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As we step into 2025, it’s the perfect time to reflect on the incredible music that closed out 2024—particularly the outstanding single ‘Coming Home (I.M.U)’ by TATE SEDAR. Released on December 6th, ‘Coming Home (I.M.U)’ marked the sixth and final release of 2024 for the San Francisco-based artist, serving as a perfect ending to a remarkable year. TATE SEDAR treated his fans to an number of unforgettable tracks throughout the year, including ‘San Francisco’, ‘Wish I Could’, ‘Emotions’, ‘Our Goodbye’, and ‘Overload’. These songs remain fan favorites, and ‘Coming Home (I.M.U)’ is undoubtedly poised to join their ranks. Like what came before, ‘Coming Home (I.M.U)’ delivers mainstage festival energy, blending power with euphoria. The track masterfully blends emotional, homesick female vocals with driving beats that reflect TATE SEDAR‘s roots in electro and progressive house. It’s a journey through identity and nostalgia, underpinned by the sights and sounds of his hometown, San Francisco—a theme beautifully captured in the accompanying artwork. Stream this single below and on all other platforms here. The story of TATE‘s signature sound dates back to 2023. With performing taking up the majority of his time, he didn’t have time to spend in the studio. By moving to Los Angeles in 2018, it allowed him to work in nightlife, traverse the commercial & underground worlds of music and educated himself in the infectious genre markets of electronic and pop within LA’s musical DNA. During this time is when TATE began to form his homemade signature sound. Although already in love with bass and future house, he became engrossed with the eclectic sounds of garage music and modern dancepop. And while learning the lay of the land in LA’s house and techno landscape, he eventually was graced with major shows from Insomniac Events and acquaintances with some of his muses: Wolfgang Gartner, Deniz Koyu and Dubvision. A rare session in that summer of ‘23 led TATE to the chord progression that eventually became ‘Coming Home’. However – even with the start of catchy vocal chops and an endearing guitar hook, there was nothing quite there to anchor it. In what ultimately became a turning point for TATE ater that year, he saw value in inspiration both old and new. He found nuance in both analog instrumentation and emulation in dance music – citing the album ‘Illusion of Depth’ (2020) by Mat Zo as a source – and realized that both the nonelectronic music (R&B, rock and hip-hop) as well as progressive sounds of his personal development could be a collective beacon for his creativity. In searching for a press shots, Angelino Heights – one of the first neighborhoods in LA with Victorian and Edwardian homes like those in SF – instandly came to his mind. He felt that it was the perfect analogy of how he finds his home both in music and his surroundings. To add to this notion, he comments: “If anybody knows me well, they know I love San Francisco. And if you don’t – listen to my music.” – TATE SEDAR It was finally with a third vocal take and incorporation of post-EDM elements – bells, piano, strings and mandolins – that the chord progression of ‘Coming Home’ came alive and began to germinate in production. The progression always reminded him of the running hills and drives with houses of old and new architecture within San Francisco as well as some nostalgia – leading to that large 80s-like chord stab before the second build. ‘Emotions’ ft. PSCYHEDELIC) was his first experiment in post-EDM, but ‘Coming Home’ and its vocal tied a new sense of authorship to his post-EDM sound: one that could incorporate the progressive styles of his mentors into its definition and part of himself & his home in its results. Once again, TATE cements identity in more than just vivid production with another jubilant and radio-welcoming soundscape throughout ‘Coming Home (I.M.U)’. San Francisco has always been his north star, and although he began his journey into post-EDM this year with another track of his birthplace’s namesake, his new single elaborates on his passion of The City by The Bay and an ongoing voyage of his sound. Call it cliché or overrated, but the theme of home is timeless, and TATE’s song – even in its makeup – is nothing but that.

Falcons QB Michael Penix isn't the only one heating up in Atlanta after the organizers of Breakaway announced a massive lineup for its first-ever festival in the city. Breakaway is scheduled for May 16-17, 2025 at Atlanta's Center Parc Credit Union Stadium Victory Plaza. It's one of six new markets for the red-hot festival brand, which was named 2024's best event organizer in EDM.com's list of the year's top industry leaders. "Breakaway is incredibly excited to add Atlanta to our 2025 tour," said Jarrod Fucci, President of Breakaway. 'We believe in taking our festivals to amazing markets where we know our consumers live, work, and play every day. There is a clear void in Atlanta for a show like ours, and we hope our powerhouse of a lineup reflects our belief and our excitement for Breakaway Atlanta." The first-ever Breakaway Atlanta will feature headlining DJ sets from a trio of electronic music superstars: Zedd, ILLENIUM and Chris Lake. Joining them on an impressive undercard are Space Laces, ALLEYCVT, Wooli, Blanke, Disco Lines, Dr. Fresch, it’s murph, Tinlicker and Myles O’Neal, among others. Breakaway, known for blending high-profile headliners with promising local talent, have also invited Georgia locals Gazza, Gia Nobody and Not Available to the bill. Tickets are on sale now, including two-day GA, VIP, Ultra VIP and Space Deck passes as well as Space Deck tables. Breakaway Music Festival Breakaway is set to kick off the 2025 season from April 4-5 with its newest festival, Breakaway Dallas, followed by its second new market, Phoenix, from April 18-19. The series then travels to Tampa (April 25-26), Atlanta (May 16-17), Columbus (May 30-31), Minneapolis/Saint Paul (June 6-7), Grand Rapids (August 15-16), Worcester for Breakaway Mass (September 5-6), Philadelphia (September 12-13), Charlotte (September 26-27) and Huntsville (October 3-4) before wrapping up with Breakaway NorCal (October 24-25). You can find out more via Breakaway's official website. Follow Breakaway Festival:X: x.com/breakawayfest Instagram: instagram.com/breakaway TikTok: tiktok.com/@breakawayfest Facebook: facebook.com/breakawayfestival

Natty Lou is back with another stunning collaboration, teaming up with Welsh vocalist Gemma Rose for their latest track, ‘Close To Me’. Released via Don Diablo‘s FUTURE – Hexagon label, the liquid drum and bass single builds on the duo’s undeniable synergy. Before its official release, the tracked premiered on UKF Drum & Bass’s YouTube channel on February 5th, marking another milestone in Natty Lou‘s ascent in the drum and bass scene. This isn’t the first time Natty Lou and Gemma Rose have joined forces. Their 2023 release, ‘Tempted’, debuted on Liquicity and quickly found its way onto Spotify’s New Music Friday and Chilled Drum & Bass playlists. With its emotive melodies and Gemma Rose’s ethereal vocals, the track captured the attention of drum and bass enthusiasts worldwide, solidifying their potential as a dynamic creative partnership. Now, ‘Close To Me’ takes that chemistry to new heights. The track blends Natty Lou’s masterful production with Gemma Rose’s poignant vocal delivery, creating a soundscape that balances atmospheric beauty with the pulse of liquid drum and bass. Early listeners can expect lush textures, intricate percussion, and a vocal hook that lingers long after the song ends. Natty Lou has been steadily building her profile as one of drum and bass’s most exciting emerging talents. Her ability to craft tracks that marry technical precision with emotional depth has earned her recognition in a competitive field. Releases on notable platforms like Liquicity and now FUTURE – Hexagon highlight her dedication to quality and her knack for finding the perfect collaborators to bring her music to life. Close To Me marks an important step forward, not just because of its release on Don Diablo‘s FUTURE – Hexagon, but because it continues to showcase Natty Lou‘s unique approach to liquid drum and bass. The genre’s emotional core is front and center, yet the production feels fresh, pushing boundaries without losing its essence. Beyond the release of Close To Me, Natty Lou has an exciting few months ahead. With her release schedule filling up and her growing momentum on streaming platforms, she is set to make waves in 2025. While specific details about upcoming tracks remain under wraps, fans can expect more collaborative efforts and solo releases that continue to push the boundaries of her sound. On the live circuit, Natty Lou is also gearing up for several shows, with appearances across intimate club venues and larger festivals. These performances provide an opportunity for fans to experience her music in an entirely different light, with her sets known for their seamless energy and carefully curated tracklists. At a time when drum and bass continues to evolve, Close To Me is a testament to the genre’s enduring emotional depth. Natty Lou and Gemma Rose have created a track that feels both timeless and modern, combining introspective lyrics with production that pulls listeners into its world. The release on FUTURE – Hexagon is another affirmation of Natty Lou’s growing reputation, marking her as an artist to watch in the years to come. For fans of liquid drum and bass, Close To Me is certainly a release to enjoy. With its premiere on UKF Drum & Bass on February 5th and its official release on February 7th, the track is going to resonate with both longtime followers of the genre and newcomers alike.

Dom Dolla has a new track titled ‘Dreamin‘ featuring Daya out now via Good Fortune Records. The track was featured in his b2b set with Solomun in January. It garnered a lot of fan craze during that night, a true testament to Dom’s craft. The Melbourne-based DJ/producer continues to take the world by storm with his hypnotic house music bangers. He quickly wrapped up his Australian tour circuit with a warm 170,000 person welcome. And now, he returns to Madison Square Garden this March 7th-8th, which is going to be another epic performance. This release is a sweet treat for things to come. Daya tastefully lends her vocals to the lyrics as a classic accompaniment to all the jams that Dom creates. The track is catchy, energetic, and a great addition to his repertoire. “Sunny Days, it’s such a pretty place”, “I see your smiling face, woke up and now I think I’m dreamin” begin the track. “All my friends, so sweet and innocent” follows as the second chorus. “The story never ends, woke up and now I think I’m dreamin” close out the verses as the undulating bassline rolls to the end. Their melodic collaboration is beautiful and perfect, capturing what dreaming must be like. We will surely see this track in his future performances, mixed in with delicacy. Dolla never ceases to amaze with his ability to create memorable dancefloor tunes. His records resonate on stage, off stage, in yoga studios, on blast while studying, virtually anywhere. ‘Take It’, ‘San Frandisco’, ‘Girl$’, ‘Savin’ Up’, ‘Miracle Maker’ are a few of his releases that pump up the energy to enormous proportions. Garnering immense support from the community and crowd, even the remixes of his tracks leave no stone unturned. Not one body is left dry, no smile is left unbent in a Dom Dolla audience. The heat fires on with him through each and every performance. Check out the official music below and get super excited for another year with Dom, starting with Coachella! ‘Dreamin’ is out now on all streaming platforms. Listen to Dom’s latest creation below. Dom Dolla – Dreamin (feat. Daya) | Buy/Stream The post Dom Dolla – Dreamin (feat. Daya) appeared first on EDMTunes.

Fresh off winning both EDC Orlando’s Discovery Project and Toolroom’s remix competition, TONG continues her hot streak with “Is It Real,” a hip-house hybrid that proves why major labels have been paying attention. The Los Angeles-based, Chinese-born producer skillfully mines ’90s hip-hop energy for dancefloor gold, laying playful vocals over tech house fundamentals. Landing on Funky Rabbit, the track marries bold toplines with rhythmic basslines in a way that feels both vintage and vital. For TONG, who caught ears with her Matroda remix on Insomniac and releases on Hexagon, “Is It Real” feels like a natural evolution. Between the track’s bouncy confidence and her growing cosigns from dance music’s biggest labels, the answer to her track’s titular question seems pretty clear. The post TONG Asks ‘Is It Real’ with ’90s Hip Hop-Laced House Heater appeared first on Dancing Astronaut.

Leave it to Dzeko to spot dance potential in unlikely places. The Canadian producer, known for bridging pop and EDM with surgical precision, has turned fellow northerners MENEW’s rock foundations into festival fuel with “Never Us.” The original collaboration already proved Dzeko’s pop instincts correct, breaking onto U.S. dance radio with its melodic approach. But it’s BYOR’s subsequent remix that really shows how far MENEW’s sound can stretch – transforming the Grammy-nominated alt-rockers’ track into a peak-time missile of driving drums and synth hooks. For MENEW, three classically trained brothers who’ve shared stages with U2 and earned Letterman spots, this electronic evolution feels natural. They’ve been flirting with dance music since launching their Brothers side project at Cannes in 2017. But with Dzeko’s touch and BYOR’s remix pushing “Never Us” into serious club territory, these former rock purists might have just found their most powerful sound yet. The post A Canadian Collision: MENEW, Dzeko and BYOR Cross Genre Lines on ‘Never Us’ appeared first on Dancing Astronaut.

Words by Alex Lambeau and Zach Salafia Charlotte de Witte & Amelie Lens – One Mind EP In the middle of their back-to-back tour, Amelie Lens and Charlotte de Witte have released their first-ever collaborative EP, One Mind. Two of techno’s most prominent DJs unite on “One Mind” and “Where Do We Go” seamlessly and subtly layering their voices over pulsing instrumentals. The long-awaited joint project is a testament to their combined creative force. Cloonee, Young M.A, InntRaw – Stephanie (HNTR Remix) “Stephanie (Dom Dolla Remix)” or “Stephanie (HNTR remix)?” That was the question the whole world seemed to be asking after HNTR’s heavy hitting remix of Cloonee, Young M.A & InntRaw’s “Stephanie” went viral on Instagram and TikTok, fueled by its inclusion in Dom Dolla’s live sets. HNTR—a rising star in the tech-house scene known for “Yes B!tch” on John Summit’s Experts Only imprint—seems primed for a massive year ahead. Aaron Hibell & Alex Wann – Set Me Free (CamelPhat Remix) A song that featured two Dancing Astronaut Artists to Watch, “Set Me Free” by Aaron Hibell and Alex Wann, has received its first remix of 2025. After racking up over 10 million streams on the original, Grammy-nominated duo CamelPhat put their refreshing spin on on one of the most memorable vocal tracks of 2024. The remix blends melodic and afro house elements and delivers heavier kicks, making it primed for dancefloors across the globe. Dom Dolla – Dreamin’ (feat. Daya) One of Dancing Astronaut‘s most-anticipated IDs of 2025, Dom Dolla’s “Dreamin’” features Daya (“Don’t Let Me Down”, “I Wanna Know”, “Feel Good”) and instantly cements itself as one of the year’s biggest releases. A smooth bassline from Dom Dolla pairs effortlessly with Daya’s infectious vocals, make for a surefire hit. Maddy O’Neal – Alive (Mary Droppinz Remix) Dancing Astronaut Artist to Watch in 2025, Mary Droppinz puts her unique spin on Maddy O’Neal’s “Alive.” The remix is part of O’Neal’s Vital Signs Remixed album, which also features reworks from Able Grey, Eyezic, Lizzy Jane, and more. new music this week Kotiēr HNTR anamē Blanke GENESI Azzecca Paradoks Otherwish CamelPhat Adam Beyer Korolova x JV Marsh x Sasha Mary Droppinz Hannah Wants Dom Dolla x Daya Kamino x MERYLL CdW x Amelie Lens Sonny Fodera x Clementine Douglas MitiS x Amidy x Crystal Skies x Linney — Dancing Astronaut (@dancingastro) February 7, 2025 Featured image: Amelie Lens/Instagram The post Dancing Astronaut’s New Music Friday: February 7, 2025 appeared first on Dancing Astronaut.

Avi Sic is back on Hexagon’s label, Generation Hex, with her latest Bass House release ‘Work It:’ a symbol of her growing reputation on the Electronic Music scene, this new single sees her continue on her upward trajectory, keeping her momentum pushing forward as she brings more music to Electronic Music fans. Having teamed up with Canadian duo FOOTWURK for ‘Work It,’ Avi Sic once again expands her creative horizons, putting forward another track that shows off her collaborative spirit and versatile approach. With previous releases on top labels like Revealed, Spinnin’ Records, Mentalo Music, and DND RECS, garnering support from industry VIPs like Nicky Romero and Benny Bennasi, all whilst reaching charting positions on Beatport, Avi Sic continues to capture attention through her artistic pursuits.  Now, partnering up with FOOTWURK, she aims to build on her efforts, collaborating with a duo whose passion has so far led them to records signed on STEREOHYPE, Bite This!, and Low Ceiling, along with earning the title of 2023 Electronic Artist of the Year in Canada: coming together to combine their talents and creativity, Avi Sic and FOOTWURK each bring their individual styles to the project, ensuring they offer a track that feels both fresh and energising. A high-powered production, ‘Work It’ balances rave-inspired vibes with layered details, adding dynamic vocals, elevating risers, and punchy beats to bring evolving texture to the mix. As the journey progresses, a pulsating lead, acid-like in sound and vibrant in energy, takes the focus, with the melodic bassline and shuffled percussive details maintaining the tight groove the track delivers. Through the tension-building breakdown, where intensifying rhythms, filtered elements, and melodic hook line interplay with the layered vocals, listeners are drawn deep into the track’s bold soundscape, fully immersed in the precise and heavy-hitting arrangement that Avi Sic and FOOTWURK have crafted. With a grinding sound, driving in dancefloor-ready vibes, ‘Work It’ captures the essence of Avi Sic’s signature style, all the while integrating FOOTWURK’s unique touch to culminate in an engaging sonic experience suitable for all listening environments. So, out now via Generation Hex and available to stream and download across platforms, listen to ‘Work It’ today and keep up with both Avi Sic and FOOTWURK by following each of them via social media. Listen and Buy ‘Work It’ Now: https://www.beatport.com/release/work-it-extended-mix/4887688 Avi Sic Online          Spotify | Instagram | Website          FOOTWURK Online          Spotify | Instagram | Soundcloud          Generation Hex Online          Website | Instagram The post Avi Sic Teams Up with FOOTWURK for High-Energy Bass House Anthem ‘Work It’ appeared first on EDMTunes.

Alan Walker is set to transform NYC's iconic Central Park into an electronic dreamscape on May 31st, when the masked hitmaker will take over its bespoke SummerStage venue for a can't-miss concert. Known for its eclectic programming spanning rock, hip-hop and global music, SummerStage no stranger to EDM greatness, but Walker's atmospheric sound feels particularly suited for its open-air spectacle. His live shows fuse eye-popping visuals with anthemic drops, immersing fans in a high-energy yet emotionally charged experience. As the sun sets over Manhattan, Walker's soaring melodies will entwine with the city skyline—a moment tailor-made for festival-goers and YouTube highlight reels alike. Fans attending his SummerStage headline can expect to hear crowd favorites like "Alone" and "On My Way" alongside new material designed to shake the park's leafy canopy. Walker, whose breakout track "Faded" amassed billions of streams and became a defining anthem of EDM's mid-2010s stateside explosion, continues to evolve his sound. He's one of the scene's most prolific producers and remains among the 20 most-streamed electronic artists in Spotify's history. Tickets to the SummerStage show are on sale now. Follow Alan Walker:X: x.com/iamalanwalker Instagram: instagram.com/alanwalkermusic TikTok: tiktok.com/@alanwalkermusic Facebook: facebook.com/alanwalkermusic Spotify: spoti.fi/3Pf8lxx

ANYMA is only just getting 2025 started, now being claimed as the first headliner of Rockstar Energy presents Creamfields 2025 – ANYMA (UK Exclusive). He performs on Sunday, August 24th. This will be hot off his ‘The End of Genesys‘ residency at Las Vegas’s MSG Sphere, where he treated so many to his mesmerizing fusion of art, technology, and music. No doubt, he is one of the most eagerly anticipated lineup announcements for the festival’s calendar. A brand new era for Rockstar Energy presents Creamfields is upon us. Veterans and first timers, welcome to the ultimate dance music weekend. Non-stop energy await you. Now, heads are still reeling from the excitement of that slew of shows that took over New Year’s Eve well into January. It all ends March 2nd with the last remaining four shows taking place February 27th, February 28th, March 2nd, and March 3rd. Matteo Milleri’s multidisciplinary audio-visual project is a force to be reckoned with, while rumors of the Tale of Us split simmer. Nonetheless, fans can expect ANYMA to bring it every time he graces the stage. The sensory-expanding experience is unlike anything where innovative visuals and sounds redefine the electronic music concert space. Unforgettable, fascinating, and indescribable only scratch the surface of words to comprehend it. Anyma is undoubtedly the biggest name in electronic music today. A founding member of Afterlife, Matteo brings his visionary alter ego to life. He merges DJing, futurism, and creative direction to craft a cutting-edge, immersive experience. His forward-thinking approach has redefined the electronic music landscape in recent years, captivating audiences around the world. However, ANYMA is not the only thing coming to Creamfields this year. The event introduces a stunning new stage amidst an immersive woodland theme. Be sure to expect cutting-edge design and jaw-dropping production. Not to mention electrifying performances atop it for a magical atmosphere and some other goodies. Check out its trailer below and find more details about the event at their website here. Get your passes for Creamfields here. You can get two day, three day, and four day camping passes. Tiers range from standard to gold, starting at 1 payment of £240 + £20 booking Fee. Tiered single day tickets start at £75 + £9 booking Fee. Super excited attendees can get on that payment plan for an epic summer. Stay tuned for the lineup announcement as we do! The post ANYMA Confirmed As UK Exclusive for Creamfields 2025 appeared first on EDMTunes.

Josh Teed has embarked on a bold new chapter in his musical journey with the release of The Prologue, his debut EP on Kannibalen Records. As the EP title suggests, it’s the opening act of a sprawling fictional universe, meticulously crafted by Teed, drawing inspiration from his lifelong passion for fantasy fiction and historical literature. The Prologue sets the stage for a grand narrative that will unfold throughout the year with subsequent releases, each piece expanding the rich tapestry of this immersive world, and will have a follow up EP. If you’re a fan of Black Tiger Sex Machine lore building behind their music, you’ll love this! This release marks a significant milestone in Teed’s evolution as an artist. Over the past five years, his sound has undergone a bigtransformation, from albums like The Journey East and Recurring Dreams to his more recent work, ‘Taking It All In.’ The Prologue represents culminates years of experience, seamlessly blending his classical and Celtic music background, his mastery of sound design, and his innate storytelling abilities. ‘A Journey Begins‘ gently ushers listeners into this world with a delicate string intro, interwoven with piano, ethereal vocal samples, and subtle percussion. The track’s symphonic soundscape gradually builds, creating an atmosphere of anticipation. The journey takes a darker turn with ‘Animus,’ a collaboration with Abstrakt Sonance. This track delves into deeper bass frequencies while retaining the orchestral essence established in the opening track. The EP culminates in ‘The Fray,‘ a sonic representation of an epic battle. Here, ominous orchestration clashes with Teed’s signature left-field bass beats, creating a powerful and dramatic finale. The Prologue is just the beginning. Teed’s vision extends far beyond this initial release, promising a year of sonic expansions that will delve deeper into the lore and introduce us to the central characters of his narrative as he continues to build out this world. Beyond the release, Josh Teed is making waves with a series of curated events showcasing some of his favorite artists, including Luzcid, Wraz, Great Dane, Common Creation, and many more. He’s also hitting the road, joining Apashe on his Antagonist 2.0 tour, featuring orchestral elements, and will be supporting Daily Bread on the Flash Flood Tour in March and April. Josh is currently on tour, check out the dates below to see where you can catch him and follow him on socials: Josh Teed Socials: Spotify Soundcloud Instagram Facebook The post Josh Teed Unveils Kannibalen EP Debut ‘The Prologue’ the First Chapter of an Epic Musical Saga appeared first on EDMTunes.

Dancing Astronaut presents: IDs Only Episode 2 featuring San Holo is now live on our YouTube, Spotify and most other places you get your podcasts. Check out the podcast in full below. In case you missed it, check out our episode with Westend as well. Featured image: haleylan The post Dancing Astronaut Presents: IDs Only Episode 2 – San Holo [Interview] appeared first on Dancing Astronaut.

Apashe’s big gamble paid off. He executed his vision immaculately January 24th at Seattle’s Wamu Theater, bringing a classical symphony center stage for electronic music fans. Approximately 7,000 concertgoers packed in for one of two philharmonic orchestra shows to see the innovative producer's ambitious "Antagonist 2.0 Tour" production. Apashe’s philharmonic orchestral show is a masterstroke. Already one of electronic music's most innovative producers, he is now equipped with a live show that physically demonstrates his creativity. It’s a beautiful, visceral representation of his musical vision and a live experience unlike any other. "It started as a dream," Apashe told EDM.com prior to the show. "Now that it’s a reality, no one in my team or I expected this to be so complicated or so expensive. It’s very intense but I’m glad it’s working out really well." It worked better than well—it was brilliant. Roughly 20 hooded classical musicians brought a new level of authenticity to Apashe’s unique musical blend. Violinists, cellists and trombonists were among the druids flanking him on stage. Sound levels are often challenging when DJs incorporate live instruments into their sets. If not careful, the recorded music can overpower the other performers. But Apashe and the live orchestra were in perfect harmony. That’s not to suggest that you couldn't tell them apart. Apashe succeeded in bringing his symphonic records to life, the orchestral instruments adding depth and layers to the performance to create bold sounds. The show felt big. "The goal is to bring live on stage something closer to the recordings of how the music is made," Apashe said at the time. “You get all these musicians. You get the real sound and the mix destroyed with the electronics." The lighting and pyrotechnics were the strings that tied Apashe’s one-of-a-kind production together. His orchestral show was dark, but not ominous—more so atmospheric. The “Fracture” producer leaned on fire and synchronized lighting patterns—primarily whites, reds and blues—to evoke a medieval mood. Austin Quach A quality supporting lineup also delighted the crowd. Habstrakt’s reputation precedes him, and his ability to get us moving was a wonderful warm-up for Apashe’s unique production. Rapper Wasiu, whose collaborations include Apashe’s “Majesty” and “Human” as well as Black Tiger Sex Machine’s “Die A God,” was a familiar face perfect to kick off the show. Josh Teed deserves special recognition. The violinist and music producer is remarkably talented. Teed effortlessly transitioned between playing the violin and DJing to craft a mesmerizing set, and the future is bright for him. Apashe’s only other philharmonic orchestral show takes place at Paris’ Zenith on February 8th. He will continue touring, however, with a brass orchestra in various American and European cities. You can find his “Antagonist 2.0 Tour” dates here. Follow Apashe:X: x.com/apashe_music Instagram: instagram.com/apashe TikTok: tiktok.com/@apashemusic Facebook: facebook.com/apashe.official Spotify: spoti.fi/2CSiT5C

Andrew Parsons was speaking to MPs in a hearing when he said "we don't change prices in any automated or algorithmic way" Continue reading...

After a landmark year of touring and chart-topping releases, Dutch DJ/producer duo Vicetone return with their highly anticipated new single, “Dive In,” set to be released on February 7th via Departed Records. “Dive In” is the latest stop on Vicetone’s journey of sonic exploration, combining their signature upbeat energy and emotional depth with irresistible vocals from Welt, and a smooth, melodic flow perfect for the dancefloor and personal reflection. “Dive In is a soothing yet energetic track that we fell in love with as soon as we heard the beautiful and uplifting vocals,” says Victor and Ruben of the new single. “People haven’t stopped asking us about it after premiering it in our 2024-year mix. So we’re excited to have this be our first release of 2025!” For over a decade, Vicetone—comprised of childhood friends Ruben den Boer and Victor Pool—has been a driving force in dance music, earning over a billion streams, multiple platinum and gold certifications, and a loyal fanbase worldwide. With an unrelenting passion for pushing boundaries and a dedication to the craft of production, Vicetone has never been one to rest on their laurels. Their Nashville recording studio was built custom by gear junkies Ruben and Victor themselves, and their custom PROJECT V live show is set to launch in China. PROJECT V is a unique concept where Chinese musicians accompany Vicetone on stage using traditional Chinese instruments playing Vicetone hits. Rehearsals have occurred since the tail end of 2024, with tour dates to be announced soon. Watch a clip from Vicetone’s PROJECT V show here. Vicetone’s journey began in 2012, and they’ve since become global icons, known for hits like “Nevada,” “Astronomia,” and “Walk Thru Fire.” Their music has dominated streaming charts and become a mainstay in the festival and club scene. Their infectious sound and dynamic energy are undeniable, and “Dive In” promises to be another standout addition to their ever-expanding legacy. “Dive In” is now available for streaming on all platforms. The post Vicetone – Dive In ft. Welt appeared first on EDMTunes.

Moojo has come together with DJ and Producer Demayä to put an Afro House twist on Martin Solveig’s, ‘Linda,’ releasing this fresh remix via BMG. A track that has played a meaningful role in the Producers’ musical journey, their reinterpretation serves as a homage to the 2002 original, preserving its vibrant sonic identity while seamlessly enriching it with the distinct grooves of Moojo and Demayä’s signature styles. As Moojo continues to make his mark on the Afro House scene, his journey within Electronic Music brings new milestones and noteworthy moments, further establishing his presence in the genre. Following his recent release, ‘Mockingbird,’ he continues to stand out as a powerful force and key contributor when it comes to innovating the Afro House sound and pushing the genre forward. With a musical background rich in diversity and sonic influences, from traditional African and Latin sounds to the dynamic beats of Electronic Music, his productions see him maintain his creative authenticity while consistently integrating new ideas to keep his music fresh for listeners. This latest release marks Moojo’s second opportunity to reinterpret the music of Martin Solveig; building on his remix of Solveig’s ‘Now or Never,’ he now collaborates with Demayä to put forward another interpretation that reflects their approach and highlights their refined production skills. Demayä himself approaches this rework with numerous credentials that speak to his talents; from accumulating over five million streams on his track ‘Desperado’ to capturing the attention of Electronic Music VIPs like Black Coffee and Keinemusik, his growing profile is a reflection of his potential, continuing with his journey as he teams up with Moojo to add another captivating production to his discography. Introducing groovy beats, a catchy melodic hook, and layers of infectious vocal lines, Moojo and Demayä’s take on ‘Linda’ evolves into a bold and dynamic soundscape, balancing tension-building intensity and deep grooves with precision. With the track maintaining its flow, pushing on as the driving bassline and shuffled rhythmic textures coverage with the plucked synth lead and guitar motifs, listeners are drawn deep into the compelling arrangement, guided through a breakdown where underlying pads, hypnotising vocal lines and intensifying details sustain the immersive atmosphere, holding the listener in suspense before the rhythmic drive returns. With its captivating sound, this newest take on ‘Linda’ intertwines an array of lively sonic textures, cementing it as a track perfectly primed for the dancefloor and designed to move and inspire its listeners. Out now via BMG Records, immerse yourself in the bright and distinct sound of Moojo and Demayä’s remix today and be sure to keep up with both by following their journeys across social media. Listen and Buy ‘Linda (Moojo & Demayä Remix)’ Now: https://www.beatport.com/release/linda-moojo-demaya-remix/4905862 Moojo Online      Beatport | Instagram | Spotify      Demayä Online      Beatport | Instagram | Spotify BMG Online      Website The post Moojo Teams Up with Demayä to Reimagine Martin Solveig’s ‘Linda’: Adding an Afro House Flair appeared first on EDMTunes.

FVDED In The Park is again blowing away Canada’s West Coast music festival scene. FVDED shocked the electronic music community in 2024, bouncing back from the previous year’s cancellation with a stellar lineup featuring Swedish House Mafia and Kx5. Live Nation and Blueprint doubled down this year, securing equally impressive headliners in Tiësto and Zedd, and bolstering the event with an even deeper lineup. A dizzying roster of heavy-hitters is headed to Surrey’s Holland Park from July 4-5. The many standouts include Kaytranada, Disclosure, Black Tiger Sex Machine, Lane 8, Loud Luxury, RL Grime, Sammy Virji, Subtronics, Dabin, PEEKABOO, Zingara and EDM.com Class of 2024 artists Levity, Of the Trees. In total, 60 dance music artists are scheduled for the two-day event. The musicians will be split across four distinct stages at Holland Park. Live Nation, Blueprint FVDED, Western Canada’s largest in-city music festival, reportedly sold out its 48,000 tickets last year. The 2024 and 2025 FVDED lineups are a welcome sign for Western Canada’s music scene, which often lacks an abundance of world-class festival lineups relative to the East Coast. The FVDED pre-sale begins February 10th at 11am PT (2pm ET). The general onsale starts February 12th at the same time. Click here to sign up for the pre-sale. Follow FVDED in the Park:Facebook: facebook.com/fvdedinthepark X: x.com/fvdedinthepark Instagram: instagram.com/fvdedinthepark TikTok: tiktok.com/@fvdedinthepark

Where the 70s meet today’s Dance production, that’s the seam this album is at, and we love it for that. New. Music. Friday. Here we are once again, ending the week with a hoard of new releases to share. This time, though, we’ve got a very special one to share. I, for sure, have been quite vocal about my initial scepticism about cross-genre productions, unless done right, when they often blow me out of the water. Well, we’ve got such a case today. Enter, Bakermat. And what’s so special about his latest artist album Grace Note, the fourth instalment of the kind in his career? His sound is often celebrated for its unique approach, a blend of Jazz, Soul, Funk, and Pop interwoven with House elements, and this time, he’s redrawn this pairing: in Grace Note, House meets Gospel. Grace Note Comprised of 15 original compositions, Grace Note marries the spiritual core of House music — the genre in which Bakermat has garnered widespread praise for over a decade — and the feelings passed on to church attendees. Bakermat believes there’s a ton in common between these two spaces, and wants to honour the shared sentiments of both. The result is a collection of songs designed to inspire and evoke the same kind of feelings that a standout night at a club, festival, or church can deliver. From the uplifting vibes of ‘Work It Out’, to the inspirational quotes Ron Carroll delivers in ‘Life’, to the proper movie soundtrack energy of ‘Divine Stuff’, the entire album has an indescribable positive tint attached to it, and doesn’t take the tribute part lightly, as you’ll actually feel a different way once you’re finished with it. You feel, well, refreshed, and happy. To take it to the next level, the LP features the works of Lady Blackbird, Roland Clark, AMANZI, Ann Nesby, and Ron Carroll, who lend their voices for some of the tracks present, alongside Fly Disco Butter, who collaborated on the closing track ‘Your Shine’. The album title itself, Grace Note, refers to the tiny imperfections in music that add something positive — something innately human — to the composition. This isn’t music made by machines, it’s a deeply personal project that is filled with strings, organs, choirs, speeches, and Bakermat’s beloved brass. A grace note is basically a tiny little note you hit right before you play the one you’re supposed to play. It really doesn’t do that much for the composition of a song, but it does add a little bit of imperfection to it. The good kind of imperfection. You could say, in a way, that it adds grace to the song. And beauty. This album is a homage to House music and Gospel. Two of my absolute favourite genres that have much more in common than you’d think. Wherever people enter a club or a church they will experience feelings of euphoria, togetherness, joy, freedom, hope, love, wonder and affection that they cannot find anywhere else. For many people, house is their religion. So to celebrate that I made the club a church and the DJ a preacher. -Bakermat Writer’s Picks Once again I describe how I work about this section of my album reviews: I dive blindly into the album, while doing something else and having it in the background, until a song resonates with me so much that it takes me out of whatever else I’m doing and drawing my attention towards the music. This happened to me with ‘Without Ya‘. I can’t really put into words what this track does for me, but what I can describe is that it brings me back to my early childhood when Mum would pick me up from school, she had two Disco CDs she’d often play, and so the strings and the upbeat piano of ‘Without Ya’ fly me back to those moments I cherish so much. As Bakermat metaphorically phrases it, this track doesn’t do much for my entire week, say, but that moment in which it impacts my life, it brings me that good kind of imperfection, in which I have to step away from whatever I’m doing to enjoy the present, aka this track, eyes-closed, and smiling ear to ear. Even Bakermat himself knows how special the track is, as he tells us, “‘Without Ya’ is a classic feelgood anthem mixing classical instruments and soul vocals with the energy and euphoria of House. I made it at a very happy and special moment in my life and I think you can hear that in the recording. If you’re ever wondering what the Bakermat sound is exactly, this song comes pretty close to incorporating almost all the elements I love. Genre mixing, strong pianos, Disco strings and of course my beloved sax“. Bakermat — Grace Note Tracklist Intro (Feel The Positive Flow) Stand Up Work It Out Joy featuring Ann Nesby Praise Break Life featuring Ron Carroll Without Ya Glory High Above featuring Lady Blackbird Exceptional (Interlude) House Is The Religion Say You Wanna Be Divine Stuff Save My Soul featuring AMANZI Your Shine with Fly Disco Butter Final Words It’s part of my essence that I’ll praise albums which have a purpose. We’ve become accustomed to albums being light concepts, where the artist simply compiles songs and that’s it (cue my album editorial from last year), and so having a long-play with an actual theme told throughout its duration, feels wonderful. Hats off to Bakermat, who was able to put something so beautiful together, and even more hats off (if that’s even a term) for making it convey the very emotions he talks about when referring to the bond between House and church: “euphoria, togetherness, joy, freedom, hope, love, wonder and affection“. That’s pure evidence of his musical artistry. Soundtrack your weekend properly, and listen to Bakermat‘s brand-new album Grace Note by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry. The post Bakermat Releases Gospel-House Fourth Artist Album, Grace Note appeared first on EDMTunes.

The new system will be debuted in March with a string of concerts Continue reading...

Known for his rich history and contributions to drum & bass and beyond, Crystal Clear has earned his place as a respected artist. Having been associated with Playaz Recordings, Sofa Sound Bristol, and ThirtyOne Recordings, his latest project the ‘Selector EP’ on V Recordings, marks a pivotal moment in his career. With several releases already under his belt in 2024, Crystal Clear has captivated audiences once again with his latest EP, featuring even more exciting collaborations. After a brief hiatus from the scene to collaborate with major labels, Crystal Clear returns to the genre with a fresh EP on V Recordings. The project showcases several collaborations, and highlights his consistent rise as a producer. In this interview, we catch up with Crystal Clear, to dive behind the scenes into the work he’s been putting into his craft, the story behind his latest project, and all the exciting plans he has lined up for this summer, and beyond. How are you? My day was all right. I just spent the last hour standing in the cold while my son was at football training. I’ve been on dad duty this evening, and it’s definitely getting colder. I literally just got him into bed and finally sat down. So yeah, I’m all good—just trying to find the energy to work on some music, but I’m not sure I’ll get to it tonight. Tell me about the new EP for V, how long have you been working on it? I made the bulk of it back in the summer. I started off by writing ‘Selector’ around April. It was one of those ones where I basically wrote it and then found the sample—I heard the sample from Bryan Gee and thought, right, that’s a really good sample. I didn’t tell Bryan; I just made the tune and sent it to him. He called me up, laughing down the phone at me. Where did you grab the sample from… It was from an interview that Bryan Gee did—it just popped up on my Instagram feed. I heard him talking about the science of sound systems and culture, and I immediately knew I had to make something with it before someone else did. I sent it over to him, and he really liked it, but he was a bit self-conscious about his voice. He said, “But I’m sort of stuttering my words and stuff,” and I told him, “No, that’s what makes it real.” It sounds authentic, like a proper sample. The way I laid it out gives it this sing-song quality—it kind of bounces around the beats, you know? It just fits so well. It turned out great, and it’s really fun to mix with. I’ve been enjoying playing that and ‘Slow It Down’ with Kathryn Brenna. How did that one come to be with Kathryn Brenna? I’d literally just welcomed our new baby last June, and about a week after that, this idea started kicking around. Initially, I was taking a month off to focus on being a new dad. She took it away, did her thing, and sent me some vocals back. When I got back in the studio, it all came together. You have a couple more collabs on there as well… Minor Forms and I met at a Sofa Sound party in Brixton. We got chatting and said, “We should try to write a tune together or something,” since we both liked each other’s music. It was like, “Why don’t we just kick something around and see what happens?” He sent me a loop, I rejigged it, added a bassline, and we sent it back and forth. It all came together pretty quickly. It’s great when they come together quickly…how about ‘Earthquake’ with Amoss… I’m not quite sure how it all came together. I think we got chatting on Instagram, and it was like, “Yeah, let’s write something and see how it comes together.” So, I sent him a loop. He rejigged it, got a basic rhythm going, and then sent it back to me. I finished it and added the earthquake sample, which has really been going off. It’s one of those tracks that people have been messaging me about for a while. I got the EP together and sent it off to Bryan Gee. He said, “Yeah, this is great.” This must have been around September. He mentioned, “We can probably get it out before the end of the year.” I was like, “Well, I think it’d be better to give it a bit more time, let it build a bit more, and give DJs a chance to play it. Let it build organically, rather than rushing it out just to have it out there.” Maybe I’m old school, but I prefer to build things a little more and give people time to get to know the tunes—especially the crowds. I’ve noticed, when I’ve been playing them at gigs recently, people know the tune. So when you drop it, hands go in the air because they’re already familiar with it. It’s good to take your time and let people hear it first—that’s definitely a smart approach. It’s that familiarity, you know? When people know the tune, it doesn’t take away from its exclusivity. A lot of DJs think, “I need to play the freshest stuff,” but the crowds love it when they recognise something, and you get that reaction from them. That’s why “Bricks Don’t Roll” still goes off—it just works. I think the EP has definitely worked out well, and there seems to be a lot of anticipation for it. It’s come together nicely. On the latest V Podcast, it’s kind of funny how Bryan was mentioning that you took a break but you were still producing, just other generes… Yeah, I was definitely doing other things. I got the opportunity to sign with one of the Universal Music Group labels and work on a crossover project. I was at a point where I wanted to stretch my legs production-wise and explore different directions, just to see what I could do. I’d been making exclusively drum & bass for eight years, and I wanted to see where that rabbit hole would lead. I played a lot of great shows and festivals. Eventually, that ran its course, and I found myself getting into different styles of music. I started exploring more house and techno and wanted to dive into that a bit, see if I could make something in that space. I’d been used to working with breakbeats, so I thought, “Alright, let’s see if I can do something completely different.” Was that the project Melody’s Enemy? Yes, it started off as a collaboration between myself and MC Codebreaker. People don’t realise that Codebreaker is actually a sick producer. He’s one of the guys who taught me the basics when I first started out. I learned a lot from him, especially in terms of sound design, and he really helped me perfect my craft. Eventually, I reached a point where I felt like I kind of knew what I was doing in the studio, if that makes sense. I was working on techno for a while, but then I started hearing things from drum and bass again. I still kept one ear on the scene, listening out for things that caught my interest. I heard a few things that piqued my curiosity, and I felt like there might be some unfinished business, shall we say. When I was making drum and bass before, it felt like I didn’t really know what I was doing—I was literally just throwing sounds at the screen until it sounded good. Considering your discography, that’s crazy talk.. The thing is, the vibes were always there, and I had the energy, but the mixdowns and refinement weren’t. It took me stepping away to learn my craft in other scenes, and then I was able to come back and make the music I’d always wanted to create. Things are going well… I’m kind of surprised, but not really. When I made my first batch of tunes after coming back, I had a bit of trepidation. I was thinking, “Is anyone going to care?” You know, “Is everyone going to say, ‘You went off and did other stuff, you’re not welcome here’?” But I thought, “Alright, I’ll make the music I want to make, and we’ll see if people like it.” Last year was a great year for me—a really good one. The scene has changed quite a bit since the last time I was active in it, but it was still a great year. The reception to my EPs was really positive, and I had more gigs in the UK than I ever had before. I’m pleasantly surprised by how it’s been received. Is there anything else that you can reveal about the rest of the year? I’m starting off with the V Recordings EP, and I’m really excited about that. It’s a label I’ve wanted to work with properly for over twenty years, and it’s just never happened until now. So, yeah, I’m really excited it’s finally coming together. I’ve got a lot of shows filling up the diary, which is nice to get out there. I’m also doing an EP for RUN, the label from D*Minds. Can you tell us more about that? I’ve remixed ‘Selecta,’ which has been going off, and I’ve just started a collaboration with D*Minds as well, so that’s in the works. Sweetpea and I made a tune called ‘Ten Minutes,’ which will be coming out on V Recordings at some point. Bryan’s been hammering that—I even started my mix on the V Recordings podcast with it. I’ve also done another collaboration with Minor Forms; we’ve actually worked on a couple of tracks together. I’m probably going to do some more stuff with Sweetpea and with Amoss, too, because we work really well together. I’ve written something for Riya’s album as well. I’m just going to keep writing music and see where it comes out. I’m possibly going to start a label myself, but it depends on how much music I can write, to be honest. I’ve got quite a lot on my plate and not a lot of time, but at some point, there probably will be a label. We’ll see! How do you envision managing everything? I’m going to try and finish more music, but the thing is, music takes time, you know? Creativity takes time—it’s difficult to just keep churning stuff out quickly. I try to work fast, but it’s not always easy. In my downtime, when I’m not making tunes, I plan in my head what I need to do when I’m in the studio, so hopefully, I can stay productive. It doesn’t always work out that way, but I keep reminding myself that creativity takes time. I need to give myself the space to make the best tunes possible.

On a ground-breaking new EP, “One Mind,” contemporary Belgian techno powerhouses Charlotte de Witte and Amelie Lens team up. The EP falls between their back-to-back events at the Flanders Expo in Ghent on January 31, February 1, and February 8, 2025, for which they sold 69,000 tickets. Over the past few years, this pair has really polished the sound of techno between them. Both hail from Belgium and rose up via the clubbing scene with their own original interpretations of techno and its several subtleties. Both Amelie and Charlotte’s voices are gently blended on the tracks, together, as one, therefore strengthening the EP’s cohesive notion. Starting with rock-solid, earth-rattling kicks and intimate vocal whispers that lure you in close, the stunning “One Mind” features electrifying grooves, and flashy, strobe-illuminated synths that guarantee hands will shoot skywards as acid lines add more drama. Another great, turbocharged, acid-laced trance-techno gem with high speed drums and synths running under frosty spoken lines that convey spine tingling sensuality is “Where Do We Go.” Two of the strongest creative forces in modern techno are coming together here. The post Charlotte de Witte & Amelie Lens release collaboration EP “One Mind” appeared first on The Groove Cartel.

For nearly three decades, Rockstar Energy presents Creamfields has been at the forefront of electronic music, earning its reputation as one of the world’s most iconic and biggest dance festivals. With 80,000 fans from across the globe making the annual pilgrimage to what has become the Mecca for dance music lovers and artists alike. And as one of the most eagerly awaited lineup announcements in the festival calendar, Cream HQ has just revealed its first headliner – ANYMA for a UK Exclusive. Undoubtedly the biggest name in electronic music today, Anyma is the groundbreaking multidisciplinary audio-visual project led by Matteo Milleri. As a founding member of Afterlife, Matteo brings his visionary alter ego to life, merging DJing, futurism, and creative direction to craft a cutting-edge, immersive experience. His forward-thinking approach has redefined the electronic music landscape in recent years, captivating audiences around the world. His groundbreaking performances have dominated the internet, none more so than his recent sold-out Las Vegas residency. In a historic milestone, he has become the first electronic artist to headline the world’s most advanced immersive venue—Sphere. Creamfields is once again setting the tone for what promises to be another unforgettable year, with Anyma set to close out the festival in epic style on Sunday 24th August. With the bar already set sky high, excitement is building for the full line up announcement which is expected to drop at the end of February, and if this first headliner is any indication, festival goers are in for something truly special.

The festival was subject to a licensing meeting earlier this week Continue reading...

Occult Vision; a new LP based imprint, offers a space for artists to share a more complete body of their work. The label aims to create windows into the deeper, alternative and often more authentic sounds of carefully selected artists. It’s rare a producer in the underground house and techno scene has this type of platform and Occult Vision aims to fill the void. Their first album is from one of Frankfurt’s finest producers, Frank Heinrich. Known to most as Reboot and sharing what will be his first solo LP since 2016, the label has here an intricately crafted collection of music that was brought to life during the lockdown phase of the pandemic. This unique time had a resounding impact on Frank’s creativity in the studio, leading to a sound that strongly represented his emotions throughout that period. The tracks they have helped to curate for this release are often melancholic, yet hopeful with carefully placed textures and rhythms carrying a stripped-back yet emotive energy throughout. This isn’t your typical club music; it’s more personal and meant as a listening experience. “On A Grind” presents the harshness and rawness of that period for so many of us and whilst you will hear Reboot style weaved into these tracks, Frank hopes that you will feel the passion and emotions put into this record accompanying you in your own moments of reflection. Available via here The post Reboot kicks off 2025 with a stunning eight-track long player appeared first on Decoded Magazine.

This includes £88.4 million from recorded music, while electronic-focused festivals brought in around £646.2 million Continue reading...