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There's nothing sugary about "Ear Candy," the latest collaboration from PEEKABOO and Sully. A masterstroke of deep dubstep, the wobbly track is out now via Wakaan and arrives hotly anticipated after becoming a staple in the DJ sets of both producers throughout 2024. It's a seamless blend of beauty and chaos, both a brain-bender and a body-shaker. "This one always gets some of the craziest crowd reactions whenever we play it live," Sully said of the new single. View the original article to see embedded media. "Ear Candy" is a full-blown showcase for both Sully and PEEKABOO, the latter of whom was named one of EDM.com's best music producers of 2023. It's that signature PEEKABOO wonk, twisted into new shapes and textures by Sully's precise sound design. Balancing filthy bass drops against moments of cinematic grandeur, the track is a masterclass in duality. That contrast between guttural bass and ethereal production creates a whiplash effect that'll have your neck snapped back and your face screwed up in the best way possible. In the break, operatic chants eerily glide through cavernous soundscapes while sweeping strings build tension—but the serenity is short-lived. Sully's and PEEKABOO's inimitable dubstep returns and hits even harder to bring the track home, throwing us back into a wormhole of distorted synths that contort through 808s you can feel in your bones. Listen to "Ear Candy" below and find the new single on streaming platforms here. Follow PEEKABOO:X: x.com/peekaboobeats TikTok: tiktok.com/@peekaboobeats Instagram: instagram.com/peekaboobeats Facebook: facebook.com/peekaboobeats Spotify: spoti.fi/2WlcoOD Follow Sully:X: x.com/_sullymusic TikTok: tiktok.com/@officialsullymusic Instagram: instagram.com/officialsullymusic Facebook: facebook.com/officialsullymusic Spotify: spoti.fi/3jvwSyu

The UK’s nightlife scene is in trouble. A staggering 37% of clubs have closed over the past four years, translating to roughly 10 closures per month. This decline is driven by a combination of factors, including rising operational costs, economic pressures, and changing consumer habits. Industry experts warn that without immediate government intervention, the UK could witness the end of an era that has defined generations of music lovers. Michael Kill, CEO of the Nighttime Industries Association (NTIA), has urged the government to provide support to safeguard this part of the UK’s cultural fabric, one which has also left a mark on the rest of the world and its history. The NTIA’s research highlights the impact of rising costs on the industry. Many clubs are struggling to break even, let alone turn a profit. Additionally, changing consumer preferences and the increasing popularity of streaming services have further impacted the revenue streams of nightclubs. “The concern is that as we move towards the budget, the narrative that’s coming out is quite dour….looking at alcohol duty and potentially things like the ban on smoking…all of those things are quite onerous and cost heavy“, Kill says. To adapt to these challenges, some venues are exploring innovative approaches. For instance, by introducing daytime clubbing. However, these creative solutions can only go so far. Either direct monetary intervention, or a sort of ease on restrictions, seems to be the route to preserve the beloved scene in a country which has been in many ways a pioneer of Dance. [H/T] Sky News The post UK Nightlife In Peril As 10 Clubs Close Down Each Month appeared first on EDMTunes.

Listen to a gigantic track we recently came across. Music evolves, and it changes and it morphs as the years go on. But some styles manage to stay in the collective mind and, even twelve years after their boom, still put a smile on people’s faces. One of those styles is Progressive House, and a case in point has just come out. Meet Brainheart. Brainheart Roei Zoar, known professionally as Brainheart, is a multi-talented musician who seamlessly blends Electronic, Acoustic, and Pop elements into his work. His 2019 debut single, ‘Explore the World’, featuring his sister’s vocals, quickly gained widespread recognition, accumulating millions of streams on Spotify and becoming a viral sensation on Instagram. Brainheart’s music is characterized by its emotional depth and cinematic quality. Whether he’s crafting upbeat tracks or introspective ballads, his ability to evoke a wide range of emotions sets him apart. Double down on the “emotions” bit with his latest release. ‘I Finally Feel Alive’ Brainheart’s most recent work, ‘I Finally Feel Alive’ is a conjoint work with US vocalist Tommy Marra, and it embodies what we love most about yesteryear Progressive House: emotion, guitars, atmospheres, and euphoria. The track merges Brainheart’s unique production style with Marra’s emotive vocal performance, delivering a song that explores themes of self-discovery, resilience, and the human spirit’s ability to rise through adversity. The melody is something else, as it serves as a walk down memory lane to those festival moments in which most of us who work in the industry today, fell in love with EDM and its ability to gather people together. It is a beautiful song which pays tribute to a beautiful moment in Dance music history, if you will. “[The song is] a perfect alignment of our creative visions. Tommy brought incredible energy and emotion to the song, and together we crafted something that speaks to the challenges and triumphs we all experience.” -Brainheart Listen to Brainheart and Tommy Marra‘s ‘I Finally Feel Alive’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on SoundCloud. Are you a producer and you’d like to see your tracks on our page? Then head over to this link right here, you champ. 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 Brainheart And Tommy Marra Present The Golden-Era Progressive House Tune ‘I Finally Feel Alive’ appeared first on EDMTunes.

In an era where progressive house music often feels like a fading polaroid, DubVision are clinging to the genre's golden age and reinventing it for today's ravers. They've done it again with "I'll Be There," out now on Martin Garrix's STMPD RCRDS. There's something almost defiantly old-school about dropping a pure progressive house anthem in 2024, but "I'll Be There" wears its traditionalism like armor. The cynics might call it formulaic, but DubVision consistently remind us why some formulas become classic in the first place. "I'll Be There" delivers another dose of festival fuel, capturing a sound that conjures the romance of crowds dancing and connecting in moments dreamt about for months. The production is vintage DubVision, replete with the kind of soaring synths and festival-ready crescendos that fans of the Grammy-nominated duo continue to covet. Built around a warm refrain ("I'll be there when you are all alone"), the track doesn't so much speak as it does uplift, looping those words until they transform from lyrics into pure emotional texture. Those vocals envelop listeners in a fuzzy loop of promise and comfort, resonating like a pledge from the heart straight to the dancefloor. "I'll Be There" is DubVision's first release since they dropped their debut album, Another World, back in July. Listen to the new single below and find it on streaming platforms here. Follow DubVision:X: x.com/dubvisionmusic TikTok: tiktok.com/@dubvisionmusic Instagram: instagram.com/dubvisionmusic Facebook: facebook.com/dubvisionmusic Spotify: spoti.fi/2Zv75N1

We Are On The Mission Bangkok 2024 set a new standard for electronic music festivals, delivering three thrilling nights of Techmission, Transmission, and Hardmission. Each night brought together a diverse range of world-class artists, from mesmerizing techno debuts to heart-pounding hardstyle, making for an unforgettable experience. With sets that pushed musical boundaries and left the crowd electrified, We Are On The Mission 2024 has solidified itself as one of the most impactful festivals in Southeast Asia. Let’s dive into the highlights of each night and relive the magic that defined this year’s event. Techmission:Techmission kicked off the weekend with an energy-packed start, featuring the highly anticipated Bangkok debuts of techno powerhouses Lilly Palmer, Trym, and I Hate Models. Lilly Palmer opened the night with a captivating performance, her hypnotic beats driving the crowd into a state of bliss. As she dropped her crowd-favorite track ‘Hype Boy’, the atmosphere became electric, and festival-goers were swept up in a wave of pulsating rhythms that showcased her signature sound. Trym followed up with a set that perfectly balanced fast-paced techno with atmospheric moments, keeping the audience fully engaged. His relentless beats created an intense energy, showing why he’s a rising star in the global techno scene. But it was I Hate Models who took the night to its peak. As the headliner, I Hate Models delivered a dark, industrial set that was full of raw emotion and gritty soundscapes. The crowd was completely immersed in the powerful, pulsating beats, and the deep connection between the music and the audience made for a mesmerizing experience. Closing Techmission with a powerful set, I Hate Models ensured that this night would be remembered as a groundbreaking moment for Bangkok’s techno scene. Transmission:Transmission took the festival into a realm of euphoric highs and trance-fueled energy. Markus Schulz’s surprise Rabbit Hole set kicked off the night, drawing the crowd into a deep and melodic journey. His progressive trance rhythms created a perfect buildup, preparing the audience for the night’s intense moments. Next, AA Meeting—comprising John Askew and Activa—took the stage and brought a new level of intensity to the crowd. Their set was a masterclass in uplifting trance, with driving beats and seamless transitions that had the entire venue moving in unison. The crowd was kept on their toes as the energy built up for Key 4050, the dynamic duo of Bryan Kearney and John O’Callaghan. Their pounding beats and euphoric melodies elevated the vibe even further, creating one of the night’s most memorable sets. Ben Nicky then took over, bringing his signature “Emotional Havoc” set to Bangkok. Known for balancing intense drops with melodic, emotionally charged moments, Ben Nicky once again captivated the Thai crowd with his unique blend of energy and emotion. The highlight of the night came with Maddix, whose set blended elements of trance, techno, and rave, delivering a jaw-dropping performance that kept everyone dancing until the early hours. His ability to fuse genres created a perfect finale for Transmission, leaving the crowd exhilarated and ready for the next day. Hardmission:Hardmission brought the weekend to its most intense and hardest night, where the energy never dipped for a second. Villain, the iconic voice of hardstyle, hyped the crowd from start to finish, keeping everyone engaged with his signature stage presence and playful interactions. The night started with DJ Isaac delivering a dynamic set, blending euphoric melodies with hard-hitting kicks that had the crowd jumping from the very first beat. Next up was DBSTF, who turned up the intensity even further. Their set was filled with explosive tracks that pushed the crowd to their limits, maintaining the raw energy that defined Hardmission. As the night continued, the atmosphere only grew more electric with back-to-back sets from Sickmode and D-Sturb. Their relentless pace and fierce drops had the crowd going full throttle, delivering one of the most powerful performances of the night. Warface followed, bringing his brutal and punishing sound to the stage, keeping the energy at its peak. The crowd erupted as his set channeled the raw power and chaos of Defqon, making the night feel like a truly epic hardstyle experience. Throughout the night, Showtek’s iconic track ‘FTS’ made several appearances, with each DJ putting their own hardstyle twist on the anthem, keeping the crowd buzzing with nostalgia and excitement. The night came to an unforgettable close with Anime. Her fierce and aggressive set capped off the evening with a final surge of energy, leaving festival-goers exhausted but exhilarated. Anime’s intense beats and raw sound ensured that Hardmission 2024 ended on a high note, solidifying it as a night to remember for every hardstyle lover. We Are On The Mission Bangkok 2024 was an extraordinary celebration of electronic music, with each night offering something unique and unforgettable. From the hypnotic rhythms of Techmission to the euphoric highs of Transmission and the relentless power of Hardmission, this year’s edition set a new benchmark for festivals in Thailand. As the last beats echoed through the night and the lights dimmed, it was clear that We Are On The Mission 2024 had made an indelible mark on everyone who attended. Ready to join the next mission? Follow us on social media for exclusive behind-the-scenes content, updates on upcoming events, and a chance to win tickets to next year’s festival. Don’t just witness the magic—be a part of it!

Marian Goodell, CEO of the Burning Man festival, recently turned to socials to ask for donations to help fund future editions of the gathering. This, after this year’s results, which hold the brand at a critical “inflection point”. Goodell shared in a recent blog post, “We are at an inflection point as a nonprofit. On the one hand, global interest is at an all-time high, and the world needs Burning Man more than ever. On the other hand, we are well past the point where ticket revenues from Black Rock City are able to support our year-round cultural work“. A large part of the crisis has its roots in the higher-priced tickets for this year’s Burning Man not selling the numbers they expected. “This $5.7M shortfall, combined with a $3M dip in receipts from main-sale tickets and vehicle passes, means that our year-end charitable donation target has essentially doubled to nearly $20M. This needs to happen before 2025 ticket sales and our annual revenue cycle begins in January.“ Finally, Goodell asked for a monthly $20 donation from those who are willing to keep the festival afloat, by saying: “The world needs what we offer now more than ever. For us to continue to be this force for good, convening people in person, inspiring creativity and innovation, and storytelling in ways that spark change, we need your help to raise the funds needed to preserve Black Rock City as the vibrant heart of Burning Man, and to protect the culture with which the event is intertwined“. Read the full statement here. The post Burning Man CEO Asks For Donations To Fund Future Festival Editions appeared first on EDMTunes.

Prolific DJ and producer Anna Lunoe has released her debut album, Pearl, Out now on NLV Records, Pearl marks a turning point in the career of Lunoe, who lays bare her artistry after years of prioritizing club-driven tracks. The album reflects her fascination with movement across genres and flexes her extensive production palette, which spans techno, garage, bass, rave and indie-dance. The album offers a dynamic mix: tracks that make you dance, others that invite introspection, some that feel ecstatic and others that mesmerize. True to her forward-thinking approach to dance music, the production is cohesive, crisp and vibrant. In a heartfelt post, Lunoe shared that creating an album once felt "completely unattainable." She described feeling like an outsider throughout her youth, finding solace in music and, eventually, a community of like-minded friends at the club. View the original article to see embedded media. Pearl features collaborations with Jamaican singer-songwriter Shanique Marie on "Polite," renowned British producer Totally Enormous Extinct Dinosaurs on "Right Here," UK duo Y U QT on "Only Love," Iglew on "Keeping Secrets" and J.O.S.H.U.A on "Body Heat." Accompanying the album’s release is the music video for "The Seed." Lunoe dances against a backdrop of colorful, geometric shapes in the 90s-inspired video, perfectly capturing her album's vibrant sound. Listen to Pearl below and find the new album on streaming platforms here. Follow Anna Lunoe:X: x.com/annalunoe TikTok: tiktok.com/@annalunoe Instagram: instagram.com/annalunoe Facebook: facebook.com/annalunoe Spotify: spoti.fi/2Vrs9mC

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Amsterdam, Netherlands, October 25th, 2024 – OGUZ is releasing the second full length release of his career. Following hot on the heels of his debut album in August and his very own solo show at Amsterdam Dance Event 2024 he’s reached an all-time career high with no stopping in sight. After an epic summer, OGUZ is poised to elevate the energy even further with his upcoming mixtape, DAM SQUARE DANCE TRAX LV.1. This 11 track full length mixtape is set to be yet another major milestone in OGUZ’s flourishing career. Released from his very own label, 808 STUDIOS, DAM SQUARE DANCE TRAX LV.1 continues OGUZ’s rare form and everflowing creative outlet that has seen him release numerous EP’s and his debut album all in the last 18 months. With ‘DAM SQUARE DANCE TRAX LV.1’, OGUZ ventures into new musical realms, delving more into the hard groove sound that has become all the more dominant in his sets as of late. Focusing on funky, rolling basslines and percussion. Featuring a combination of solo productions and collaborations with some of the biggest names in Techno today, including Marcel Fengler, Deborah De Luca, 6EJOU and many more. Opening up the record is ‘DAM SQUARE DANCE ANTHEM’, a high tempo, upbeat techno pumper with an explosive melody that champions the young talent’s new sonic direction. A relentless pace and weighted drums are present as a vocal sample welcomes you into his simulation. ‘TOXIC VS MAD DOG’ follows next, a more dancefloor focused composition with darker tones from the outset. With crunching kick drums and euphoric melodic tones providing an entrancing juxtaposition. ‘808 STUDIO TOOL VS DANCER’ comes out of the blocks at a blistering pace. Doing exactly what the name suggests, this stripped back DJ tool is a mid-set, heads down roller with immense energy. With very few frills and decorative melodies, this no nonsense track sees OGUZ collaborate with close friend Dancer for the first time. ‘SIMULATION LV.5 VS MAD DOG’ is the second collaborative track with the talented Italian DJ and producer. Their second effort brings with ethereal synth keys that dance effortlessly around the heaving kick drum. ‘DEVIL NEVER LEAVES VS AIDA ARKO’ is a pounding, skittish techno driver. Fearless and unapologetic, the song gives brief moments of respite before returning to the powerhouse sounds. ‘KING OF TOMORROW VS MARCEL FENGLER VS STEYA’, featuring a sample of the 2002 classic, Love Story by Layo & Bushwacka! This collaboration has a definitive classic Techno style to it. A far cry from the enormous drums and sonic elements. Understated but effective. ‘COMPRESS2DRUMRACK3 VS RUIZ OSC1 VS DANCER’ is next up with an eardrum bursting collaboration that sees Dancer return along with Colombian born but Italian based RUIZ OSC1. Highly dynamic and fully formed, this is a hectic, high energy contribution for this full length release. ‘POSESSED VS DEBORAH DE LUCA’ an entrancing melody of rave stabs is overtaken by an overwhelming breakdown of kick drums and chaos. ‘PARAMOGUZ VS PARAMOD’. Joining forces with Rotterdam’s Paramod for their first collaborative release. High energy, dancefloor focussed sounds with powerful percussion. A powerful duo that we will no doubt see again in the future. ‘VAMPIRE EMPIRE VS 6EJOU’ longtime friend and collaborator, 6EJOU has long been a member of the 808 STUDIOS family. Vampire Empire is raw and unbridled with intense energy that is present from the outset. ‘M3SS VS SPILO VS NOBODY94’ closes out the record and brings this mixtape to a close. Ecstasy filled, an angelic vocal sample rambles throughout as the rapid synth tones sound around it. Tracklist DAM SQUARE DANCE ANTHEM TOXIC VS MAD DOG 808 STUDIO TOOL VS DANCER SIMULATION LV.5 VS MAD DOG DEVIL NEVER LEAVES VS AIDA ARKO KING OF TOMORROW VS MARCEL FENGLER VS STEYA COMPRESS2DRUMRACK3 VS RUIZ OSC1 VS DANCER POSESSED VS DEBORAH DE LUCA OGUZ, PARAMOD – OGUZ vs PARAMOD – PARAMOGUZ VAMPIRE EMPIRE VS 6EJOU M3SS VS SPILO VS NOBODY94Order the digital album via this link About OGUZ Born and raised in the Netherlands with his roots firmly planted in Turkey, OGUZ has been forging a path in the electronic music scene for almost a decade. OGUZ has amassed a dedicated community that fuels his creative journey. His first encounters with electronic music came in 2016 when attending illegal raves and parties around Amsterdam. OGUZ was instantly drawn to the energy and excitement of electronic music. Inspired by these formative experiences, he embarked on a personal quest to carve out his own sonic path, delving into the intricacies of music production and honing his skills to perfection. About 808 STUDIOS Born out of the mind of the Dutch/ Turkish artist OGUZ, 808 STUDIOS is more than just a record label, It is a community for those without one and a platform for OGUZ to push his artistic expression in all of its forms. With a focus on quality and artistic expression over big names and hype. 808 STUDIOS aims to become a standard bearer in the world of art and music. Powered by OGUZ’s unbridled artistic spirit and passion for a multitude of artistic mediums, anything is possible at 808 STUDIOS.

Italian lifestyle icon and world-renowned DJ Gianluca Vacchi is keeping the summer alive with his latest dark mix of Colombian singer Valka’s hit single ‘VEO’. Infusing the original track with his signature Latin-flavored club sound, Vacchi brings his rhythmic expertise to create a remix that will light up dance floors worldwide. With infectious Afro-house sounds and percussions, this release is the perfect anthem for those late-night parties, leaving listeners longing for endless summer nights. Vacchi’s dark remix elevates Valka’s soulful and passionate vocals and wraps them in seductive sub-bass and intricate percussion, creating a deep, immersive club track. The song’s lyrics, centered around the message of unconditional love, are given new life in this high-energy remix. Valka’s poignant declaration of devotion—“Una, dos y tres veces volvería a elegirte. Si volviera a nacer, vuelvo a decidirte”—is elevated by Vacchi’s production, transforming it into an electrifying celebration of love on the dance floor. The artistic vision of the remix is elevated further by the accompanying music video, which weaves a narrative centered around love while embracing the darker undertones of the mix. With a seamless blend of heartfelt emotion and danceable rhythms, Vacchi speeds up the track, building to a powerful drop that makes the remix a true dance anthem. This is the quintessential Gianluca Vacchi sound: His remix of ‘VEO’ is sure to ignite the club scene, taking listeners on an exhilarating musical journey. About Gianluca Vacchi Artist, entrepreneur, and social media mogul Gianluca Vacchi is the true incarnation of how far passion and dedication can take you. After a very successful career in the business world, he took his life into another direction around his late forties, kicking off a DJ career and a widely popular role as social media influencer. While enjoying the jet set life and sharing the most outrageous snapshots of his life, Vacchi also managed to release various tracks, reaching critical acclaim by many DJ’s and dance connoisseurs. Characteristic for his style are the warm latin influences, embedded in sturdy deep melodic and Afro-house grooves, displayed from his massively supported 2017 debut single “Viento” torecent release “Cucaracha,” a collab with Alterboy and Thorn. In the meantime, Vacchi also dropped a series of pop hits, including his biggest smash “LOVE” in 2018, together with Colombian star Sebastian Yatra, and 2020 favorite “Para” with Caribbean singer Ir Sais-all racking up tens of millions of streams.

Whether you’ve laughed at one of his videos, thrown your body around vigorously at one of his amazing live shows or smiled when you saw his teeny-tiny glasses, Venjent has been there for us when we’ve needed him the most. But his now-famous drum and bass memes and videos didn’t happen by accident. After years of making music and honing his production skills, he has developed a keen eye for creating captivating content; striking a tasteful formula that pulls in a crowd, whilst allowing him to flex his creativity in a real and authentic way. After hitting 2 million followers across his channels, Venjent has taken time to reflect on the importance of his art and the reason why he wanted followers in the first place. His new album Did I Forget Something? is a reminder to himself that he started his videos on social media to promote his music, not the other way around. He has a strong message of self-love and authenticity, and with a history of working with artists like The Prodigy and Metrik under his belt, it is clear to see that he is building something rather beautiful and exceptionally exciting for us all to be a part of. With the new album unleashed into the wild, it felt like the perfect time to dig a little deeper into both the project, and the man behind the tiny glasses. Venjent! How are you this week? I’m buzzin’! My album has just come out, it’s been so well received. I’ve been working on this album for about two years so I’m so gassed to have it out now and into the world. Feeling good, feeling energised! You’ve got 23 tracks on Did I Forget Something?. Is there a reason why there are so many? I set myself a challenge and a goal to have an album released every year since I started doing the Venjent project, but I missed one last year because I released a meme album. So, this is basically a double album. Loads of people were like ‘You should release two albums!’ but I’ve done it how I want to do it and I’m really glad that I have. It’s a body of work from the last two years, why not put it all together? Absolutely. Is there a particular message you’re trying to send with this project? The title track is called ‘Did I Forget Something?’ and it’s about getting so lost in the infinite complications and stresses of life that you forget why you started doing something in the first place. That sums up the whole album for me because I’ve worked so, so hard to try and promote myself with all the memes, socials and YouTube channel that I sort of forgot why I started doing it in the first place, and that reason was to promote my music. ‘Did I Forget Something?’ is a nice message for me and hopefully a message that will resonate with other people too. As an artist first and foremost – what else comes with having such a huge social media following? When I started putting a lot of time and effort into my socials, I made sure it was fun so that I could carry on doing it. I didn’t want to burn out. When I used to be in bands before the Venjent project, the social media aspect of it was so draining. It was a chore. It was such hard work and felt like a lie. It didn’t feel real or authentic, it felt like I was posing. I can see this in lots of artists now and they’re getting really frustrated with it because all the labels and managers want people with social media followings. And I know why, because it’s free marketing, it’s a powerful tool. I got lucky in creating a little TV channel – that’s how I see it – a channel that’s fun and engaging, and related to my music in a way because they’re all drum and bass remixes. I guess now, I’m still having fun with it but the pressure is trying to find the balance between making memes and making music. How much do I lean into the memes, and how much do I lean back into my music and songs? It’s getting that good balance of the two. It’s kind of like I have to be a YouTuber and an artist all at the same time. That’s a lot of work for you. How does having to do both affect your creativity? The magic is, with the meme stuff, there’s no pressure at all. It’s like my playground. I can really play with it, get really experimental, and then when I go back to writing songs, it’s like the other side of me that can be a little more serious. The balance of the two sort of helps each other creatively. If you’re trying to create one thing too many times, over and over again, your creativity can go a bit stale. It’s really helpful for me to have both. I feel like a lot of artists don’t put out funny content because it’s quite a revealing and scary thing to do. How did you feel when you first started posting? Oh yeah, self-conscious! Everyone is self-conscious, really. I just sort of pushed through that and kept going, and started having more and more fun with it. I was quite fortunate that I didn’t have anything to lose. I had just quit my band and had this fresh slate. I was already making the drum and bass tunes and had some Venjent tunes there but I was like “OK, how am I going to promote these? There was no pretence there. I could just do what I wanted. I didn’t have a manager or a label telling me what to do. I was just making silly videos and being as silly and as goofy as I wanted. The more videos I did, I found a formula that worked where I enjoyed creating and other people connected with. Then that formula helped shape my brand, it sort of created itself. I’ve got to be honest though, it’s all about the little glasses! I wouldn’t be here talking to you without the little glasses. Ha! Big up the little glasses… Your fans love how authentic you are, and how much fun you have. We are very used to years of the typically cool DJ persona. It’s refreshing that we’ve started to break away from that now. I know what you mean, there have always been a lot of mysterious and cool DJs out there so I wanted to break down that barrier a little bit. I wanted to give people something real to believe in. Something that isn’t perfect, it’s goofy and rough around the edges, it’s just me being myself times a hundred. Most of us are little weirdos really… Especially when we’re with our friends. So when we see other people being expressive and a bit fruity, we like it. You have an interesting history in music, working with Prodigy and Metrik, talk to us about your journey so far. I’ve always been in bands as a drummer, that’s my history. It was my dream as a kid, to be the next big drummer. I managed to get signed to SONY with my band which was called Black Futures at the time, then it changed to Never Not Nothing. Whilst I was in that project I did some really amazing things. I did my first gig in China when I was 19. I travelled to Japan and the US. We did a full film score for a film called The Others with Maisie Williams in it. It was all very dramatic the stuff that we did, it was all really creative and I absolutely loved it. We did a couple of tracks with The Prodigy too. ‘Rok-Weiler’ was the track that I named personally. My guitarist was like ‘That’s such a sh*t name, mate.’ Then Liam liked it and they kept it. Which was pretty sweet. Then during COVID, I fell out of love with being in a band, I felt like I was pretending to be someone I wasn’t, so we decided to split, which was like getting a divorce. After that, I thought, well what do I love doing? I make drum and bass all the time so I might as well try this Venjent thing out and have a bit of fun with it, and then that ended up kicking off! I did some ghostwriting with Metrik on the track ‘Immortal’ too, and wrote the topline and lyrics which was pretty cool. I’ve got to thank my history for Venjent taking off how it did, for giving me the tools to make the videos and the music, to produce content and memes. I’m really grateful for my journey. I have so much creative freedom now, I’m not signed, I release all my tracks through my mate’s label Chilli Tribe and we have such an amazing, supportive culture. Now I’m playing loads of countries and playing in places I never thought I would. It’s crazy. Sounds like quite a whirlwind few years. Do you have any goals you’re working towards with the Venjent project? It has been a whirlwind, and also within that whirlwind, I did a live band show in London at Village Underground which was awesome. We sold it out. We had a full band, full visual show and it was amazing but it was so much work to get it done that I haven’t done another since. But, that is my future goal, to take it into a live band setting again because I do miss it from my younger days. I love The Prodigy and Pendulum, they’re some of my favourite bands growing up. I want to bring back that energy and live band crossover. So that is one of my goals, to start touring more as a band in the future. You have a constant thread of positivity, self-love and authenticity throughout your music and branding. Why is this messaging so important to you? Because it’s the only thing that really matters to me, to be honest. If you live by some simple philosophies your life can be so much more manageable. The philosophy of “Love Is The Answer”, I can’t fault in any area of life, personally. My music will always have that as an underlying message. That feeling helps me create in a way that is positive, and people can then receive it in a way which is positive too. It’s quite a powerful thing to have that message. I was inspired by a podcast when I first started out called ‘Create Art, Not Content’, which is a really cool podcast. The main thing I got from it was: know what your message is and everything will fall into place from there. It really helped me. It also helped me with the socials too. I thought, OK, I’m not creating content, I’m creating art. Even if it’s a joke, it’s still art, it still has a deeper underlying message. It’s all about the mindset… It really is. Everyone has problems, everyone needs a bit of help to try and make their lives that little bit easier and music, I think, is the most powerful tool to do that.

The underground cult favourite was previously a member of the hip hop group Natural Elements, as well as serving with the New York City Fire Department Continue reading...

Canadian dance music artist Murphy and Moroccan producer Rad Mils have dropped a new collaboration, "Wake Up," a house track that's as fierce as it is fragile. Wrapped in haunting production, "Wake Up" is both an open wound and an invitation to dance. Mils delivers propulsive four-on-the-floor beats while Murphy's lyricism conjures the hollow, too-familiar echo of morning-after loneliness. Exploring disconnection and detachment, Murphy's anguished vocals float like cigarette smoke in strobe lights, mirroring the cyclical nature of both dance music and grief. Together with Mils, she's spun a delicate web where euphoria and melancholy coexist, making it a perfect track for losing yourself and, paradoxically, finding something deep. To that end, "Wake Up" is dance music for the comedown, when the bass still reverberates in your bones but your mind's already drifting toward someone who isn't there. Wrapped in haunting production, it's the sound of glitter mixing with the salt of tears on a sweaty cheekbone—beautiful, messy and undeniably human. Listen to "Wake Up" below and find the new single on streaming platforms here. Follow Murphy:Instagram: instagram.com/heyimmurphy TikTok: tiktok.com/@heyimmurphy Spotify: tinyurl.com/fe49ssvh Follow Rad Mils:X: x.com/radmilsmusic Instagram: instagram.com/radmilsmusic Facebook: facebook.com/radmilsmusic Spotify: tinyurl.com/bdf5k76m

Today marks the 10th anniversary of “Are You With Me,” the breakout hit from Belgian DJ and producer Lost Frequencies, released on October 24, 2014. This track catapulted him to international fame, blending elements of tropical house with catchy pop melodies. Originally written and recorded by American country artist Easton Corbin, “Are You With Me” started as a country ballad featured on his album. Lost Frequencies’ remix transformed the song into an infectious dance anthem that resonated with a wider audience. Its uplifting beat, characterized by a smooth, laid-back melody and rhythmic claps, created an ideal backdrop for summer parties and festivals. The song’s popularity skyrocketed, earning achievements like the Echo Award for Song of the Year and International Dance . It achieved gold and platinum certifications in multiple countries, reflecting its massive appeal. The catchy chorus and vibrant production style helped solidify “Are You With Me” as a timeless classic in electronic music, still celebrated a decade later.

As we wrap up our Black History Month series, we’re looking back on what’s been an incredible journey through the roots of bass music. Partnering with Velocity Press has been eye-opening, and we’ve loved every second of diving into the rich, powerful history behind the sounds that move us. Huge thanks to Velocity Press. This week’s extract is from Who Say Reload by Paul Terzulli, an epic oral history that puts you right in the studio with the legends of jungle and drum and bass. Through the voices of Goldie, DJ Hype, Roni Size, Andy C, 4 Hero, and more, Who Say Reload explores the sounds, samples, machines, and creative energy that fueled some of the most iconic records in jungle and drum and bass. It’s the ultimate insight into the influences, environment, and happy accidents behind each classic. An Extract From Who Say Reload by Paul Terzulli Ragga Twins – Spliffhead (Shut Up & Dance Records, 1990) Much is made of the influence of reggae sound systems in the history of drum n bass. The Ragga Twins are where that crossover begins. Performing for various sounds around London during the 80s, Flinty Badman and Deman Rocker linked up with Shut Up & Dance and the turn of the decade and 1990 saw the release of the ground-breaking Spliffhead, a fusion of uptempo breaks and reggae that gave birth to a whole new era in British music… Flinty: We had been part of a reggae sound system called Unity but in 1989 we decided that would be our last year on the sound as we weren’t releasing enough records and we wanted to do more in the studio. We didn’t think we’d end up doing acid house music though. That was when Smiley from Shut Up & Dance came to see us as he had sampled Deman’s voice from a tape of the sound system for their track Lamborghini. He asked us what he could do in return for using the sample. We already knew them as we went to primary school with PJ, and Smiley had a sound system that played against us when we were teenagers. When they met Deman, he said he was going to bring me in with him and we went into it wanting to be solo artists: Deman Rocker and Flinty Badman each doing our own tunes. It was their idea for us to come together as a joint act. They had been in the game for a couple of years and had some big tunes, so we went with it and came up with the name Ragga Twins. We weren’t into their music to begin with. We had heard about acid house, and it was in the news at the time but all we knew was that there were people taking ecstasy and having a good time! A few of our mates were going out and didn’t know about our tunes with Shut Up & Dance so they’d be telling us they heard our voices in the raves. We didn’t even know they were being played at that point. When we first started doing PAs we would leave straight after and end up at a reggae dance or just go home. We weren’t sticking around to hear the music, but one day there was a show at the Essex County Show Ground with us and The Prodigy headlining. It was an outdoor event and a nice sunny day so we decided to stay and see what it was all about. We ended up staying until the end; no Es, just smoked weed and danced the night away. I think it finished at 6am. From then on we didn’t look back, I think we were going raving every weekend. PJ and Smiley would do all the tracks. They had already done 5, 6, 7, 8 and Dance Before The Police Come before we got there so as far as we were concerned they knew what they were doing, and we didn’t get involved with any of the music side, we just came in as vocalists. We had a mix of new lyrics and some stuff from when we were chatting on the sound. As reggae MCs we wrote lyrics and would chat them live over a certain riddim; then what would happen is you would get that riddim and release it on vinyl because people are feeling it when they hear it in the dance every week. So that was how we worked when we came over to Shut Up & Dance; we had lyrics people knew from the raves when we were freestyling, so then we can put it on a record. For Ragga Trip, Deman already had the lyrics about acid raves and ecstasy tablets so that fit in well with what we were doing. It opened up a whole new audience for us, and it also opened up a whole new audience for reggae music. People wanted to know where the samples were coming from. They started to feel reggae music which was predominantly black people’s music. The kids in the suburbs didn’t have sound systems where they lived so when they started to hear us it was like a blessing for them and something different. We didn’t even realise how big it was and then the album [Reggae Owes Me Money] got to number 26 in the national charts. At the time we were fresh into learning how the music industry works. Back in the 80s when we were doing reggae you would release the tune and wouldn’t see the producer again, you didn’t get no royalty statement, nothing! When PJ and Smiley ran into problems with Raving I’m Raving [the duo were subject to legal action by US singer Marc Cohn for sampling his song Walking In Memphis without permission] they got hit hard in the pocket and that put a stop to our second album. They told us they couldn’t afford to release it so we parted ways and signed to Positiva/EMI in 1994. There was a group called US3 who had a big hit with a track called Cantaloop, and they started doing some production for us. We did a few demos and Positiva liked what they heard. It wasn’t their usual thing but they said they could work it, but in the end, they couldn’t! It was a good album, people loved it and the build-up to releasing it was on point but for some reason, they held it back and then by the time they put it out, the hype had died down. That was another learning experience for us and we decided once that contract had run out we wouldn’t stay with them. Through that time we were still going to jungle raves and performing as MCs. The label didn’t like it and told us we shouldn’t do it. We tried to tell them we had a big fan base in that scene and that’s what we should use but they had different ideas. They did some remixes but we should’ve had an original jungle track at that time. With EMI’s backing, it could’ve been big but they had other ideas. Nick Halkes [Positiva label manager] is a good guy though and we still talk. Later on, they ended up putting out some jungle tunes. We were always ahead of our time. In the early days, around 1992, MCs would mostly just host and be behind the DJ. Me and my brother would go to Roast and would just grab the mic and go to the front of the stage like we would in reggae, and that started the evolution of the MC being a frontman. We did Kool FM which was owned by Eastman who had a sound system back in the day, so that connection was there already. We went up to the station with Navigator and started chatting over the beats and people that knew us from reggae would start locking in to Kool. A good jungle scene started developing and there were more black people coming to the raves and more producers were using reggae samples. We were bringing the wheel-ups and reggae slang. We definitely had a big influence in building the scene on the MC side of things. I had no idea those early tunes would do that type of damage and still be doing damage now, thirty years on, and people still love that album. When we first came out, we had no idea it would have an impact like that. Respect goes to Shut Up & Dance. PJ from Shut Up & Dance: We were listening to hip hop like early Marley Marl, LL Cool J, Whodini, Run DMC, Kool G Rap, Big Daddy Kane and a lot of Public Enemy. We were really into the Bomb Squad’s production. We had a sound system called Heatwave at the time and we played all different kinds of music. We played reggae and rare groove, and then when hip hop took the UK by storm, we went out and bought some Technics. We had DJ Hype on the decks cutting it up with me and Smiley rapping over the top and Smiley’s brother Daddy Earl is a reggae MC so he’d be up there too. We had love for all types of music and when we moved into production we carried on with that and experimented and put it all in the mix. We had a few studio sessions where we tried out some engineers but none of them were really any good. One day we worked with a guy called Alex, and he went on to be our engineer for years. He showed us the ropes on the technical side but as far as how to put tunes together, we just learned as we went along. This was in the late 80s and we weren’t getting any love from the UK hip hop scene. There were stations like LWR and Dave Pearce had his rap show, and there was Westwood. We’d send in our demos, but they wouldn’t play it, so we got fed up and decided to put out a tune out ourselves, which was 5, 6, 7, 8. We pressed up 500 copies and drove around the West End and left a box in each record shop. Smiley had a younger brother who was a raver, which we weren’t into at the time, and he told us that 5, 6, 7, 8 was getting caned in some club. That club turned out to be Dungeons on Lea Bridge Road in East London, so we went down there and the tune got played and it smashed it. It just tore the place down and we realised that we had something. That went well and once we had that heat DJs would come to us asking for an exclusive on our next tune, or trying to get it upfront before it hit the shops. Obviously, Hype got a lot of our stuff before anyone else. Really it was the pirate stations that made us; we were lucky we got a lot of love there as they were very important in getting the music out to the people. Back in the day, you could tune across the FM dial and with every turn you’d find another station. There must have been 20 to 30 pirate stations and they’d all be playing our stuff. After our first couple of singles, we started hearing what people like 4 Hero and Rebel MC were doing. As we’d been so influenced by hip hop, we had this whole breakbeat sound and we wanted it to be danceable so we started speeding the breaks up. We didn’t just want slow b-boy rap because we’d been into body popping and breaking. We wanted something a bit faster. We didn’t really like the piano stuff. We liked the odd tune but on the whole, we kind of hated it. We decided we’d do our thing with raw breaks and very reggae-influenced basslines and melodies. That’s how we came to sign the Ragga Twins. We knew them from the sound system days and as our production went more in that reggae direction we thought we should try to use some reggae MCs. At the time it was just an experiment as no one was doing anything like that. The records we made with Ragga Twins are definitely the first things we made that had a direct influence on what would become jungle music. We were the first to fuse sped up breakbeats with reggae vocals, and when our sound became big people started to copy that. As we got more successful money was coming in, and we had a licence to be more experimental with the music, so we ended up signing Nicolette which was more jazz-influenced. We held an audition at our studio one day and she came down. She was from Cardiff but happened to be in London. She sang Summertime by Billie Holiday over a raw breakbeat production and we realised we had something. We would experiment with each artist and try and show a different side of us. The soulful side, the jazzy side, the reggae side. That’s what it was all about. We made the decision to stay working in the studio producing music rather than trying to DJ at the same time. That kind of helped the Ragga Twins get big as when people wanted to book us we’d send them out instead, and it meant people could put a face to the music. We’d go along to the raves with Hype. As a producer, you have to go out and see what your tune is doing and what the vibe is. As we moved into that jungle era, we set up a sister label called Red Light which was initially just to give Hype dubplates. If he was playing at Fever or wherever that weekend we’d have a dubplate ready for him to collect on the Friday. Then people started coming to us asking what the tunes were so we started putting them out but it was very limited edition and very low key. Obviously, at the time we were aware people were beginning to copy our sound, but then we really noticed our influence years later when DJs and producers tell us they got into this because of Shut Up & Dance. Some of these people are big names now but the first record they bought was one of ours. When we look back we realise we were part of something and we were literally there at the start, and that it was something unique that came out of the UK. The story of Who Say Reload

The record lands as she celebrates 10 years of her seminal label and party KAIZEN Continue reading...

"It's a nod to kindness, love, and all the softer things we need" Continue reading...

Carl Cox is set to grace the decks in several major cities across the US and Mexico, closing out 2024 with a series of shows that promise both festival-scale spectacle and intimate club experiences alike. The techno icon's performances will primarily highlight his pioneering "Hybrid Live" format, a boundary-pushing blend of live performance elements and tried-and-true DJing that has become a fan-favorite since 2022's Electronic Generations album. Fans can anticipate a powerful setlist weaving together the inventive energy of Cox's latest work with the nostalgia of his established classics. In Los Angeles, Cox will debut his "in-the-round" set at Shrine Expo Hall, inviting fans into an all-encompassing 360° experience. Incorporating his "Hybrid Live" setup into the format, he's positioned to deliver a show that brings his North American fans closer to the action in ways they've not seen previously. Other notable stops on the tour include a rare appearance in Las Vegas at Zouk Nightclub, which was named EDM.com's best club of 2023. Cox's Miami date at the iconic Club Space promises an unforgettable experience on its newly renovated dancefloor, a venue that has been a historical touchpoint for some of his most memorable sets. You can find Cox's final tour dates of 2024 below and purchase tickets here. November 8: EDC Orlando b2b with Vintage Culture [DJ Set]November 9: Shrine Expo Hall, Los Angeles [Hybrid Set 360° in-the-round]November 15: Club Space, Miami, [DJ Set]November 16: Seismic Festival, Austin, [Hybrid Set]November 17: Dreamfields Festival, Mexico, [Hybrid Set]November 22: Better Together Festival, Phoenix, [DJ Set]November 24: Zouk Nightclub, Las Vegas, [DJ Set]Follow Carl Cox:Facebook: facebook.com/carlcox247 Twitter: twitter.com/Carl_Cox Instagram: instagram.com/carlcoxofficial Spotify: spoti.fi/3oJKvw8

Alesso's latest single, "Lonely Heart," emerges with more than just a beat to move to—it’s a journey into a deeper, tech house dimension under his new Body Hi alias. The track is a reimagined take on Yes' 1983 hit, "Owner of a Lonely Heart," and marks a transformative shift for the Swedish dance music superstar, incorporating a sleek, minimalistic rhythm that draws us into its groove-inducing orbit. Body Hi was introduced live to fans with a special DJ set at this year's Do LaB stage at Coachella. The new single embodies themes of connection and authenticity, inviting listeners to live their truth on the dancefloor. With John Alto lending his vocals, Alesso reshapes the familiar tune, breathing into it a longing that echoes through layers of atmospheric production. Psychedelic risers elevate Alto’s voice to the rafters, layered over a tight house groove laced with magnetic synth stabs. The track's mantra "move yourself" echoes the call to dive headfirst into rhythm and collective dance. With minimal vocal chops and stadium reverb, the track's arrangement reflects Alesso's love for four-on-the-floor beats. Body Hi serves as his outlet for this house-heavy, introspective production, offering a stark contrast to the anthemic and expansive crescendos that have made him a mainstay on the world’s biggest stages for over a decade. Listen to "Lonely Heart" below and find the new collaboration on streaming services here. Follow Alesso:X: x.com/alesso Instagram: instagram.com/alesso TikTok: tiktok.com/@alesso Facebook: facebook.com/alessoofficial Spotify: spoti.fi/3kHFy5c

Sometimes life just has a way of reminding you that "it’s all happening." San Holo, Daniel Allan and Evalyn have transformed that feeling into a shimmering dance track. The trio's new collaboration fuses dreamy house production with a surge of euphoric energy, embracing the joy of living in the moment and delivering a heady anthem. With its playful vocal delivery and floating melody, the song captures the magic of those blink-and-you’ll-miss-it moments when life seems too good to be true. The song carries a unique personal meaning for both producers. To Allan, it's a reflection of a life in rapid bloom; for Holo, it resonates with the endless joy of collaboration. Allan recalls meeting the influential bitbird founder back in 2022, a pivotal moment when the two artists connected deeply over their shared love of electronic music. "San was one of my first real friends in LA, and he came up to me after a show saying he was a fan. That was huge for me," Allan says. The song itself became a reflection of that friendship, capturing a sense of awe and inspiration both in its lyrics and production. Recorded over the past year, "it’s all happening" is embedded with personal memories. Allan says part of the track’s charm even comes from an old piano he found on Facebook Marketplace, one that clattered dramatically on his driveway during delivery. The seemingly unfixable piano, he explains, brought a raw and organic feel to the arrangement. Listen to "it’s all happening" below and find the new single on streaming services here. Follow San Holo:X: x.com/sanholobeats TikTok: tiktok.com/@sanholobeats Instagram: instagram.com/sanholobeats Facebook: facebook.com/sanholobeats Spotify: spoti.fi/3e4wyEG Follow Danial Allan:X: x.com/imdanielallan TikTok: tiktok.com/@danielallanmusic Instagram: instagram.com/danielallanmusic Facebook: facebook.com/danielallanmusic Spotify: spoti.fi/3f26NWR Follow Evalyn:X: x.com/thisisevalyn Instagram: instagram.com/thisisevalyn Facebook: facebook.com/thisisevalyn Spotify: tinyurl.com/ewm9b5tp

Low Mileage's new single, "Feel This Way," captures the sense of wild freedom that only dance music can conjure. The producer's debut on bitbird lives up to his unique brand of emotive electronica while at the same time identifying new inroads in his creative direction. Anchored by spritely, invigorating rhythms that feel almost wind-borne, the track is built to propel listeners forward. From its opening bars, a heart-racing beat lays the foundation, pulling you into a world where time stands still and the rush of the present moment takes over. With playful, pitched vocals leading the charge, Mileage shapes an atmosphere that’s both whimsical and intense. There's a high-speed spark in his production, an ecstatic liveliness enhanced by fluttering synths that ripple like beams of sunlight hitting water. These sounds twist and fold over the track's bassline, creating a sense of euphoria that feels both grounding and liberating – a call to embrace freedom without hesitation. Whether you’re on the dancefloor or in your headphones, "Feel This Way" is a visceral experience that invites you to embrace freedom without hesitation. Listen to the new single below and find it on streaming services here. Follow Low Mileage:Instagram: instagram.com/lowmileagemusic TikTok: tiktok.com/@lowmileagemusic X: x.com/lowmileagemusic Facebook: facebook.com/lowmileagemusic Spotify: tinyurl.com/mr2e3jvx

At this point, we might as well cancel the holiday entirely. What started as a simple mix RL Grime uploaded to SoundCloud in 2012 has since spawned arena events and become the official start of the Halloween season for electronic fans all around the world. It's been a great 13 years, but the producer revealed that today's release, "Halloween XIII: The End," will be the series' final entry. "13 years of terror," Grime said. "What a ride it's been." Like previous iterations, the mix features originals from his haunted library of trap classics, remixes, unreleased collaborations and even spooky surprises. Alongside the music, each mix also contains a special guest appearance from a celebrity. In the past, we've seen Tony Hawk, Guy Fieri, Shaquille O'Neal, Bruce Buffer, Neil deGrasse Tyson, Hannibal Buress, T-Pain and many more. Keeping with tradition, the 13th and final celebrity guest to join RL Grime is none other than Jack Black. "I listened to your Halloween mixtape on my drive here. Dude, it's insane," Black says in the intro. "I f***ing love it. Is it really true this is your last one? That must be why it goes so hard." Listen to RL Grime's final Halloween mix, "XIII: The End," below.