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With their unique take on “White Horse,” Ukrainian electronic powerhouses UNDERMOON and Beat Inside have turned the 1983 Laid Back anthem into a booming melodic techno statement. Four decades after the Danish pair Laid Back first brought the world those legendary vocals, and years after Wonderland Avenue’s electro rebirth in the 2000s, this fresh rendition slices through the shroud of nostalgia with razor-sharp clarity. The production team has created something honoring the original while firmly laying its flag in modern techno land. The track opens with an angry, growling bassline that instantly sets this apart from your parents’ “White Horse.” The masterclass in tension-building that follows is modular analog synth work that recreates the familiar melody via a dystopian perspective. The creators show amazing patience in their arrangement, allowing the pressure to grow through well-produced breaks that feel like deep breaths before the plunge. The way Undermoon and Beat Inside handle the track’s development is maybe most remarkable. The synth patterns quicken with mechanical accuracy, generating an urgency not seen in the laid-back groove of the original. When the drop at last comes, it delivers in spades—sharp, cutting synthesizers mix with those eerie vocal fragments to produce a peak-time moment that seems both nostalgic and yet modern. This rereading not only changes the sonic palette but also essentially recognizes what made the original piece successful while many classics-gone-techno fall short. The hypnotic quality stays the same even as the speed and intensity leap ahead. This partnership confidently treads the fine line between respecting a classic and producing something fresh. For those who recall dancing to the Wonderland Avenue rendition in the 2000s, this fresh take provides an interesting window on the evolution of electronic music. This version is ideal for younger viewers learning “White Horse” for the first time since it reflects the eternal appeal of a real classic while speaking the language of modern techno. More than just a basic update, Undermoon and Beat Inside have done—they have bridged the past and present of electronic music to show certain horses never cease running. The post UNDERMOON & Beat Inside Reimagine “White Horse” for the Techno Generation appeared first on The Groove Cartel.

In the world of electronic dance music, few tracks have achieved the iconic status and enduring influence of Darude’s ‘Sandstorm’. Released 25 years ago, this trance classic has transcended generations, captivating listeners and dancefloors alike with its electrifying beats and unmistakable melody. ‘Sandstorm’ remains one of the most recognizable tracks in EDM history, boasting over 500 million streams and earning gold certification in the US. ‘Sandstorm’ isn’t just a track; it’s a cultural phenomenon that has cemented Darude’s place in the electronic music hall of fame. Its pulsing rhythm and infectious energy quickly propelled it to global fame, earning it a permanent spot in DJ sets, festivals, and even meme culture. However, Darude’s career is far from limited to this single anthem. With 15 other singles, four albums, and over 35 remixes, Darude’s contributions to electronic music extend well beyond ‘Sandstorm’. Known for his dynamic DJ sets, he has performed in over 70 countries, blending progressive and uplifting trance, house, techno, and even occasional dubstep elements to energize audiences worldwide. As we mark the 25th anniversary of ‘Sandstorm’, we celebrate not only a timeless track but also Darude’s lasting influence on the EDM landscape. This anthem is more than a song; it’s a testament to the power of electronic music to transcend time and inspire new generations.

Timeless hits, underrated tracks and crazy collaborations, the perfect way to describe Calvin Harris‘ third album, ’18 Months.’ Turning twelve years old today, the album and its songs have toured all over the world making it to the biggest stages such as EDC, Ultra Miami, and Creamfields. Besides being played at some of the biggest festivals out there, his music has also done well on radio and streaming platforms. ‘We Found Love’ together with Rihanna is now Calvin’s third most streamed song with over 1,830 billion streams, while ‘Feel So Close’ sits at number eight with over 1,125 billion streams. ’18 Months’ and its featured artistsCalvin Harris has united powers with some big names in the music world to create one of the greatest albums ever released. Artists like Nicky Romero, Ellie Goulding, Tinie Tempah and Dillon Francis are featured on the ’18 Months’ album, but the most significant collaboration remains ‘We Found Love’ with Rihanna, an all-time classic that has opened new doors for the Scottish superstar DJ. “When I first started, it was difficult to get people on a track, and then, as soon as the Rihanna thing came out, everything was blown wide open. I think everyone that I wanted to work with said yes,” mentioned Calvin in an interview with Fuse TV where he spoke about the difficulty of getting artists to collaborate with him. Calvin Harris as a singerAs a teenager, he began his musical career by writing and recording songs in his bedroom. Before ’18 Months,’ Calvin released two other albums in which he was also the lead singer. For his third album, Harris preferred focusing on producing records rather than doing the singing part too. The only track on the ’18 Months’ album in which Calvin Harris is also performing vocally is ‘Feel So Close,’ a song that the DJ plays in his shows to this date. What does ’18 Months’ stand for’18 Months’ represents Calvin’s shift from a singer and producer to a superstar DJ who in 2015 was named the 30th richest British music millionaire by The Sunday Times Rich List. The release is named ’18 Months’ as according to Harris, “it was roughly 18 months since the first song on the album came out.” The song is known as ‘Bounce’ and is featuring the vocals of American singer, Kelis. Celebrate the 12th anniversary of ’18 Months’ by Calvin Harris by streaming the album below.

Sam Silver and ALRT, collectively known as Leap 96, have just dropped their eagerly awaited collaborative, eponymous EP ‘Leap 96’ via the LA-based label, TH3RD BRAIN Records. The EP features four standout tracks, including the already successful singles ‘Back It Up’, ‘Again’, ‘Downtime’, and the EP’s focus single ‘1999’. Leap 96 takes listeners on a nostalgic yet fresh journey, drawing inspiration from the late 90s and early 2000s, when genres like Garage and Drum and Bass began dominating the rave scene. The project fuses vocal-driven dance music with both uptempo and downtempo settings, blending old-school rave vibes with contemporary electronic sounds. The EP’s title ‘Leap 96’ is deeply personal, signifying the leap year that falls between Sam Silver and ALRT’s birth years. As the two artists explain, this symbolism extends into the project’s sonic direction, melding ALRT’s background in the old-school rave scene with Sam Silver’s influences from new-age garage, rap, and ethereal house. Together, they’ve crafted a sound that spans garage, rap, DnB, and vocals with an indie pop twist. What began as a casual studio session in Hollywood, California, where ALRT is a co-founder alongside renowned artist and producer JOYRYDE, quickly evolved into a two-month co-production endeavor. The creative synergy between Sam Silver and ALRT produced not only the four tracks on the EP but also several works-in-progress, setting the stage for future releases. The EP’s final track, ‘1999’, is ready for prime time play. Inspired by French house and infused with 90s nostalgia, the production merges house, garage, and grime elements to deliver a unique and modern twist on the familiar. Sam Silver shares: “‘Leap 96’ is a fresh chapter in my musical journey, a vibrant exploration that redefines how I approach sound and creativity. It’s about embracing the fun and breaking the mold, inviting listeners into a dynamic, playful experience.” ALRT adds: “‘1999’ is an all-around banger. It combines a mixture of French house, UK garage, and deep dubstep, it has it all! At first, we weren’t sure if it would make the EP, but once it was finished, we knew it had to be a part of ‘Leap 96’. This one has something for everyone, and I’m already playing it live. It’s going to rock the dance floors for sure.”

We decided last week in the Decoded office to have a Youtube day of the best, most influential and strangest music videos we could find…which got us thinking. So here are 10 of those choices from a truly inspired day of musical awakening for all of us. 1. Mr Oizo – Flat Eric Frenchman Mr Oizo or Quentin Dupieux to his friends released Flat Beat around 1999 amid the mighty Dutch Trance era of underground dance. Its success we feel was mainly down to this brilliant video featuring the larger-than-life Flat Eric puppet. The track was later used in a series of Levi jeans adverts and was for Quentin and the French techno scene a huge crossover hit, it even reached number 1 in the UK charts that year. To date, over 3 million copies of the track have been sold. 2. Fatboy Slim – Weapon of Choice The one where Christopher Walken flies through the lobby of a hotel and dances on the walls! Directed by Spike Jonze this video won 6 awards at the 2001 MTV Video Music Awards show and Walken, a trained dancer in musical theatre won Best Choreography. VH1 ranked it as the ‘most watched’ clip in 2002. It peaked at Number 37 in the UK Charts. The other A side track Star 69 also did rather well. But mostly because it had swearing in it! 3. Beastie Boys – Sabotage Another Spike Jonze masterpiece. This one a homage to classic cop films of the ’70s Hawaii Five-O, The Streets of San Francisco and Starsky & Hutch. It just a really fun, tongue in cheek video where 3 guys get to dress up and act stupid on camera. Who wouldn’t want that job? Also have a look out for an ‘uncut’ version featuring a mock interview by Jonzes’ then wife Sofia Coppola. 4. UNKLE feat. Thom Yorke – Rabbit in you Headlights Its no secret that Radiohead frontman Thom Yorke wanted to be in a band like Bristol trip hoppers Massive Attack, just look at the musical direction Radiohead have taken in the past 10 years. (Idioteque was sublime btw Thom) Here his moribund vocal delivery is used to great effect amidst the samples and hip hop beats. Taken from their debut album Psyence Fiction, this video directed by Jonathan Glazer won critical acclaim in 1998. In 1999, it won Best International video of the Year at the MVPA awards and in 2006 Stylus Magazine ranked it as Number one in a poll of all time best music videos. The video uses a technique which Glazer would later use for Richard Ashcrofts track ‘Song for the Lovers’ video, being shot in real time and allowing the narrative sounds produced by objects and characters to be audible above the music. 5. Aphex Twin – Come to Daddy Time for something really weird – Chris Cunningham and Aphex Twin. The Come to Daddy EP was released in 1997 and peaked in the UK charts at number 36. Richard D. James says of the single “Come to Daddy came about while I was just hanging around my house, getting pissed and doing this crappy death metal jingle. Then it got marketed and a video was made, and this little idea that I had, which was a joke, turned into something huge. It wasn’t right at all” Video director Chris Cunningham shot this on the same council estate as Stanley Kubricks seminal ‘A Clockwork Orange’ much of which is now demolished. It is the only video voted by Channel 4 viewers in the UK for the program ‘100 Greatest Scary Moments’ and Pitchfork named it as Number One Video of the 1990’s. 6. The Avalanches – Frontier Psychiatrist Staying with the weirdness, Australian electronic music band The Avalanches. The second single taken from the album ‘Since I Left You’ reached number 18 in the UK charts and 49 in the band’s native Australia. A real triumph of sampling and scratching, the song won plaudits from all quarters, not least Mathew Horton, who in his book ‘1001 Songs You Must Hear Before You Die describes the whole album as “…busy, daft, composed of countless unconnected parts, yet somehow entirely natural as a whole.” And that pretty much surmises the video as well, just don’t watch it if you’ve taken a load of acid (not that we condone that kinda of behaviour!) 7. Dirty Vegas – Days Go By One for the break dancers among you. The performance occurs in front of Chroni’s Famous Sandwich Shop in East LA and tells the story of a dancer who shows up once a year and dances all day from sunrise to sunset. He dances in hopes of bringing back a lost love, who left him because he couldn’t stop dancing. Grammy award-winning Dirty Vegas peaked at Number 16 in 2002 with this homage to long-lost love and was a huge crossover hit for the band. It was also later used for a Mitsubishi car advert and famously parodied by Dave Chapelle in a skit on his comedy show. 8. Squarepusher – Come On My Selector Squarepusher, real name Tom Jenkinson many argue created the sub genre Breakcore. This track taken from the 1997 Warp Records album ‘Big Loada’ Originally a 3.26 track on the album, director Chris Cunningham in an homage to Japanese film noir stretches things out to over 7 minutes of twisted beat mashery. Come on my Selector has unsurprisingly become one of Squarepushers best know tracks. 9. Daft Punk – Da Funk In an interview with Fredrik Strage for Swedish magazine Pop #23, Bangalter revealed that “Da Funk” was made after listening to United States west coast G-Funk for weeks. “It was around the time Warren G – Regulate was released and we wanted to make some sort of gangsta-rap and tried to murk our sounds as much as possible. However no one has ever compared it to hip-hop. We’ve heard that the drums sounds like Queen or The Clash, the melody is reminiscent of Giorgio Moroder and the synthesizers sound like electro and thousand of other comparisons. No one agree with us that it sounds like hip-hop“ Another Spike Jonze video features a walking talking dog with a ghetto blaster on the street s of New York city. Of the video Bangalter says, “There’s no story. It is just a man-dog walking with a ghetto-blaster in New York. The rest is not meant to say anything. People are trying to explain it: Is it about human tolerance? Integration? Urbanism? There’s really no message. There will be a sequel someday.” 10. M83 – Lower Your Eyelids To Die With The Sun M83 are a French shoe gaze band formed in 2001 by Anthony Gonzalez and Nicolas Fromageau. The band is named after the galaxy of the same name, and its musical aesthetic is characterised by extensive use of reverb effects and lyrics spoken softly over loud instruments. Taken from their sublime album ‘Before the Dawn Heals Us’ this track has been used by Adam Freeland on his amazing ‘Back To Mine’ album. M83 has gone on to write 5 studio albums, tour the world and are now getting into soundtracks, most notably the 2013 film Oblivion starring Tom Cruise. This is a beautiful, emotion-filled visual feast which perfectly encapsulates the melancholy of the music. The post We picked 10 of the most influential and strangest music videos of all time appeared first on Decoded Magazine.

Toolroom Records especially welcomes SIDEPIECE to their esteemed list with a new single Sex Sells. Since its founding five years ago, the amazing US house music team has been nothing less than a revelation, regularly producing high-octane works that have landed them among the top in electronic music. Working with club music icon Diplo on “On My Mind,” the pair’s explosive ascent to popularity was sparked. One of the most exciting talents in electronic music, this breakthrough tune has attracted an amazing 300 million+ listens on Spotify alone and guaranteed a sought-after GRAMMY award for “Best Dance Recording” in 2021. Renowned for their self-described “party-starting club tracks with serious sex appeal,” SIDEPIECE keeps to form with their Toolroom debut. Appropriately titled “Sex Sells,” the release comes with a sold-out tour under the same name, proving the pair’s increasing worldwide dance music industry impact. The song itself is evidence of their mastery of production; enormous scorching synthesizers cut through a relentless, tech-driven groove, and humorous, tongue-in-cheek vocals have an appealing charm destined to generate grins across dance floors globally. This is the ideal marriage of pure, unadulterated joy with great musical skill. ‘Sex Sells’ marks not only SIDEPIECE’s first on Toolroom but also an exciting new step for the pair and the label. This release shows that SIDEPIECE’s capacity to create addictive, dancefloor-ready explosives is still unparalleled as they keep their soaring course in the dance music scene. Tie yourself in; this is one ride you really shouldn’t miss. The post SIDEPIECE Brings Their Signature Heat to Toolroom with ‘Sex Sells’ appeared first on The Groove Cartel.

The venue will work with three emerging promoters on Thursday club nights allowing them to expand their skillset and gain experience Continue reading...

The record is particularly inspired by his eight-year study of aerospace engineering Continue reading...

Few songs in the history of dance music exude raw emotion and touch the soul quite like the way electronic music icon Paul van Dyk’s magnum opus ‘For An Angel’ does. A timeless melody and flawlessly composed, the song embodies instrumental dance music at its finest. It’s a cross-generational masterpiece revered with the same spirit today as when it was first released. Paul van Dyk celebrates the 30th anniversary of “For An Angel” with a special double-vinyl release featuring van Dyk’s own famed ‘E-Werk Club Mix,’ new remixes from Öwnboss, Julian Jeweil, LOUT, and KOLONIE as well as classics from Filo And Peri, Activa and Miika Kuisma. The exclusive double-vinyl release is now available here. Selected by Mixmag as number eight in its “50 Greatest Dance Tracks Of All Time” feature and the subject of a new mini-documentary from DJ Mag, “For An Angel” is one of the most beautiful and essential songs in dance music history. It was first released in 1994 as a track on van Dyk’s first studio album, ‘45 RPM’ and rose to legendary status in 1998 when it was re-released as “E-Werk Remix,” a nod to the E-Werk nightclub where van Dyk used to be the resident DJ. A gorgeous, entrancing melody contrasting with a tough driving beat propelled the track to international success, including a spot atop the UK Dance Chart, where it also achieved Gold status. These brand-new remixes come from top-level talent representing multiple dance music genres. Öwnboss is a platinum-selling Brazilian house artist who collaborated with Tiësto and releases on Tomorrowland music; Julian Jeweil is a French techno artist who releases music on Drumcode and Factory 93; LOUT is the German production team of Oliver Lipp and Tatjana Ufhei who routinely top the Beatport Progressive House Chart. London-based artists Kolonie and Activa and US-based Filo And Peri each deliver their unique take on the trance genre, while Finnish producer Miika Kuisma wraps up the remix package with a progressive bow. Paul van Dyk is excited to celebrate the great legacy of “For An Angel” as it touches a new generation of dance music fans. “For An Angel” is so special to me because it represents an incredible time for dance music and wonderful personal memories. There was this fresh enthusiasm for dance music as it spread worldwide and paved the way for where it is today. The song is as important to me now as it was when I first made it, and it’s a staple in all my sets. The reaction from the fans when the song starts playing brings me so much joy. It’s fun to listen to these excellent remixes and realize how much the song influenced today’s talents,” van Dyk says. “It is fascinating how ‘For An Angel’ still touches so many hearts after all these years,” he adds. “Across generations, young and old, all around the world. Whether it was in 1999 in front of 1.5 million dancing people at the Love Parade or last week in the Berlin Cathedral as an ambient arrangement, the magic of the track seems to grow even more intense over time. People tell me about memories they associate with ‘For An Angel’. Different stories and emotions—ranging from wild, unforgettable nights in Ibiza that people fondly remember to wedding dance songs, and even as a tribute to the beloved. It’s one track with a million stories.” Fans will hear “For An Angel” along with van Dyk’s other classics and recent hits by catching him live on tour. Complete list of dates below and regularly updated here Paul van Dyk’s “For An Angel” 30th Anniversary Remixes Double Vinyl release is available now from VANDIT. TRACKLIST For An Angel (PVD E – Werk Club Mix) For An Angel (Öwnboss Remix) For An Angel (Julian Jeweil Remix) For An Angel (LOUT Remix) For An Angel (Kolonie Remix) For An Angel (Filo And Peri Remix) For An Angel (Activa Remix) For An Angel (Miika Kuisma Remix) Stream / Download here The post Paul van Dyk celebrates the 30th anniversary of his iconic track ‘For An Angel’ appeared first on Decoded Magazine.

We have a special birthday in the building today! Crazy to think some Dance songs are entering their third decade of life right now. Such is the case of Paul van Dyk’s iconic track, ‘For An Angel‘, a record that is celebrating its 30th anniversary this year. There’s no way you’ve never heard of it, as this timeless piece of Trance has soundtracked entire generations. Selected by Mixmag as number eight in its “50 Greatest Dance Tracks Of All Time” feature and the subject of a new mini-documentary from DJ Mag, ‘For An Angel’ is one of the most beautiful and essential songs in Dance music history. It was first released in 1994 as a track on van Dyk’s first studio album, 45 RPM, and rose to legendary status in 1998 when it was re-released as ‘E-Werk Remix‘, a nod to the E-Werk nightclub where van Dyk used to be the resident DJ. 30 years are not an everyday thing. So to mark this special occasion, a double-vinyl release features the original ‘E-Werk Club Mix’ alongside new remixes from top-tier artists like Öwnboss, Julian Jeweil, LOUT, KOLONIE, Filo & Peri, and Miika Kuisma. Each shining a different light on the classic, through a unique prism, the remixes adapt the melody that has lived on since the early 90s and transform the feeling to introduce different audiences to ‘For An Angel’. If I had to pick, my personal favourites are KOLONIE’s incredible Progressive Trance take, and the Filo & Peri Remix, a piece that is the perfect middle point between the classic nature of the original, and the modern sound of today’s Uplifting Trance, without going over the top. Listen to the entire release below. Happy birthday, ‘For An Angel’! The post Paul van Dyk’s ‘For An Angel’ Celebrates 30 Years With Stunning Remix Compilation appeared first on EDMTunes.

VISION – the eagerly anticipated new long player from Milanese electronic music duo Hunter/Game – sees a release on Friday, October 25. The release will be an imprint via their own record label, Just This. The 11-track opus marks Hunter/Game’s third full-length LP following the release of Adaptation in 2016 and Silence in 2019. The third full-length musical opus from partners Martino Bertola and Emmanuele Nicosia will feature eleven exquisite new compositions on its official release in October. It will include the internationally celebrated lead singles ‘Stars’ and ‘Last Hour’, which dropped in May and July respectively. Incorporating a unique, cutting-edge style of avant-garde electronic music production into their introspective and highly emotive dancefloor creations, ‘VISION’ sees the Italian double act transport listeners deep into their own reflective state of sonic exploration and experimentation. They present their most thoughtful and complex body of work to date. The release of VISION also coincides with the launch of Hunter/Game’s stunning new AV concept show of the same name. It debuted at EartH in London’s East End on Friday, October 11, in partnership with Fabric London. Further, VISION shows are set to be announced in the coming weeks. Stay tuned to Hunter/Game’s socials for the latest up-to-date information. Hunter/Game has established a reputation as one of the most unique acts to emerge onto the global electronic music scene over the past decade. Their rise to global stardom has been studded with several impressive career milestones. The release of ‘VISION’ will mark yet another career-defining moment for the in-form duo, who return to Just This. It comes post a remarkable catalogue of career releases on the likes of Afterlife and Kompakt, amongst others. The post Hunter/Game To Release New Studio Album – VISION appeared first on EDMTunes.

The Digital Drift story grows on, everyone! Friday unites us once again for incredible music. And what better way to refresh your on-demand playlist than this! We welcome the Progressive Trance monster duo Digital Drift for their latest offering, ‘Skylight‘, an impressive piece with vocals co-written by Katie Marne and sung by Katey Brooks. The record is out now via Enhanced Progressive. Nitrous Oxide and Simon Gregory have been leading the trancey sound for years, but ever since they started working as Digital Drift, the impact has been even greater. With releases on Anjunabeats, FSOE, and others, the two won’t be stopping anytime soon. And we’re glad that such is the case — they truly know how to craft bangers. ‘Skylight’ Vibrant, intelligent, and elegant. Those are the words I’d use to describe ‘Skylight’, Digital Drift’s latest. In true Progressive fashion, the tune embodies what a complex Trance record should be: not overwhelming in elements, but certainly an irresistible recipe. The longer beatless segments allow for an extra dimension of depth and immersion, as the engulfing pads and cutoff signals have more time to evolve and dance as they do so. On top of everything is Katey’s impeccable voice, which acts as the perfect piece to complete the puzzle. It also follows you all the way to and through the drops, which makes the composition all that much more interesting. “Mmmmmm”, would say Tony McGuinness. Listen to Nitrous Oxide, Simon Gregory and Katey Brooks‘ amazing new track ‘Skylight’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. 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 Nitrous Oxide, Simon Gregory And Katey Brooks Join Forces On ‘Skylight’ appeared first on EDMTunes.

CHROMEBODIES & DJ Topgun have teamed up with Bipolar Sunshine to deliver a stunning new track, ‘Sunrise.’ This collaboration delivers a fresh take on dance music, blending euphoric techno melodies with heartfelt lyrics to create an avant-garde sound. ‘Sunrise’ seamlessly merges the signature sounds of CHROMEBODIES and DJ Topgun with Bipolar Sunshine’s emotive vocals. The result is a captivating track that effortlessly transitions from thumping basslines to soaring synths and upbeat rhythms. Think fast, happy, loud, and energetic vibes all throughout the track. ‘Sunrise’ is the perfect afters song that will make you want to groove to early into the morning after a night out. As emphasized by Bipolar Sunshine, “I stay alive way past sunrise”, ‘Sunrise’ is a peak time belter. The post CHROMEBODIES & DJ Topgun Keep the Energy High with ‘Sunrise’ appeared first on EDMTunes.

KAS:ST is a DJ from Paris and he just released his latest single, ‘Are We Truly Free?‘, on Insomniac’s Interstellar Recordings. This phenomenal talent also leads his own label, Flyance Records, where he curates excellent melodic techno. His new single continues the trend of producing and dropping innovative music that brings in the best elements from the melodic and driving techno spaces. ‘Are We Truly Free?’ from KAS:ST is a must-hear single that contains a great amount of uplifting synths that elevate cosmic energy. Its ominous synths and vibrant vocals add depth and tension over a humongous groove. This is another standout sound from the producer, who can also drop amazing melodic house music as well. In fact, it is sure to bring down the house at many events and beyond. Click ‘Play’ on the Spotify link below to stream ‘Are We Truly Free?’ from KAS:ST, an artist who has performed at Afterlife, Cercle, and Upperground, as well as garnering support from stars such as Tale Of Us, Anyma, Mind Against, Chris Avantgarde, and Kevin de Vries. The post KAS:ST Drops ‘Are We Truly Free?’ on Interstellar Recordings appeared first on EDMTunes.

Jamaican Afro House artist Merchant is rising through the ranks of top house DJs/producers to look out for in the near future. Merchant has been making a great reputation for himself by releasing amazing edits such as Badbwoy vs. Damian Marley’s ‘The Light Vs. Welcome to Jamrock‘. These edits later led him to gaining the support of top electronic music stars like Pete Tong, Blond:ISH, and Diplo. as well as spins on shows such as BBC Radio One’s Hot Mix. Additionally, his edit of John Summit‘s chart-topping hit ‘Where You Are‘ grabbed global attention after John Summit highlighted it in a recent interview with Alix Earle. These accomplishments, which go perfectly alongside Merchant’s ever-growing discography of Afro House originals and remixes, have placed him in a position as an important artist in a genre that is becoming more popular worldwide. Merchant provides a tantalizing remix of ‘C’est Cuit’ Merchant’s music most definitely vibes well with the natural heart and soul of his Caribbean roots. His latest remix of Major Lazer’s ‘C’est Cuit’—out now on SoundCloud—delivers a bright and upbeat version of the original. Perfect for dance floors from Ibiza to Miami, this remix of ‘C’est Cuit’ showcases Merchant’s ability to craft irresistible beats that will ensure everyone going on their feet instantly to groove away. Click ‘Play’ on the Spotify link below to stream the remix of C’est Cuit from Merchant, a remix that will boost this artist’s name in the music industry, as well as strengthening the growing popularity of the Afro House genre. The post Merchant Brings Out Groovy Vibes with His Remix of ‘C’est Cuit’ appeared first on EDMTunes.

This fall has been an exciting season for Lane 8! At EDMTunes, we eagerly await Daniel’s mixtapes, and although the Fall 2024 edition is a bit delayed, it’s certainly worth the wait. Why is it so exciting? If you’re a fan, you must be thrilled, as we not only received the much-anticipated mixtape but also a fantastic surprise: Daniel’s full album, Childish, which he released just last month! We knew after 10 years of this successful tradition of mixtapes, he would not disappoint. Fall 2024 Mixtape Daniel breaks the mold by skipping the usual IDs to kick off his mixtape with ‘Childish’. This mixtape immediately transports me back to those unforgettable summer gatherings in Vancouver, where I first fell in love with this track as he opened both nights. I remember eagerly wishing for a new album, and now, my friends, we’re fortunate to have both an album and this amazing mixtape to enjoy! This exciting mixtape is brimming with breathtaking tracks from Childish, lasting three hours and fourteen minutes and featuring eight intriguing IDs. Take a moment to guess the artists—I can think of a couple, like Rinzen and Otherwish! Listeners are led on an unforgettable journey with stellar contributions from anamē, Bonobo, Ben Böhmer, deadmau5, Eelke Kleijn, Jeremy Olander, Kasablanca, LUMI, Martin Roth, Robag Wruhme, Sultan + Shepard and many more. You can find the tracklist on Tracklist1001. Lane 8’s release of his spectacular album comes with the ever exciting news of Tour. This week, Daniel announced his first set of tour dates in North America, and tickets are flying off the shelf. Act fast to secure yours, get yours here! He will be curating his unique This Never Happened show for the Childish Tour. They will collaborate with Yondr to let you lock away your phones and immerse yourself in the experience. Fans everywhere are buzzing with anticipation for additional dates and shows in Canada, Europe, and beyond. Let’s hope for more announcements soon! Don’t miss out on this mixtape, and have an amazing weekend. This is undoubtedly my most exciting New Music Friday release today. Keep an eye on EDMTunes for all your latest music updates! The post Lane 8 Blesses Us With A Spectacular Fall 2024 Mixtape appeared first on EDMTunes.

Now streaming everywhere, “Echoes Creep” marks melodic techno tastemaker Daijo’s fifth one-off release of 2024. Distinguished by its psychedelic spoken word layered atop a hypnotically haunting synth sequence, the Canadian DJ’s Halloween-primed single has officially landed on Vancouver-based independent dance music imprint, OFF2 MUSIC, which also houses prior Diajo releases “In Control,” “Story Of Abraham,” and “Nomad,” respectively. Nearing the final months of 2024, Daijo now represents a sizable discography with steepening engagement. Listeners should expect even more impactful strides from the “Freak Of The Night” producer come the new year. For those who aren’t familiar with the burgeoning talent, stream Daijo’s latest psychedelic club weapon, “Echoes Creep,” below. NEW MUSIC ALERT! "Echoes Creep" OUT NOW https://t.co/4CBWTH5gRA pic.twitter.com/9PtBtH1c6U — D A I J O (@DAIJOMusic) October 24, 2024 The post Daijo turns in psychedelic club weapon, ‘Echoes Creep’ appeared first on Dancing Astronaut.

We sat down with arguably the fastest-rising star of Dance music for a chat. We’re always looking to learn more about all corners of the Dance world, from Mainstage EDM to Electronica, and from the swiftest engineers to the most majestic vocalists. Today’s interview certainly follows the latter. We’re excited to welcome Jodie Knight, known in the Dance industry as ALLKNIGHT, for a deep conversation into her career, projects, milestones, and how she’s got to soundtrack some of the greatest productions out there. Although Jodie has been a singer and songwriter since her early teenage years, she was much more of a Pop-leaning artist then. Her big break in the Dance scene came in 2023, when she worked with Anjunadeep star Marsh writing and performing two of the tracks in his Endless album: ‘Fragments‘ and ‘Sleep‘. Prior to that, though, she’d already released on labels such as Rose Avenue, Elliptical Sun, and Mixmash Deep. Since Endless, she’s featured on a staggering number of productions, including collaborations with Marsh such as the recent ‘Rabbit Hole‘ and ‘Everything‘ — my most played song in 2023 according to Spotify —, and works with artists from the likes of Enamour, Deeparture, Le Youth, and many, many more. In fact, she’s got over 80 tracks on Beatport (!). So, we figured we’d ring Jodie and have her over, so that we could touch upon her skyrocketing career, and also understand how the mind of a lyricist of her calibre truly sees things. Everything from the early days, to her ongoing Aria tour through the UK and America, to Rick Astley (believe it or not), and everything in between. So, without further to do, lay back and read on, as we have a chat with ALLKNIGHT herself. The Interview (Please note, the bolded text represents a question, while the paragraph(s) following it represent ALLKNIGHT’s answers.) Well, first of all, thank you so much for coming. It is a pleasure and an honour. Thanks for having me! This is great. Now, how are you? How’s life treating you lately? Good. I’m actually really, really good at the moment. I have just come back from the Aria tour feeling very inspired and motivated. Actually, a few months ago, I was definitely feeling very lost and didn’t really know what I was doing, because I have two different profiles, and one of them hasn’t really been getting any traction, and it’s very disheartening when you’re putting everything into it. So, yeah, I had a moment where I just felt quite deflated, but since then, I’ve just decided to focus all my efforts on ALLKNIGHT and just really give it my best shot. It started out as a bit of a side project, and now it’s my main project, but I’m learning to simply expect the unexpected, and just go with the flow, go with what’s working, and I’m actually really loving doing the Dance music thing full-time. Well, let’s go a few steps back and acknowledge, how does your story begin? When, and possibly how, did you get into music? I’ve always loved music. I mean, I think humans naturally love music. I started playing saxophone when I was eight years old because I saw a man on holiday playing, and I thought he looked really cool, and I wanted to be like him. Later on, I went to a little group that was singing, dancing, acting as an after-school club, and I was never any good at the acting or the dancing, but I always loved the singing and I just did it in my bedroom. It wasn’t, like, a big thing. I wasn’t one of those kids that was singing around the house all the time. My parents love music, but they are not musicians, so it wasn’t a very musical household. And one day I decided, when I was 12, I’d enter my school’s talent competition singing, which I have no idea where that thought came from. I think my parents were slightly terrified because they’d never really heard me sing before. And then I did it and loved it and was actually okay, and it just all went on from there, really. Then my brother taught me some guitar, and, yeah, the rest is history. I can see. Well, that’s funny you mention it. I also took saxophone at seven, but I never continued it for some reason, and it’s kind of a lost project of mine. Do you still play sax? [Points to the very first saxophone standing behind her] I actually got this one for free because I was renting it from a music shop in Glasgow, where I’m from, and the music shop went bust, and so they just never asked for it back. This was like, 15 years ago, so… Well, they’re certainly not going to get it now. [laughs] We’re aware that you have done quite a few impressive things in your life, including which stands, performing for Rick Astley. Could you give us a bit of an insight into that story? How did it all happen? Yeah, it was so random. Luckily, I got to go to his soundcheck, because he came to Glasgow, and through a friend of a friend, got a ticket, and then was in touch. We told them we’d love to come to soundcheck and see and meet him and, you know, see how soundchecks work in a large venue like that one, because I’d only seen soundchecks at pubs and stuff. And then went to the soundcheck and watched him. It was great. Went into his dressing room, was chatting to him. And he had a guitar case in the corner, and I was like, “Oh, I’ve got the same guitar as you”. And his wife came in right at that moment (she was his manager), and said, “Why don’t you get it out and give it a play?”. So of course I had to do it. And I got the guitar, and I’d literally written a song the week before, so no one had heard this. I hadn’t posted it anywhere. And I figured I’d just play the song. And as I was playing — so his dressing room was opposite to the band’s dressing room, who I’d kind of met very briefly — I was just singing, almost always staring at the floor. I was like, “Don’t mess this up”. I’ve got a picture of it as well. There’s literally a picture of me singing to him in the dressing room. And when I finished, I looked up, and his tour manager had poked his head right in the door, and the whole band had just quietly come to listen. And his tour manager looks at Rick, and they nodded to each other. And Rick goes, “Do you want to open the show with it?”. Oh my. And I was like, “What? You mean in like, three hours?”, and he said, “Yeah, do you want to open the show with that?”, so I was like, “Hell yes”. And that’s exactly what I did. I literally didn’t have any makeup or anything. I wasn’t dressed correctly. So I had to message my dad so he could bring me my makeup bag and clothes. And I used Rick’s guitar and opened for him in Glasgow. This happened twice, by the way. I was going to university in Liverpool. And as a bit of context, Glasgow was the first night of Rick’s tour, and Liverpool was the last. And on the last night, it was literally again the day of, his tour manager called me, and he was like, “Do you want to come and do it again in Liverpool?”. So I did the same thing, went up and sang. Although I made such a massive mistake that I will never ever make again in my life. I walked on stage, I had my in-ears in, and I strummed the guitar, and I hadn’t had my in-ears turned on. So I literally couldn’t hear anything. And now I just had to play, so I sang the whole thing without hearing myself. And I came off stage and Rick had come to the side of it with a hoodie on to try and hide himself from the crowd to watch. And he asked, “How was it?”, and I was like, “I forgot to turn my in-ears back on!”. Judging by his face, maybe I shouldn’t have told him that. But anyway, it actually went well and it was completely fine. But I learned a very big lesson. So, this next question, you had always been kind of a non-Dance act up to, say, the Marsh era. But I may be mistaken. So where does your love for Dance music come from, how did you get into this side of music? And did you ever expect to be such a key voice in EDM as you are right now? So, I did my first Dance music release in about 2018. I was releasing stuff for a while before I worked with Marsh. But it was mostly, you know, small-time producers who’d reached out online. I’ve always loved Dance music. I think, if anything, my siblings got me into it. I’ve got an older brother and sister. And my older brother particularly, I always loved his music taste, and he kind of got me into Dance music. And then when I went to uni in Liverpool, there’s such a big Dance music scene there. I was going to raves all the time. So fun. And I just really, really got into listening to it and loving it. And then when someone reached out and asked, “Do you want to do a Dance song?”, I was like “Yeah, absolutely”. And then it just escalated more: the more I released, the more people reached out and I said yes, although sometimes I go, “Why have I said yes to this?”. I can’t say no. So it just kind of expanded and expanded. And then I started working with a publisher and then through working with that publisher, they linked me up with Marsh. So, yeah, it all came about as an accident. And as I said, I started ALLKNIGHT last year because the algorithm was just completely messed up with releasing all my music under one profile. And it’s been amazing and it’s totally unexpected because, you know, this was always the side project and now it’s the main project. But now I’m so happy that it’s turning out the way that it is. There’s lots of plans for 2025. You say “A key voice in EDM”, that’s a very, very big compliment. So thank you. But I’ve got a reason behind that, because I’ve been working in the A&R department of EDMTunes for about a year. And I remember very, very vividly that last year, between October and February, I couldn’t go about a week without a track with your voice coming up. They didn’t credit you, but I recognised you. That’s so funny! Oh God, it was a bad move for me, but I worked with one of those places where you sell your vocals and then you don’t own the rights. And personally, I would never do that again just because I can’t handle the fact that I don’t own the rights. But yeah, I had a lot of people messaging me being like, “Is this your vocals?” And I was like, “Yeah, it is. Sorry, you can’t escape me”. [laughs] Now, let’s pause a bit to ask the important questions. When you sing ‘Happy Birthday’, do you sing it like all of us mere mortals or do you get your professional voice out? [laughs] Oh my God, that is such a good question! Do you know what? I actually don’t like singing ‘Happy Birthday’ because I’m so in the middle of being like, “How do I sing this?”. Most of the time, I just sing it. I don’t whip out the good voice for it. But yeah, that’s a really funny question. It’s like with karaoke. I don’t enjoy doing it because karaoke is something fun where everyone does it and people are rubbish and it’s fun and it’s great. And then when it’s my turn, if I sing well, people will say I’m trying too hard. If I don’t sing well, people will say, “Well, isn’t this your job?”. It’s a situation you can’t win. Back to music now. Well, ALLKNIGHT. You kind of introduced us to this a little bit, but we want to know everything about the birth of this alias. Why did you do it? Have you seen different results than when you had just the Jodie Knight alias for everything? Yeah, I mean, the reason to make ALLKNIGHT was partially an algorithm thing. It was also a release schedule thing. I was trying to cram so much stuff, there weren’t enough days in the month to release the amount of music that I had. I feel like when I separated the two, it made it so much easier for me to be like, “Okay, cool, now I’m working on this, and now I’m going to work on that”. It helped me to compartmentalise. And also, it’s quite important to have a brand nowadays, so that’s another great reason to make the alias. And about seeing results, for sure. I mean, the climb in the last year has been really positive. And it’s been great not having to box myself in and assume I’m only going to release this one style of music and all my songs are going to sound the same, because I don’t like that. In fact I find it impossible. I don’t understand how people can do that. But I think, unfortunately, because music and, you know, how everything nowadays is so algorithm-based, and AI-based and whatnot… It ended up working in my favour, though. It pushed my music to the right people, gave it a lot more space. It was definitely the right move. I still have people nowadays saying it wasn’t right for me, “It’s all still you”. That’s easy for them to say. But when I was releasing a Pop song one week and then I had a heavy Dance track the next week and neither of them were hitting right, that’s why. Was your first release with ALLKNIGHT ‘Everything’ or was there something before? It wasn’t ‘Everything’. I think it was a song called ‘Gold Dust’, really random song. But then, when I made ALLKNIGHT, I contacted all the labels I worked with to try and move all of my back catalogue over. So it looks like my earliest release was, you know, 2018 or something, because I wanted it all on one profile. But my first actual release on ALLKNIGHT was last year. Well, you talked a bit about genres. Is there one in particular in the Dance music spectrum that you feel suits your voice best? Or is it kind of an adventure for you to feature in every single genre of EDM possible? I think up until now, I’ve very much been quite flexible, if I like the song, then that’s all that matters. But now going forward and going into 2025 — that’s really scary to say —, I’m really trying to have more of a clear sound, because again, it’s still a little bit too varied. I think it would be the kind of darker Melodic House I love listening to, and I love singing on top of, and I think with it you can have some beautiful melodies, and some interesting lyrics. And yeah, I think that’s my favourite type of music of my own to listen to. So it’s my favourite type to write to. Well, touching on the topic of writing, how does a vocalist’s mind go about producing music? Because we’ve always talked to a bunch of producers and producers only, and whenever we talk about vocals, it’s just like, “Oh, I had this and that, and the kick was perfect, and then we sent the demo to the vocalist and they crushed it, and that’s the song done!”. There’s never any insight into how lyrics really are written. Well, the process, right from the start, with every single person I’ve worked with but maybe one or two people — other vocalists —, melody always comes first. So you’ve got to sing gibberish until you find that perfect melody. And once I started working in rooms of other people, it took me a long time to get comfortable to just, you know, sit there and just sing when you’re actually not saying anything. It feels really weird, and it’s very strange. It took me a long time to get comfortable doing that. But once you’ve got that melody, then it’s like, “Okay, cool, what words fit in?”. And in most cases, because you’re singing that gibberish, it’s really good to try and almost sing words in the gibberish, because then you can start to find what works, and then base it around that. And, you know, sometimes I’ll go into a session thinking, “I want to write about this today”, or “I have this line”. And, yeah, it just kind of builds around a story. I love having a story to talk about. Even better when it’s happened to me or a friend, you know? A, it’s great because you can really get that detail, and B, it’s therapeutic to write a song about something that’s happened to you. It’s a release. And after that, just remains fitting the pieces together of melody, lyrics, what works, and checking if the melody still works with the lyrics. Sometimes you’ll put them together and then sonically it won’t sound right, or it’ll be really hard to say. It’ll be a bit like a tongue twister. So that’s sometimes annoying, getting around that, because it actually fits perfectly in syllables, but it’s impossible to sing. So, yeah, I’d say that’s generally the way that most vocalists work. And are the lyrics 100% yours, or do you work partly with the producer you’re in with to kind of create a common story? Totally depends. I’m definitely a lyricist first. So if it’s me working just with a producer, most of the time I’ll start the session and say, “Do you write lyrics? Do you write melodies? Do you want to?”, and most of the time they go, “I just make the tracks”. Cool, that’s fine. A leave-it-to-me situation. But sometimes they want to write lyrics, or interject, or write together with me. I actually love it when there’s someone else in the room that’s a writer, because when it’s just me, the pressure is completely on me. Whereas when you’ve got a few writers in the room — not too many, I think two or three is great — you just bounce ideas off each other, and then it really pushes you to think somewhere else. Or they’ll say something and you’ll be like, “Oh my God, I would’ve never thought of that”. So it just depends on who’s in the room, I guess. Now, another important question. Are you a dog person or a cat person? Dogs, immediately. I’m actually a crazy dog person. Like, my family call me a crazy dog lady. That’s my side hustle. I also walk dogs and look after dogs. Oh, really? I didn’t know that. Yeah, I love having a dog in the house. So whenever I can, I’m like, “I’ll look after your dog”. I saw you posted some in your story a couple of days ago. Are they yours? So it’s my parents’ new puppy and her sister we were looking after for the weekend. So what happened was, I went home after touring, which was amazing, but I was exhausted. Went back home to Glasgow to my family home and there was a new puppy. I couldn’t have timed it better, because there was two, we were looking her sister. And I literally spent the whole weekend on the floor with the dogs. That was a good time. That was a good thing to charge up batteries I reckon! Well, since we are on that topic, let’s talk a bit about touring. Was this your first longish tour? Yeah, this, I mean, this was my first tour, full stop. I’ve done gigs, done a lot of gigs in and around the UK and some abroad. But, you know, an actual tour, this was the first one I’ve done. And how did that kind of impact you or hit you? Because you said at the beginning of the interview that you were a bit exhausted, kind of a bit lost before the tour. And, well, I guess the whole thing of getting the visas and everything was a bit exhausting too. But then how it kind of changed your mind, the before and after, or preparing for going on tour, or being on tour itself, like sleeping at different times or whatever. Yeah, it was a proper juggle of beforehand getting the visa. I only got my visa 10 days before we went away. It was so tight. So that was definitely quite a stress because Leo Wood, the other vocalist of the Aria tour, got hers a couple of weeks before mine. And we were all just waiting for mine. That was horrible, but it was fine because I got it. And, yeah, preparing, packing for it was… I’m a very organised person. That doesn’t stress me out. But I am the type of person who gets unwell when they travel. So I spent a good chunk of my time on what I could do and get to make sure I wouldn’t feel bad, so I bought vitamins. I bought a big neck pillow, everything that was going to help me sleep better, and I got all these vitamin C tablets, too. Travelling across time zones was intense, getting up in the morning, going to soundcheck, doing the show, getting back at 3 am, waking up at 7, boarding a flight, having a show the next night. That was intense. That was nothing like I’d ever done before. I’m also not a morning person at all. Like, I need my sleep. I think the adrenaline and the excitement of it all really pulled me through because, yeah, I’m really normally not a morning person, but I did manage to pull through. But to be honest, it was such an amazing experience. And I feel so thankful to Tom for, you know, facilitating it because at the end of the day, it wouldn’t have happened without him. And I definitely was trying the whole time to just be so present and be like, “Oh my God, I can’t really believe this is happening, it doesn’t feel real”. And it was so nice because I’ve always been a solo artist, you know, whether that’s been with Jodie Knight doing the guitar stuff or now doing this as ALLKNIGHT. It was so fun being on stage and turning around and just seeing Tom, and we’d both have massive smiles on our faces, sharing that moment. And then when Leo and I came on for the encore all together, I can’t even describe the feeling. It was, it’s just an absolute dream come true. And I want more. I want a lot more. Well, there’s one more. So, yeah, that’s good news for you. Yeah, there’s one more. It’s Red Rocks in a few weeks, which again, what? It’s not a small venue. Oh my God, I know! And, yeah, it’s going to be amazing. And the final show of the tour so far, which was Montreal, I think really made me a little bit more aware of what’s going to go on. Because most of the shows along the tour were in clubs, or in old theatres. But the Montreal one was a festival, and it was the biggest crowd. And I did have a bit of a moment before I went on thinking, “This is next level”. Had to take a step back and take myself off to the side and just, breathe. That was big. And then I also was thinking, Red Rocks is going to be four times the size of that. So, I can’t even describe the feeling. Leo would go on stage first. Obviously, Tom and Leo were on stage doing their thing, and I was back there, no one else back here knows what this feeling is that the three of us have got. Excitement, you know, terror, adrenaline, anticipation. So, I’m super excited for Red Rocks. I’m definitely a little bit apprehensive of just, when you get there and you see that amount of people and be like, “I’ve got to walk out there and perform”. And the good thing — or bad thing, however you want to see it —, is that the people are sitting, like, upwards. It’s not a line. It’s not like the rest of the stages. Yeah, so you can see everyone! But, no, it’s going to be amazing. It’s just one of those crazy, crazy venues. I’ll be able to say I performed at Red Rocks. So, yeah, it’ll be good fun. I’m very excited. Moving on, would you say you have found your “signature sound” yet? Oh, that’s a good question. I think I’m starting to find it now. This is probably a good time to talk about this: I am actually doing an EP next year, totally myself. It’s going to be just me. I’m producing it, I’m writing it, I’m writing the tracks, doing the vocals and everything. And this is what I’m really, really excited for, because up until now, I’ve always been a featured vocalist on someone else’s track, which I love doing, and I love being part of. But it does… You know, every vocalist feels like this. You never quite feel like it’s yours. It’s always, “The producers did such a great job on this track!”, when it is very much 50-50, but it’s unfortunately never seen like that. And I also love producing music. I love writing the tracks. I studied music production at uni, so I’m very interested in actually making the songs. And so, yeah, these last few months, which is another reason why I’m feeling so motivated, is that I’ve been writing a lot of songs to hopefully release next year. And the sound of those is definitely genre-wise, I hate saying genre, because I’m just like, “What does that mean?”. But probably a mix between Melodic House and Electronica, I’d say. It’s kind of Melodic House with a bit more vocals on it and a little bit more commercial, maybe. Who I do like to compare it to, who I’d say is a very big influence, is CRi. So love, love, love his music. And I think I definitely find myself being influenced a lot by CRi and that sound. And everyone I work with, you know, all the songs with Marsh… I was very lucky. He has been helping me with learning, I’m trying to learn how to DJ so that I can do this myself, do the vocals and DJing myself. That’s also part of the plan. So, yeah, I think I take influence from lots of people that I’ve worked with. That sounds amazing! Now, I can definitely see a bit of a CRi influence, more so in the older songs you did with Marsh, you know, kind of the Endless album, as opposed to the newer stuff that’s a bit more banging. Yeah, the newer ones are a bit darker and bigger. But yeah, the stuff I’ve got coming next year is, I’d say more so like CRi than ‘Fragments’ or ‘Sleep’. It’s just bouncy and, you know, melodically satisfying. To my ears, the chords are, satisfying. When you hear chords, you go, “Oh, that’s moody”. So, yeah, all to come. Well, now you’ve sparked the interest in me. So let us know just when you have tracks out! Now, where do you see yourself in five years’ time? Any dreams that you have for that? I really struggle to see a future me because of this career being so uncertain. And I think saying where you want to be in five years is much easier in a different field, in a different job. For example, if you’d have asked me two years ago what I’d be doing now, I would have said something entirely wrong, I’d be, Jodie Knight performing on stages as a Pop artist. I wouldn’t have even known about this Dance alias. So I think I more of have personal goals of, say, in the next six months I want to like really master DJing and have gotten down a set that I can do and perform live. And then in a year I want to be, hopefully I want to get a festival slot somewhere. I guess building on that, two, three years, be doing some bigger festival slots, be working with some bigger people. There’s definitely a lot of producers who I really admire and really want to work with. For example, Ben Böhmer. He’s definitely one of them. And yeah, I don’t know. I think just be better, be better at production, be better at writing. I think you told us this a few minutes ago, but have you ever had a moment in which you sort of, abstracted yourself from whatever you were doing, for example, touring, and realised you were living a lifelong dream of yours? Yeah, absolutely. The other day, to be honest, in Montreal! I mean, the whole time I was aware that it was crazy what was happening. But that was more a moment of feeling emotional, because the tour was coming to an end. So that was amazing. On another note, although different because it wasn’t in Dance music, when I played at Murrayfield Stadium before the rugby, which was, you know, 65,000 people. That was a crazy experience to just be able to do that and be able to sing in that place, and say I’ve done that. I think for me, it’s always the opportunities that come last minute or come randomly that are the ones where I’m like, “Oh my God, this is actually happening to me”. It seems to be kind of your repeating pattern in life. Yeah! Hopefully it’ll just keep repeating and I’ll be doing bigger and better things. If you could go back in time, say 10 years or any amount of years you’d find interesting, and meet your past self, what would you tell that younger Jodie? Were you worrying about something that wasn’t really necessary? Was I worried? Interesting question. 10 years ago, I’d been 15. So, yeah, teenage years were a tricky time for me. I was very insecure. I mean, all teenagers are struggling, I think. So if I was to go back in time, I would say, “Don’t worry. We end up being someone we love and doing something we love”, which I think is really important. And, yeah, being happy, I think that’s the biggest thing. When I had that time a few months ago when I was feeling a bit lost, I think I really scared myself because I was waking up in the morning, not enjoying this. And that was the scary part because I’ve always loved it. So loving what you’re doing is the most important thing. So, yeah, I would say that to 15-year-old me, “Don’t worry. We’re happy”. And now, final question. If you could give our audience one piece of advice, what would it be? Oh I have a piece of advice for people who are musicians that I was given. It’s very simple. It’s not some crazy lifehack. I spoke to a girl, a vocalist called Hannah Boleyn. I went for coffee with her when I first moved out to London. She’s amazing. She’s doing great things. And she’d worked with some really cool people, and I asked her, “How do you work with them? I want to”. She was just like, “Message them. Just Instagram message them, you know?”. And it was such a simple piece of advice. And I went home after our coffee, and I messaged ten people I wanted to work with. And eight of them came back and accepted. Obviously be realistic. If you message, you know, Calvin Harris or Fred again.., obviously their DMs are full. Yeah, of course. I just reached out to a lot of people that I really admired who were definitely bigger and had pretty big audiences. But, don’t be afraid to just reach out to someone and ask them to work together. Literally the worst thing you can get is being ignored or a no, which most people won’t do because most people are nice. And then, advice to non-music people is, keep listening to music and supporting artists because it’s so important. Keep showing up to live shows and actually show your support because, as musicians, our whole career is based on what people think of us and what people do for us. So if you like an artist, show up for them. I understand, you know, when it’s winter and you don’t want to go out. I get it. But, whenever I have a show and my friends turn up, I’m like, “You have no idea how much this means and how great the support is”. That’s a really good piece of advice, appreciate that. Well, that’s a wrap for the interview. Thank you so much! Final Words Thank you so much Jodie for this piece! It’s always amazing to be able to sit down and dive into another artist’s mindset and point of view. It’s also super inspiring to understand how people like her have dreamt big, dared to risk, beat the fears, leapt across the canyon, and eventually made it. We can’t wait for the next milestones of her career! We’re counting down the days for the release of that solo EP. I have a feeling that, after diving into production and DJing, she’ll be frankly unstoppable. The post [INTERVIEW] ALLKNIGHT Talks Songwriting, Rick Astley, Touring, And More appeared first on EDMTunes.

Dezko’s musical journey only has just over a full calendar year of releasing music under his belt, having first arrived in the release ring back in July 2023 with his debut original. And at 20 years old, the self-taught, Colombian native has already emphatically carved out a seat for himself amongst an overcrowded field of electronic talent. Having already built up a 2024 calendar that’s included four original cuts, Dezko is back again to convert an ID that he had the pleasure of rinsing at Tomorrowland Brasil into his fifth release this year, “Kiss U.” With the exponential explosion of Afro-house over the past year, Dezko had continually managed to put his own individualized flair on one of dance music’s most in-demand genres. And “Kiss U” does just that, with Dezko delicately placing a sultry vocal over a melodically-tinged, five-minute ballad, proving once more why he’s caught the eye of Tomorrowland, CamelPhat, Claptone, Gryffin, and many more. Stream “Kiss U” below. Featured image: Victor Bese The post Dezko adds to unique Afro-house approach with fifth single of 2024, ‘Kiss U’ appeared first on Dancing Astronaut.

Steve Angello is back with "Hooligans," a ferocious festival track with a retrofuturistic edge. Out now via his own label, SIZE Records, the new single is a brass-knuckled love letter to techno's industrial roots. Producing acid-fueled sawtooth synths, he channels Human Resource's early '90s techno classic "Dominator," a touchstone of the early rave scene. The influential Swedish House Mafia artist's uncompromising production permeates through a minimalist arrangement with maximalist energy. From the track's chugging bassline to its punishing 4/4 kicks that cut through with surgical precision, each element serves a purpose. "Hooligans" is built around a raw, hip-hop-inspired vocal sample, which contorts and mutates into a claustrophobic build. But just when the tension reaches a fever pitch, Angello uncorks a cathartic drop that anchors the arrangement in his distinctive, timeless brand of electro. Listen to "Hooligans" below and find the new single on streaming platforms here. Follow Steve Angello:X: x.com/steveangello Instagram: instagram.com/steveangello TikTok: tiktok.com/@steveangello Facebook: facebook.com/steveangello Spotify: tinyurl.com/4nfc2ucf

Bursting with elation, Party Favor's latest dance anthem channels the genuine, untethered joy that only close friends and good times bring. In "Ur Love," he channels the breezy four-on-the-floor beats of his SIDEPIECE alias, but at a breakneck 140 BPM he's clearly not content with the sensual slink of that project's tech house music. Instead, he launches us into a heady, blissed-out chase through a rapturous rhythm that doesn't let you come up for air. Party Favor's production sparkles and surges in all the right places, creating something that feels both massive and deeply personal. Through euphoric dance production, he manages to bottle the feeling of your best friend grabbing your hand and pulling you into an impromptu dance party, or running red lights with a new flame. Every swelling synth and brass stab captures these moments of joy, like those perfect, too-rare seconds when you feel invincible and entirely surrounded by love. To that end, "Ur Love" is a reminder that whatever you do in life, it's not legendary unless your friends are there to see it. Listen to the new single below and find it on streaming platforms here. Follow Party Favor:Instagram: instagram.com/partyfavor X: x.com/partyfavor TikTok: tiktok.com/@partyfavor Facebook: facebook.com/partyfavormusic Spotify: spoti.fi/2BdxhVc

After gaining significant attention with her debut single ‘Pop the Low’, which reached the Top 3 in the UK Club Chart, Patricia Zavala unveils the official follow up titled ‘Thunder’. This single sees Patricia link up once again with Gianni Romano, Aüra, and Emanuel Esposito as they prove that the first hit was no mistake. ‘Thunder’ explores intense emotions of love and longing, with vivid imagery and powerful lyrics written by Patricia Zavala herself. Notable lines include “Now I crave you like the desert craves the rain” and “I need you cause you feel like thunder,” capturing that deep emotional resonance. As a production, the track perfectly combines deep and afro house vibes with those vocals from Patricia. With these elements, the rhythm and tone of the single is a catchy one, hypnotizing listeners right from the start. “I’m thrilled with the love that ‘Pop the Low’ received,” says Patricia Zavala, adding, “Working with Gianni has been a great experience, and ‘Thunder’ is a continuation of that energy.” Accompanying the release is an official music video directed by Marcel Rasquin and filmed in Los Angeles which takes inspiration from Exploitation genre movies and features surreal, abstract scenes. It culminates in a high-energy dance sequence and includes strange characters like a contortionist and a mysterious butcher.

It’s New Music Friday, and there’s another great tune out today: ‘Been There Before’. A collaboration between Joris Voorn and techno legends Pig&Dan along with the vocals of Livi. This track is the beginning of a new era. A first release from the newly formed label between Armada Music and Spectrum Records. Give it a listen today on your favourite platform and let us know what you think. ‘Been There Before’ Joris Voorn and Pig&Dan unite their distinctive techno styles in ‘Been There Before,’ creating an exhilarating sound that feels both innovative and deeply rooted in their artistry. Voorn’s signature is prominent through the lush, layered soundscape, enhanced by delicate melodic elements that elegantly weave through the track. His talent for crafting depth is showcased here, using warm synth pads and subtle harmonics to deliver a rich, immersive experience. Conversely, Pig&Dan inject a powerful, percussive edge into the collaboration. Their influence is evident in the solid, punchy basslines and deep grooves that generate an intense, driving rhythm. This darker, more aggressive approach perfectly complements Voorn’s melodic nuances, resulting in a captivating balance of tension. LIVI’s vocal performance brings everything together, adding an emotive layer that amplifies the track’s atmosphere. Her haunting voice elevates the narrative, providing a soulful depth that harmonizes beautifully with Voorn’s atmospheric sound and Pig&Dan’s dynamic production. Overall ‘Been There Before’ intricately weaves a captivating sonic tapestry, blending poignant moments of melancholy with uplifting emotional melodies. This track has emerged as a defining anthem throughout the 2024 festival season, consistently thrilling audiences and becoming a key highlight of the Joris’ shows. Hope you enjoy New Music Friday as much as we do here at EDMTunes. Stay tuned as always for all your latest updates in the dance music world! The post Joris Voorn x Pig&Dan Feat. LIVI Release Brand New Single ‘Been There Before’ appeared first on EDMTunes.

Pure party energy for the weekend, coming from quite the act. Fridays bring the music, we’re aware of that. Fridays also provide good music, and that’s the seam we’re at today. Irish-Italian DJ and producer Flashmob has conquered quite the summit today, as he just released his debut album Sundown, on his very own Flashmob Records imprint. Flashmob has used the past few years to reinvent his sound, drawing inspiration from the 90s. Rather than resting on his past successes like ‘Need In Me’ and ‘Closer’, he’s embraced the evolving landscape of Electronic music, opening his production to a new range of sounds and styles. This can be seen in today’s product. Sundown As a format, albums have always represented a very personal statement of artistic intent — even more so today, in an era of standalone singles and streaming edits. Painstakingly created over the course of four years, Flashmob’s artist album Sundown is the sum of his experiences and influences from over a decade in the industry — a distilled representation of creative vision, seasoned artistry, and an untarnished excitement for what is still to come. And even though the message imprinted is quite hopeful and positive, the album came from a place of uneasiness. Not a single person was unaffected by the times of Lockdown which struck around 2020 and 2021. People eventually learned their way around solitude and confinement and, perhaps, these trying times brought the most creativity to artists. Flashmob was one of them. Some looked forward to the future, when things would go back to normal, and wrote about that moment in which we could all gather again. Others, like Sandro, reflected upon the past, and where they were standing in life. He recalls, “Covid had obliged me to reset, stay home and think about who I am, what I do and mainly why I do it. Why did I decide to get into this in the first place? It wasn’t to be famous nor to make money… I was only looking for happiness“. Writer’s Picks It’s the first time this has happened to me, I believe, but my favourite two tracks are neighbours. ‘Night Swimming‘ really caught my attention. Sandro’s work with Laila Walker and Maritime Yacht Club feels almost introspective for some reason. It gives me a feeling of a cold-ish summer night, with friends, just having got out of the pool with the moon and the starts reigning above. The track immediately after that one, ‘Time Chance‘, also has my appreciation. It’s a simple, yet super fun composition, with a ton of groove and focusing a bunch on the middle and low frequencies, somewhat leaving the highs a bit aside. As a producer myself, I know my flaws, and one of them is that I always end up saturating the higher end of the spectrum with stuff. This song, on the contrary, masters the art of utilising just the necessary pieces. Flashmob — Sundown Tracklist So Far – Intro with Laila Walker Tonight with Laila Walker Welcome to My World Not Like You Night Swimming with Laila Walker and Maritime Yacht Club Time Chance Sundown Twin Flames with Laila Walker Right Now with Lazarusman Hands All over Me Feel the Night with Laila Walker What’s Next – Outro with Robin De la Rue The album is also an expression of not wanting to be part of the dog race anymore — not wanting to see music as a competition but as a medicine; it’s an expression of how you can do anything on your own if you want to. -Flashmob Final Words All in all, the album is an amazing compilation of party moments, and it’s even an interesting piece to analyse with change in mind. You can definitely hear the old-school influences (cue Acid notes, machine-programmed percussion, chord stabs), but you can hear them turned into something quite modern and which sees the future as an opportunity, not a worry. Listen to Flashmob‘s debut LP Sundown by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release over on Beatport. 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 Flashmob Releases Long-Awaited Debut Album, Sundown appeared first on EDMTunes.

Grammy-nominated, gold-certified DJ and producer Audien continues to tease his highly anticipated album with his latest collaboration that promises to be a fan favorite. Teaming up with renowned drum and bass artist Fred V, the duo has created a powerful progressive house DnB hybrid track tilted ‘Cold‘ featuring the haunting vocals of Swedish singer Oaks. ‘Cold’ showcases the unique blend of sounds that Audien has become known for, seamlessly merging the melodic elements of progressive house with drum and bass elements. The track’s driving bassline and infectious rhythm provide a solid foundation for Oaks’ emotive vocals, which convey a deep sense of longing and heartbreak. The song’s lyrics explore the universal theme of wanting to escape from pain and searching for peace. Oaks’ powerful delivery and the track’s anthemic chorus are sure to resonate with listeners who have experienced similar emotions. The post Audien Teams Up with Fred V. on Drum and Bass Track ‘Cold’ appeared first on EDMTunes.