mashups from their favourite artists and songs, while respecting and supporting artist rights.” “Our commitment to championing the rights of our artists and songwriters is at the core of everything we do,” said John Rees, SVP, of Strategy & Business Development, WMG. “This partnership with MashApp builds on this mission–delivering a licensed, innovative platform that not only offers fans an exciting way to engage with music but also safeguards the work of the artists and songwriters who make it all possible.” Bob Bruderman, Chief Digital Officer at Kobalt Music, adds, “Kobalt has been a strong supporter of new companies that allow fans to express their creativity and engage with music they love. It was immediately clear that MashApp had a unique vision that opened a new experience for music fans on a well-executed platform, simultaneously respecting copyright. We look forward to a long partnership with MashApp.” The post Universal, Warner, & Sony Sign licensing deals with new music creation / social App – MashApp appeared first on Decoded Magazine.

Stunning cultural escape Medaina Festival arrives at Jordan’s ancient Petra and the nearby Wadi Rum valley from May 21 to 26, 2025. This multi-day event is a unique mix of music, art, gastronomy, culture and sustainability in one of the most beautiful and ancient places in the world. Modern wanderers seek more than just destinations, they crave immersive, multidimensional experiences that go beyond the ordinary. And that’s exactly what Medaina Festival, curated by Tithorea, offers: an intricate tapestry blending music, culinary exploration, well-being and cultural discovery into one unforgettable journey. And for the adventurous traveler, Jordan is the ultimate destination. Situated at the crossroads of history and modernity, the Kingdom of Jordan offers a mesmerising fusion of ancient heritage and vibrant contemporary life. From the awe-inspiring, rose-red cliffs of Petra, a UNESCO World Heritage Site, to the vast, golden dunes of Wadi Rum, Jordan’s landscapes offer a timeless beauty that beckons explorers. “After four years of deep dreaming and careful planning, we are finally here. The time has come for us to launch Mediana at the absolutely magical sites of Petra and Wadi Rum in Jordan while being completely considerate of our local community. We are proud that this inaugural event showcases the very best Jordanian cultural and artistic offerings while also being utterly respectful of the important guidelines around their famous sacred and historical sites. We’ll offer our fantastically state-of-the-art creative direction to make this an immersive experience of a lifetime.” Co-Founder Shahin Mani Medaina Festival promises to redefine the idea of cultural celebration this year with a groundbreaking sensory feast that merges sights, sounds and sensations. More than just a music festival, Medaina is a movement—an exploration that will awaken your wanderlust in profound new ways. Set against the majestic backdrop of Petra and Wadi Rum, Medaina will seamlessly blend the age-old grandeur of Jordan’s landscapes with the dynamic pulse of contemporary art, music, and culture. To ensure the festival follows all of its guidelines and is mindful of this historic site, organisers are collaborating closely with the Tourism Board and cultural authorities. Medaina is a celebration of both the legacy of the past and the boundless potential of the present, offering an unparalleled opportunity to experience Jordan like never before. As the countdown to Medaina begins, travellers are invited to embark on a once-in-a-lifetime journey that will leave them with memories to treasure long after the event has ended. For tickets and more information head to; https://www.tithorea.com/ The post Jordan’s Medaina Festival announces cultural multi-day escape to Petra and Wadi Rum appeared first on Decoded Magazine.

New York City – one of dance music’s global capitals and a city that’s always had a special relationship with Anjunabeats. From Above & Beyond’s iconic ABGT100 show at Madison Square Garden and their acoustic performance at Radio City Music Hall to open-air label takeovers throughout the city, it’s been an incredible 25-year relationship with the city that never sleeps. In celebration of the past, present, and future of the Anjuna family of labels, Anjuna will present its one and only North American “Anjuna25” show at The Brooklyn Mirage on May 17. While the venue has routinely hosted legendary Anjuna events, nothing will prepare NYC revelers for what’s in store here. Anjuna25 New York City will see a full venue takeover of Brooklyn Mirage, with artists from Anjunabeats and Anjunadeep performing on four stages: The Brooklyn Mirage, The Great Hall, The Kings Hall, and The Village More information and artist lineup will be revealed in the coming weeks. Pre-sale opens Monday, February 24th at 11 am EST. Sign up here. The post Anjunabeats takeover of New York’s Brooklyn Mirage appeared first on Decoded Magazine.

After over five (5) years of contentious and controversial litigation, Lorin Ashton aka Bassnectar has settled the civil lawsuit against him. The lawsuit alleged claims of sexual abuse, grooming, and even sex trafficking at one point. In 2020, Lorin Ashton faced multiple allegations of sexual misconduct, including claims of engaging in inappropriate relationships with underage girls. These accusations led to a lawsuit filed in 2021, alleging child sexual abuse, sex trafficking, and the creation and possession of child pornography. Ashton denied all allegations, describing them as “outrageous” and “without merit.” These words alone turned away many fans. In response to the controversy, he announced an indefinite hiatus from his music career. Many other artist like Blunts & Blondes, Space Jesus, Datsik, SNAILS, and Graves have seen accusations in the past years. Several of them have been vindicated since those accusations were made. In the past year or so, he has starting (with varying degrees of success) to restart his musical career. His shows have been marred with controversy as the case has gone on, so his events have had to keep venues secret in order to avoid cancellations and such. It’s important to note that this was not a criminal case, but a civil lawsuit. The case had been moving towards trial and evidence was being ruled on as the trial approached. Now it appears that the parties have come to a confidential settlement agreement and the case against Bassnectar has been dismissed. That means that, essentially, this matter is closed. There will not be a vindication nor will there be a finding of wrongdoing on the part of Bassnecar. Even the Bassnectar subreddit community is torn about what to make of this outcome. Since the Order describes a confidentiality agreement, we suspect we will never hear details about the settlement from the accusers. It’s truly a mixed bag, where people will still be divided as to what this settlement means about the truth of the accusations. You can view the Dismissal Order below. Does this affect your view of Bassnectar at this point? The post Bassnectar Settles Sexual Abuse Lawsuit appeared first on EDMTunes.

Steve Angello and Modern Tales release their new single ‘Darkness In Me‘ via Astralwerks / SIZE. The song explores themes of resisting temptation and impulsive desires. Alongside the track, they released an exciting video. In the video, the protagonist, Gleb Sazonov, takes an emotional and transformative journey towards personal acceptance. The pulsing beat paired with powerful artistic scenes, strobing lights, and AI visuals make for a unique immersive viewing experience. ‘Darkness In Me’ This is Angello’s first release of the year. Last fall, he released ‘Hooligans”’which was followed by a thrilling return to the Brooklyn Mirage stage. Angello also dropped ‘ME’ and collaborated with fellow Swedish House Mafia band member, Sebastian Ingrosso, for their release ‘Skip.’ Last summer, Swedish House Mafia played a historic 6-week Ushuaïa Ibiza Residency in addition to an array of international music festivals including Garorock Festival, Panama Open Air Festival, Lucca Summer Festival, Untold Festival, Findings Festival, and the mainstage at Tomorrowland, which marked their return to the festival after 12 years. The track has a retro vibe to it, with heavy synths and tempo. The vocals are vibrant and captivating. The song is within the same realm as Camelphat and Ali Love’s ‘Compute’. ‘Darnkess in Me’ is a great representation of modern music with past influences, that feel timeless yet innovative. About Steve Angello Long before earning GRAMMY® Award nominations, performing to millions of fans on multiple continents, crashing charts worldwide, and tallying streams in the billions, Steve Angello realized his purpose as a kid in Sweden. He collaborated with childhood friend Sebastian Ingrosso before launching his own label SIZE during 2003. He also teamed up with Axwell in Supermode, landing a hit with “Tell Me Why.” In 2008, he co-founded Swedish House Mafia with Axwell and Ingrosso. They earned consecutive GRAMMY nods for Best Dance Recording with the Platinum “Save the World” in 2012 and quintuple-Platinum “Don’t You Worry Child” in 2013. Angello also asserted himself as a solo force of nature. He occupied a spot on DJ Mag’s coveted Top 100 DJs list for 14 consecutive years and received two DJ Awards. Following his full-length debut Wild Youth, he ascended to another creative peak on his 2018 sophomore offering, Human, collaborating with Bishop T.D. Jakes on “Rejoice,” Pusha T on “Freedom,” Barns Courtney on “Dopamine,” and more. 2021 marked the momentous return of Swedish House Mafia with their long-awaited debut LP, Paradise Again – which topped the Billboard Top Dance/Electronic Albums Chart and UK Official Dance Albums Chart – and subsequent world tour. About Modern Tales In a land shaped by the rugged beauty of Sweden, there were two brothers, Jonas Rathsman and Franz Novotny, whose paths were destined to intertwine. Each set forth on his own journey, carving out his place in the world, until the call of a shared vision brought them together once more. Thus, Modern Tales was born—a union steeped in the spirit of the North, where echoes of melancholy and shades of mystery wove their way into every note they created. Their music, like the tales of old, stirs the soul, moving heart and body alike. It is a sound both vast and intimate, weaving cinematic threads with the raw textures of human emotion, all carried on the winds of their homeland’s timeless lore. In the year 2020, when the world stood still and shadows loomed, the brothers found light in a blank canvas, painting it with the colors of a new endeavor. Their songs, forged in solitude, carried far, reaching the ears of Rüfüs Du Sol, who welcomed them on a journey that led to distant stages and a covenant with Rose Avenue. It was upon these stages that their gift for storytelling came alive, their music binding strangers together in shared feeling. But this is only the beginning. Modern Tales stands at the threshold of a long and winding road, their Nordic sound a torch to guide them and those who follow. What lies ahead is a saga yet unwritten, one that will inspire and endure through time. In order to find the light, one must fight the darkness within, enjoy ‘Darkness in Me’ The post Steve Angello And Modern Tales Captivate With ‘Darkness In Me’ appeared first on EDMTunes.

The 10,000-capacity venue, located close to Bramley-Moore Dock, allegedly placed "road ahead closed signs" outside its events without planning permission Continue reading...

Hilda Jackson, a 104-year-old from Derbyshire, UK, is proving that age is just a number as she prepares to celebrate her 105th birthday with a full-fledged rave. Set to take place on February 25 at Holbrook Hall care home, the event will feature a live DJ, UV lighting, and glow sticks, ensuring a vibrant night for Jackson and her fellow residents. Jackson, who has always had a passion for dancing and music, requested a high-energy celebration to reflect her zest for life. “She’s always been a big fan of dancing and living life to the fullest,” said Rebecca Wass, care home manager in an interview with BBC. This isn’t the first time she has embraced the rave culture—her 104th birthday saw residents dancing with glow sticks, setting the precedent for this year’s electrifying event Born in 1919, Jackson has witnessed monumental historical events but remains young at heart. She worked in a munitions factory during World War II and spent much of her youth traveling and enjoying life to the fullest. Now, she’s showing the world that partying has no age limit. The Holbrook Hall team is encouraging people to send birthday cards to mark the occasion. With rave lights flashing and beats pumping, Jackson is set to celebrate in true party spirit. “She’s always been a big fan of dancing and living life to the fullest so she wanted to do something to represent that.” Would you like to be part of her milestone celebration? You can send her a birthday card and join in spirit as she embraces another year with electrifying energy The post 104-Year-Old Woman Requests Rave for Her Birthday appeared first on EDMTunes.

Scandinavia’s fastest-rising dance artist, joki, is back with a bang, releasing his highly anticipated dance-pop anthem aliceon February 28th, 2025, through NITRON Music and Sony Music Germany. Known for his infectious energy and ability to create irresistible melodies, joki has already amassed over 3 million monthly listeners on Spotify in just seven months, a testament to his rapid rise in the music scene. Following successful collaborations with Sam Feldt on TEN and Sevek on Coca, joki is proving his versatility once again with alice. The track opens with a dopamine-packed synth that hooks listeners right from the first note, setting the tone for an unforgettable ride through feel-good dance-pop vibes. alice is a perfect fit for major playlists like New Dance Pop, Mood Booster, Dance Party, Chill Tracks, Emotional Dance, and even NMF and Mint, underscoring its broad appeal across various musical tastes. With its catchy melodies, uplifting beats, and vibrant energy, alice promises to be the ultimate anthem for anyone in need of a mood boost. joki’s meteoric rise is no coincidence. His infectious sound has caught the attention of fans and industry figures alike, and with alice, he’s poised to continue dominating dancefloors worldwide. Stay tuned as joki continues to make waves in the global dance scene. The post JOKI’S NEW SINGLE “ALICE” SET TO TAKE OVER DANCE FLOORS appeared first on Electric Mode.

The band are set to headline LIDO’s debut edition – their first London festival show in some nine years Continue reading...

The drum ‘n’ bass MC has spent more than 200 days in hospital after being diagnosed with acute monoblastic leukemia Continue reading...

CamelPhat, the Grammy-nominated DJ and production duo from the UK, bring their unique deep, groovy and melodic house sounds to Pacha ICONS for an exclusive musical trip. The platinum-selling Liverpool duo have firmly established themselves as one of the most in-demand acts on the planet. From legendary residencies at the world’s best clubs including the last two summers at Pacha Ibiza to collaborations and chart topping singles with the likes of Anyma, Elderbrook, Jake Bugg and Jem Cook, they have led the electronic scene from the front for the last decade, gathering millions of streams worldwide. Joining them is Adam Ten, a talented musician and unique DJ who mixes a wide range of genres into emotional roller coasters. Resident Fabrice will complete the lineup with his expert selections ensuring an elevated experience all night long. This party invites you to dance to the best electronic artists of our time backed by 50 years of party expertise from the legendary Pacha Ibiza. This is an unmissable event with another of the world’s most sought after DJs. Availability on the dancefloor is limited, so secure your spot HERE. The post CamelPhat Headlines Pacha ICONS At Playa Pacha, FIVE LUXE in Dubai appeared first on Electric Mode.

2025 is shaping up to be a massive year for T & Sugah. With their latest release ‘Louder’ kicking things off this year, they are now working towards the first indoor edition of their very own High Tea Festival. What started in 2011 as a musical collaboration between the two, grew to become the High Tea Music label in 2016, with the first Festival in 2022. With years of experience as producers and numerous sold-out events under their belt, they know the scene inside and out. “Go hard and be home,” that’s High Tea’s motto. At the end of March, they will be taking over the entire Melkweg. This is a venue in Amsterdam with three concert venues, a movie theatre, an exhibition hall, and more. It promises to be a festival celebrating all aspects of the rave experience, ranging from showings of drum & bass documentaries and board games, to the biggest dancefloor drum & bass (live) acts of the moment and a silent disco. We had a chat with Philippe from T & Sugah, who has just returned from a US tour, to talk more about their plans for the Festival, their busy tour and release schedule, and everything else they’ve planned for us. Starting the year with a US tour, cool! How was it? I’ve had other artists tell me to not expect too much, so I went with that mindset, but I was positively surprised. The first show was already packed with fans. Many ravers wanted to take pictures, and there even were people with T & Sugah shirts at every show. Unbelievable! There was a lot more hype, and we had a lot more fans than I expected. It was especially crazy because while I was in America, Robin was in New Zealand, headlining a festival with Alcemist and playing a run of club shows. So clearly 2025 started out amazingly for us. While touring the world, you’re also preparing for your biggest High Tea Festival so far, on the 28th of March. Six different areas, that sounds quite impressive. Are you looking forward to this? After 3 months of solo shows, the first time we (T & Sugah) will finally play together again, will be at High Tea in Amsterdam. The fact that we are playing together for the first time at our own event, I think that’s an amazing sign. I am especially looking forward to that event, as we will be creating a new drum & bass experience in the heart of Amsterdam. Showing more than “just” the music, by for instance including a cinema where we will show drum & bass documentaries, a silent disco, and live acts. We’re even taking things a step further by adding an exhibition space filled with art exploring the intimate and complex relationship between identity, desire, and self-expression from a female perspective. While also adding a complete bar area with board games to just sit back and hang out with your friends. In our cinema, I’m especially looking forward to the premiere we’re hosting of “Resonance Beyond Borders: The Sounds of Ukraine”. This documentary takes you on a journey following several Ukrainian drum & bass DJs as they reflect on all that has happened (and is happening) during the ongoing war. It includes very emotional footage, up to the point of seeing the insides of a bomb shelter. One of the artists involved in the documentary, Thelena, will be playing that night. A must-see! Why do you think it’s important to show these documentaries at your festival? Music connects, and we live in a time with incredible gaps between people, between left and right, rich and poor. It’s only about ourselves, about “us and them”. Music has always been a connecting factor between all people. Every day people don’t desire war; they simply want to live their lives and enjoy the beauty of music. Through the Sounds of Ukraine’s documentary, I hope we can illuminate the different sides of the Ukraine-Russia conflict. Despite our differences, the love for music, in this case D&B, is a bond we all share. This cinema is only one of the six rooms that you will take over during the festival. How did you come up with the idea of using all six halls of the venue? We’ve been organising parties and have been in the scene for quite a while now. At some point, you know the drill and you crave for a new experience. You want to create something new for your audience. And given that Melkweg had a cinema, we thought, why not show drum & bass documentaries? Then, when you want to chill, instead of going into a smoking area, you walk straight into an actual cinema! And then we started thinking, what else can we do? We wanted a bar area, with board games. And expositions, because when I first started raving (I went to places like OT301 and Ruigoord, for those who know), I always enjoyed walking around the venues and exploring all the (street) art surrounding you. Nothing more fun to me than discovering new corners, new vibes, and new areas. People are definitely more open to having some down time at a rave nowadays. It doesn’t all have to be loud music and flashing lights. Absolutely. Well, you can always go outside if you want to get away for a second, but it’s cold, there’s no music, less vibes… You want places where you can relax and have less stimuli, before going out to the music again. What else do you have planned for the Festival? We’re also going to do a 360-stage in one of the halls. People love it. Another thing I can already tell you is that we’re going back to back with Vibe Chemistry as the closing set of the festival! We’ve known him for years, and fun fact, he’s known for rocking the original “High T-Shirt” during his shows, so we thought this would close off the night in a strong way. We’re bringing Metrik, Mozey and Turno to Amsterdam as well. I’ve been a fan of Metrik for years, and I’ve gotten to know him pretty well over the years. It’s always nice to have him back at our parties. We have a few artists from the label coming. Natty Lou, for example, who has released a lot of music on High Tea. We’ve got Feed the Fire and Comet, two of our fast-rising artists. Who released a lot with us and are also signed at our agency. We also wanted to include more live elements, because at a festival, you want to have a little more of that live feeling. That’s why we chose to invite Keeno and Ruth Royall. We also invited Hato, who is known to play more of a multigenre set. We really want to create a different experience, and because we have multiple halls, we can do it. So all three of the DJ halls have their own theme? I would say that the main hall is going to have more of a dancefloor/jump-up D&B style. The second hall will have more diverse DJs on the line-up earlier in the evening, with some live stuff, more multigenre… Room 3 will showcase the High Tea artists, and this room will also have a silent disco! All the way upstairs at Melkweg, in a small room. Really cosy. You’ve been organising parties with High Tea for nine years now. Have you noticed a change in the scene? The scene is always changing. When we started High Tea, we were putting a lot of dubstep on the line-up, but we don’t do that anymore. Deep and liquid used to be a lot bigger as well, but now jump-up is all the hype. Things are always changing, you never know what’s coming next. Every five years you have a whole new generation of ravers who want different things. Right now, everything has to be harder, everything has to be faster. But the next generation might be the opposite because the next generation of ravers will look at the previous one as “old people”. It’s the same with grandparents, parents, and children, really. You never like what your parents like. Ravers will also not like what the older ravers like, but that’s the interesting thing about the genre. New generations bring in new ideas, and new thoughts about the world, new philosophies and that is reflected in the music being released. The current “new” generation lives life at a faster pace than previous generations. Therefore you see the music becoming more intense as well. The older generation wasn’t really into swiping on TikTok, but the new generation was born with it. I’m very curious what the next generation will be like. God knows. Everything is possible, and that’s the beauty of it. There always have to be new ideas, otherwise the genre comes to a standstill, and that’s the worst that could happen. Some heads say, “It always has to be deep music” and “This is real drum & bass,” but if everyone did the same thing, it would be so boring. It has to change. There have to be new ideas. And you’re going to hate some of the new ideas. But that’s okay. And how do you adapt to those changes? I think you unconsciously always adapt because you’re being influenced by your surroundings. Every time I listen to new drum & bass and new subgenres, I always find something in there that interests me. The moment that happens, when there’s that spark, I feel inspired and I go with it. “When you do what you did, you will get what you got,” I think that’s a nice saying. You have to do other things, otherwise you get the same old end product. That’s a good way of looking at it! Where else do you find inspiration? New people come with new sounds and new ideas, and sometimes, I find inspiration in my own music. I get inspired by the people I’m booking, by the sound I’m hearing at High Tea events, by the sound of our releases at the label. There are a lot of other artists who inspire me, and sometimes I find inspiration outside of the drum & bass genre, in a hip-hop song for example. Other times I find inspiration in a mistake which suddenly starts sounding cool. Musical inspiration can be found in everything. Absolutely! Your new single ‘Louder’ came out recently. Can you tell me more about this track, and about what other releases you have planned? Yes! ‘Louder’ is what we call in the industry a “self-release”, meaning we released it on our own record label without the support of other labels. Interestingly while doing that, the track has still been supported by some of the biggest release bass playlists, such as Liquicity and UKF. We also had some really big influencers on board like Majed and Hato, BBC Radio 1 was supporting as well as 3FM in the Netherlands. Looking back at it now we’ve actually reached all of the goals we wanted to reach with this release, which is quite bizarre. All of the playlists on our wishlist, all the radio plays we wanted, all the influencers. And best of all: we got to work on this release with our own team, our own label manager, our own marketers (who once started as our interns). It’s a great feeling to work in a team with the people you love. And then for the rest of 2025, every month we’re planning to do something big! We’re releasing a Liquicity single next month, the month after that we’re probably going to put out a collab with Don Diablo. A month after that we have S.P.Y., who has done a remix for us coming out on UKF. The month after that we might do our biggest DnB Allstars single so far. And then in between all of this there’s a remix for Friction that’s coming out and we also got asked for a remix of Rudimental and Hybrid Minds, while we’re working on a collabs with LUUDE and ROVA… It’s absolutely crazy! I love seeing how with ‘Lose Control’ and ‘Lo Lo’ and ‘Danger’, a true new era for T & Sugah has begun. A lot happening! What’s the next milestone you want to reach? That’s one of the questions keeping me awake at night. The problem with goals is, when you achieve your goal, what’s next? I’ll give you an example. Our original goal was to play in the Storing, a bar that is now closed in our hometown Haarlem. There are maybe 100 people that fit in there. Our ultimate goal was to play there, so then when you do that you find yourself thinking: now what? Then you want to play in the Melkweg. Afterwards, you think, what now? “I want to play on Rampage,” but then you get to tick that off. Your goal is always moving up. Until recently, the goal was a world tour. But then I started thinking, we played Canada, the US, New Zealand, and Europe, all of them in 2024. That’s starting to look like a world tour, right? I would like to do more of a connected tour, though, because now the ‘ world tour’ consists of separate mini-tours, so to speak. But there will be a time when we have achieved that too. And then what will you do? Do it a second time? Or are we going to Mars? At some point you’re on a level where you can only repeat the process, so another single or another headline show, but go bigger and better each time. You’ve been making music with T & Sugah for around 10 years now. Did you think you would reach your goals this fast? On the one hand, you can’t imagine ever reaching your goals when you set them, but on the other hand, you want it to happen now. And when it happens, you expect it to be this big moment, and you can lean back and say, “Look at what we just reached.” But in reality, you already have some new goals set for yourself. Therefore I have to tell myself, “Enjoy that journey!” The planning and seeing everything unfold, noticing the pieces fall into place… That is the best thing about it all. So I force myself once in a while to enjoy all of the goals that we reach, small and big. Like our US tour, for example. What I often do when on tour is open Google Maps, look at my location, zoom out, and then let that sink in. That’s where you are now. That’s how you force that feeling of, “Dude, I did this.” In the madness of travelling around, jetlagging, socializing, etc, it can be hard to find a moment to really cherish it all. Sometimes you just have to take that moment, and that can be a really nice feeling. What’s next for you? I’m just accelerating. There are a lot of shows coming in. Our calendar is twice as full, our release schedule packed to the max, and this summer we’re going to play at a ton of drum & bass festivals. Rampage, Liquicity, Let It Roll, D&B Allstars, Hospitality on the Beach, Tomorrowland, etc… If you had told me a few years ago, I would not have believed you. So to say I’m really excited about everything is an understatement!

When Hilda Jackson was born, the idea of a "rave" would have been about as foreign a concept as TikTok dances and Boiler Room. Fast-forward 105 years, and the English woman is about to prove that basslines and glowsticks are just as much for centenarians as they are for kids exploring their first music festival. Set to celebrate her 105th birthday on February 25th, Jackson, according to BBC News, has one request: a full-fledged rave at her Derbyshire care home, complete with a live DJ, ultraviolet paint and all the neon accessories required for a proper night out—albeit one that presumably wraps up before sunrise. Staff at Holbrook Hall, where Jackson now resides, are reportedly making sure she gets exactly that, honoring a woman they say has always been one to live life to the fullest. "She’s constantly on the go, very determined, and very aware of what she wants," said care home manager Rebecca Wass. "She’s always been a big fan of dancing and partying." BBC News The residential care home's upcoming party will feature classic dance anthems spanning the decades, and guests—fellow residents included—will have the chance to request their own tracks. A known tennis enthusiast, Jackson spent her younger years traveling, working in a fabrics factory and even producing munitions during World War II. Now, in her 11th decade, she’s proving that the only thing better than a lifetime of lived experience is extending that streak well past 100. To mark the milestone, staff have also put out a request for birthday cards, hoping to flood Jackson with messages from around the world. "We want to show just how loved Hilda is," Wass added.

Gesaffelstein's dystopian world is once again expanding beyond the confines of the studio after the iconic French producer announced a new leg of his ongoing "Enter The Gamma" tour. A string of high-profile festival dates will showcase the dark, commanding energy of 2024's stunning GAMMA album, Gesaffelstein's first full-length project in five years. Last year, the shadowy producer made his highly anticipated live return with a series of large-scale shows and select festival appearances, including a buzzworthy performance at Coachella. Building on that momentum, he's bringing his cinematic, industrial sound to a fresh wave of audiences in 2025. The latest additions to Gesaffelstein's schedule include performances at Miami's Ultra Music Festival as well as EDC Las Vegas, two of the nation's largest and most renowned electronic music festivals. Overseas, Gesaffelstein is set to make a pair of stops in Mexico and head to France, Sweden and Poland, respectively. Tickets to the 2025 dates of Gesaffelstein's "Enter The Gamma" tour are on sale now. Gesaffelstein/Facebook Follow Gesaffelstein:Facebook: facebook.com/gesaffelsteinmusic Spotify: spoti.fi/3cKr0Nv

In the wildest crossover since Chardee MacDennis met beer pong, electronic music fans across the country are preparing to dance their nights away at "SUNNY RAVE," a tour inspired by It's Always Sunny in Philadelphia. Organized by Austin-based electronic artist dj pressed, the tour is taking the absurd and chaotic energy of "The Gang" to new levels. "My personality is pretty much a string of Always Sunny references, loud electronic noises and desperate cries for attention, so the 'SUNNY RAVE Tour' has been a great outlet for me," pressed tells EDM.com. "It’s also the best way I can pay homage to what I think is the greatest comedy series of all-time." Attendees have showed up in everything from Green Man suits to pigeon costumes, transforming dancefloors into living tributes to Philly's most dysfunctional bar crew. The events feature countless creative interpretations of the show's most memorable moments, like remixes of Charlie Kelly's "Nightman" song and Dennis Reynolds' "I haven't even begun to peak" monologue. View the original article to see embedded media. "I think some DJs take themselves far, far too seriously, so I enjoy putting an incredibly serious amount of effort into incredibly unserious things," pressed added. "I would much rather get weird to giant Danny DeVito visuals while dressed as a bird-person than fight for shoulder space amongst lifestyle influencers in the hopes of filming a kick drum." Visuals of DeVito's Frank Reynolds—the deranged, morally bankrupt father figure of It's Always Sunny—only scratch the surface of the tour's dedication to the sitcom. Even its notices are branded—in a callback to Charlie's hilarious insistence that birds have certain legal rights, one reads: "This event is fan-made and is NOT affiliated with FXX or the show; this is legally compliant under section 3.5.1 of Bird Law." It's worth noting, however, that the official "SUNNY RAVE" disclaimer says the tour seeks to comply with all intellectual property laws under the terms of fair use. The "SUNNY RAVE" tour has already hit Seattle, Austin and other major cities. It's now primed to take over Denver, Las Vegas and Cleveland in March. You can purchase tickets to the "SUNNY RAVE" tour here.

One week after sending out ‘Bibis Tower’ to all fans who subscribed to his mail list, Skrillex sent out another surprise track today. Titled ‘Scut,’ the song is one of the artist’s most anticipated IDs, having been played for the first time at Lost Lands 2023 by Infekt. Featuring a riddim sound, ‘Scut’ focuses on taking fans through an instrumental journey, rather than a lyrical experience. After reinventing his style and releasing various genres of music since his comeback, Skrillex‘s new song has a feeling of nostalgia and can remind listeners of the classics that raised him to fame. The free release of ‘Scut’ can also be considered a gift to his supporters as Skrillex‘s second studio album, ‘Quest For Fire’ turned two years old today. Teasing all this new music in people’s inboxes through a post on social media four weeks ago, Skrillex fans are now wondering if this could be a sign of a new album coming soon. The American DJ is set to be performing at Ultra Music Festival in March, making his return after ten years. His set is one of the most awaited, and it could be a great opportunity for Sonny to drop some fresh music on one of the world’s biggest stage. Besides this, in November 2024, Skrillex announced on X that his partnership with Atlantic Records will come to an end with his next official project, becoming an independent artists from that moment onwards. The DJ and producer expressed his excitement about this new ‘independent’ beginning through a post on social media platform X: “Now I’m able to rethink / relook at how structures are designed. I want to find ways to simplify decimating music and art.” Finally, the artist also spoke about how strange the term “independent” is in the music industry and how he will still depend on his team to put together what he does. Only time will tell what’s to come next for Skrillex, but it seems like things are moving in the right direction for him and new exciting stuff is on the way from the EDM legend.

The email arrived quietly, with a subject line so nondescript it could have easily been mistaken for a routine work message: "Mix test." No announcement, no cryptic social media tease, just an unassuming note from Skrillex himself. "Good Monday from my mixing room in Los Angeles," the body of today's email reads. "Hope you are keeping well." Fans who opened the attachment expecting further pleasantries were instead met with something far more explosive: a preview of his unreleased track, "Scut." A primal, unfiltered slab of vintage Skrillex dubstep, the track is a reminder of the sound that made him the face of a movement. The track is a hyper-mechanical behemoth where guttural dubstep growls, barking vocals and bullet shell casing samples battle for dominance, amplifying its unhinged ethos. This is Skrillex tapping into his roots, evoking the reckless energy of his early 2010s era—but with a decade’s worth of sharpened instincts behind it. Skrillex has not confirmed an official release at the time of this writing. There's also no streaming link—just an artist, his music and a direct line to his fans. "I’ve got control of my website/email address now, so I can start sending stuff any time I want," he recently wrote on X. What comes next remains a mystery, but if this moment serves as any guide, it’s that Skrillex is moving on his own terms. You can listen to the unreleased audio of "Scut" in the clip below. View the original article to see embedded media. Follow Skrillex:X: x.com/skrillex Instagram: instagram.com/skrillex TikTok: tiktok.com/@skrillex Facebook: facebook.com/skrillex Spotify: tinyurl.com/naka2dyv

The email arrived quietly, with a subject line so nondescript it could have easily been mistaken for a routine work message: "Mix test." No announcement, no cryptic social media tease, just an unassuming note from Skrillex himself. "Good Monday from my mixing room in Los Angeles," the body of today's email reads. "Hope you are keeping well." Fans who opened the attachment expecting further pleasantries were instead met with something far more explosive: a preview of his unreleased track, "Scut." A primal, unfiltered slab of vintage Skrillex dubstep, the track is a reminder of the sound that made him the face of a movement. From the outset, the air thickens with tension as warped synths gnash their teeth and basslines contort. The track is a hyper-mechanical behemoth where guttural dubstep growls, barking vocals and bullet shell casing samples battle for dominance, amplifying its unhinged ethos. This is Skrillex tapping into his roots, evoking the reckless energy of his early 2010s era—but with a decade’s worth of sharpened instincts behind it. Skrillex has not confirmed an official release at the time of this writing. There's also no streaming link—just an artist, his music and a direct line to his fans. "I’ve got control of my website/email address now, so I can start sending stuff any time I want," he recently wrote on X. What comes next remains a mystery, but if this moment serves as any guide, it’s that Skrillex is moving on his own terms. You can listen to the unreleased audio of "Scut" here. Follow Skrillex:X: x.com/skrillex Instagram: instagram.com/skrillex TikTok: tiktok.com/@skrillex Facebook: facebook.com/skrillex Spotify: tinyurl.com/naka2dyv

There's a certain irony in the fact that one of electronic music's most compelling new voices built his career around the challenge of using his actual voice. In his new documentary, The World Pushed Against You, Shrimpnose reveals how electronic music became his truest form of expression in a world that all too often demands verbal fluency. The DJ and producer, whose whose real name is Riley Smithson, has navigated a stutter since the age of five. About 1% of the world's adults live with a stutter, the cause of which remains unknown—and it's a vicious plight. Bullying, depression and self-esteem issues are nearly universal in young stutterers, who worry each time they open their mouths to speak and hinge on every syllable. The documentary, which takes its name from his latest studio album, weaves together performance footage—including a breakthrough set at Shambhala Music Festival—with intimate glimpses into his creative sanctuary. "Music for me has always been the thing that makes me feel most connected to the world," Smithson says. "I think part of it is that music has always felt like the easiest language that I can express myself in... I have a pretty bad stutter that comes out sometimes." "Verbally expressing myself has always kind of been an obstacle. I found that music was a way I could communicate without any blocks. I was just completely fluent." c/o Nettwerk Music Group The paradox at the heart of Smithson's new documentary isn't lost on anyone: a musician whose stutter led him to create fluid, eloquent electronic music. His atmospheric productions, characterized by textured ambient beats and hypnotic vocal elements, take on deeper meaning when viewed through the lens of his personal journey. The documentary's title, The World Pushed Against You, perfectly encapsulates the tension between personal struggle and artistic redemption. But rather than dwelling in difficulty, Shrimpnose's story celebrates the discovery of one's authentic voice, even when it manifests in unexpected forms. His journey from a child grappling with verbal expression to an artist commanding festival stages demonstrates how limitations can become catalysts for unique creative perspectives. In both his music and this documentary, Smithson reminds us that fluency comes in many forms, and sometimes our greatest obstacles lead us to our most powerful means of connection. You can watch The World Pushed Against You on YouTube below. Follow Shrimpnose:Instagram: instagram.com/shrimpnose TikTok: tiktok.com/@shrimpnose X: x.com/shrimpnosebeats Facebook: facebook.com/johnshrimpnose Spotify: tinyurl.com/5xjmu9tp