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Photo Credit: Apple Apple’s new HomePad might launch by the end of this year. Though rumors suggest it may have fewer features than originally planned. Apple has been planning a smart home command center product for a long time, with a 7-inch display and support for Apple Intelligence. The product was originally meant to launch this spring, but continued issues—like the company’s failed AI push—have forced that timeline back. But now, Bloomberg’s Mark Gurman reports the so-called “HomePad” may finally launch by the end of the year. Since the product relies heavily on (AI-powered) Siri and App Intents, both of which were supposed to come out with iOS 18.4, a spring launch wasn’t attainable. Many technical challenges have forced iOS 18.4 to launch with significantly fewer features than Apple initially envisioned. Some of these features have since been expected to release by year’s end, or by the first half of 2026. Originally, that just meant Apple had pushed back the product’s timeline. But now it sounds as if, thanks to the company’s OpenAI deal, Apple has been facing mounting pressure to find the “next big thing.” In order to do that, the company needs to push its more robust AI-laden devices out quickly. The pressure is on after OpenAI acquired former Apple designer Jony Ive’s start-up focused on building AI-first devices. Unfortunately, in order to push the smart home hub out faster, the device will be lacking some of its “bolder features.” Some of these may reappear in subsequent models, according to Gurman. Previously, Gurman said the device would be “Apple’s most significant release” of 2025—and it’s difficult to tell if that will still be the case. According to rumors, Apple’s HomePad is expected to be similar to a HomePod with a screen, with features including a 7-inch display, an A18 chip, and Apple Intelligence support. Those who have seen the device, including Gurman, say it can be attached to a tabletop base with a speaker, or mounted on a wall. Apple is also facing tariff pressure, as President Trump has threatened to impose a 25% tariff on iPhones if the company manufactures them in India, rather than the US. Meanwhile, Apple supply chain analyst Ming-Chi Kuo said back in March that the device would enter mass production at some point after WWDC 2025, which kicks off June 9. It’s unknown if tariffs might impact that timeline. However, the timing makes sense, as Gurman also reports that Apple’s new UI overhaul, codenamed “Solarium,” will be unveiled at WWDC. The UI overhaul will also be applied to all of Apple’s operating systems—not just iOS or macOS. That includes tvOS and watchOS “to ensure consistency.” Notably, while Apple is working to catch up its AI components to those of the rest of the sector, the company’s approach to change—and its WWDC presentation—will focus primarily on design and appearance, rather than AI. That’s a drastic difference from its competitors, like Google and Samsung, who are all-in on the latest AI trends and aim to make that a selling point in presentations and advertising. View the full article

Producer Deezle (Darius Harrison), who’s filed a missing-royalties lawsuit against Universal Music, posing with his Grammys from Lil Wayne’s Tha Carter III. Photo Credit: Claudio Ch Zayas Lil Wayne producer Deezle (real name Darius Harrison) is suing Universal Music for allegedly failing to pay him millions in due royalties from Tha Carter III (2008) and more. Deezle and his Drum Major Music Entertainment company just recently submitted the multifaceted lawsuit to a New York federal court. This time around, Universal Music Group (UMG) is the only defendant. 14 years back, however, Deezle levied a similar action against Lil Wayne himself; the involved parties settled in 2012. Despite the resolution – more on this in a moment – the producer is evidently unready to put his royalty qualms in the rearview. As recapped in the newly filed lawsuit, after scoring a 2004 Cash Money Records producer deal and producing “Weezy Baby” on Tha Carter II (2005), Deezle went on to ink a producer agreement with Lil Wayne-founded Young Money Entertainment in late 2007. Under the newer contract, the producer then contributed to six Tha Carter III tracks, among them “Lollipop.” Per the plaintiffs, Young Money agreed to provide “no less than semi-annual accounting statements reflecting all royalties accrued” as part of the tie-up. Plus, Young Money’s distributor, Cash Money, was said to be compelled to account to the filing parties “directly and at the same time it” accounted to Young Money. In terms of where Universal Music fits into the picture, stated concisely, the major has long handled Cash Money’s distribution. And Lil Wayne reportedly sold the Young Money catalog to UMG for $100 million in 2020. Consequently, Young Money (as well as Cash Money and, in turn, UMG) is allegedly compelled to forward to Deezle and his company the appropriate “4 percent royalty rate” on the above-outlined Tha Carter III efforts. Unsurprisingly, in light of the just-levied complaint, these payments have purportedly failed to come through. “In a shocking, willful and intentional breach of the YME Producer Agreement,” the plaintiffs summed up, “YME failed to [account to] Harrison pursuant to the YME Producer Agreement and UMG has breached the agreement by failing to report and pay royalites [sic] for over a decade.” Additionally, regarding the aforesaid 2004 Cash Money producer pact, Deezle has pointed to allegedly unpaid royalties for his six credits on Birdman’s Fast Money (2005), besides the “Shorty Bounce” track Lil Wayne recorded for The Longest Yard. Back to the previously highlighted settlement, Universal Music is said to have started “sending royalty statements to” Deezle after the prior suit’s 2012 resolution. But the major allegedly “ceased sending” those statements “[a]lmost immediately” thereafter. “UMG administers the payments to producers, artists and songwriters relating to the masters at issue and has failed to pay Plaintiffs,” the filing parties summed up. “Plaintiffs have not been paid any producer royalites [sic] associated with the YME Producer Agreement or CMR Producer Agreement for over a decade.” While this suit’s timing is likely to take center stage as the legal battle plays out, Deezle is seeking at least $6 million in damages for the allegedly missing royalties. And in the bigger picture, the producer has joined the likes of Iggy Azalea and Limp Bizkit in formally accusing the major of failing to pay royalties. View the full article

By now, Red Rocks' reputation precedes it: a stunning amphitheater carved between two massive sandstone outcrops with legendary acoustics. Experiencing a show at the iconic venue feels fundamentally different from any other in major music markets—so much so that even seasoned ravers find it almost surreal. I’m convinced that my first Red Rocks show would’ve been special no matter who was performing, but I was especially thrilled it came via one of bass music’s most "out of this world" acts: ATLiens. Gabriel Bandril Raucous supporting sets from OG Nixin b2b Benda, HOL! and more set the tone, each delivering a progressively more intense mix of dubstep, riddim and experimental bass with escalating production that mirrored the sun’s descent behind the rocks. ATLiens, donning their ominous chrome masks and glowing red eyes, emerged by nightfall to the sound of a dystopian emergency broadcast, warning attendees they were "now preparing to leave the world behind." From there, the duo unleashed a bass-fueled barrage that was equal parts disorienting and electrifying. Enthralling sci-fi visuals filled the LED screen, enhanced by lasers, strobe bursts, columns of fire and crackling sparks, all transforming the venue into an intergalactic spectacle. Brief rain showers only heightened the magic. The Red Rocks Amphitheatre on Saturday, May 17th, 2025.Trey Karson ATLiens made sure to play out IDs and selections from their bass music contemporaries, ensuring a set full of surprises and genre variation, from trap and riddim to midtempo bass. They dropped fan-favorites like “Shelter," “Finding Silence" and their blistering official remix of Creed’s “One Last Breath.” They also sprinkled in flips of crowd-pleasers like Ray Volpe’s “Song Request" and Waka Flocka Flame’s “No Hands” along with originals from Jessica Audiffred, Samplifire, Space Laces, Subtronics and REZZ. Equally impressive was what they didn’t do: say a word. ATLiens are among the rare few performers who let their music and visuals speak entirely for themselves. They arrive, wreak absolute havoc, and vanish. No banter, no branding fluff—just pure, unadulterated energy. ATLiens at the Red Rocks Amphitheatre on Saturday, May 17th, 2025.Trey Karson Roaming around the amphitheater during the show revealed another truth: there’s no bad seat at Red Rocks. Up front, the production is entirely engrossing. Further back, the elevated view reveals sweeping vistas of Colorado, including the Denver skyline glowing in the distance. Generous spacing between attendees made dancing easy and comfortable—something increasingly rare at big-name venues. I can’t imagine a better introduction to Red Rocks than witnessing ATLiens tear through its sacred stage. If you're bass music fan looking for a venue that blends otherworldly production with geological majesty, this is it. Should you ever get the chance to see a headliner of their caliber at such a legendary site, don’t hesitate. The Red Rocks Amphitheatre on Saturday, May 17th, 2025.Trey Karson Follow ATLiens:Instagram: instagram.com/atliensofficial X: x.com/atliensofficial TikTok: tiktok.com/@atliensofficial Facebook: facebook.com/atliensofficial Spotify: spoti.fi/3MM6nEj

An Eras Tour performance from Taylor Swift, whose original catalog might be changing hands once again. Photo Credit: Paolo V Shamrock Capital is actively looking to offload Taylor Swift’s original masters – at least according to one new report, which is attaching an astonishing price tag to the possible deal. Page Six’s Jeanette Settembre provided an overview of the rumored catalog divestment, though at the time of this writing, Shamrock didn’t seem to have commented publicly on the matter. Nor had the billionaire Swift, to whom the investment firm is reportedly being encouraged to sell the IP, weighed in. However, judging by the mentioned piece’s framing and pricing details, it isn’t too difficult to guess which parties are forwarding related information to the media. As laid out by the report, none other than Scooter Braun is encouraging Shamrock (in which RidgeLake and Bonaccord took a stake in 2022) to sell the masters to Swift. That refers to the recordings behind Swift’s first six albums, which, as described by the report, would carry a “price tag…in the ballpark of $600 million to $1 billion.” Even the low end here, many will recognize at once, is substantially more than the $300 million or so that Shamrock reportedly paid Braun and Carlyle Group for the recordings back in November 2020. Runaway inflation and sustained career success or not, it’s unclear whether the massive return is a realistic objective or a means of setting the negotiating tone, particularly given Swift’s “Taylor’s Version” re-recordings of the same works. Not only are those re-recordings doing huge numbers on streaming, but thanks to Swift’s reach and professional connections, they’re the renditions making their way into programs like The Handmaid’s Tale, trailers, high-profile ad campaigns, and more. (Per reports, Universal Music didn’t hesitate to modify its artist agreements to avoid re-recording fiascos down the line.) On the ownership front, the competing catalogs tie back to a collection of complications that don’t exactly scream “billion-dollar deal” – especially since Swift herself is presumably far from eager to cough up the high-end sum for the recordings. (Shifting the focus to the opposite side of the potential transaction once more, the commercial possibilities associated with authorizing AI training on the original masters is worth considering as well.) Price-tag questions aside, it seems plausible that Shamrock, mainly for the above-outlined reasons but also in light of its increasingly varied song-rights holdings, may be receptive to selling. And as Swift certainly isn’t hard up for cash, it’ll be interesting to see whether she’s open to a deal and, assuming so, whether the parties can hammer out mutually satisfactory terms. View the full article

Bandcamp has unveiled an exciting new feature in its beta version called “Bandcamp Playlists”. This innovative addition empowers users to create personalized playlists using the music they have purchased from the platform. With Bandcamp Playlists, users can express their creativity by adding custom images, engaging titles, and thoughtful descriptions to their playlists. These curated collections can allow subscribers to easily access or share these playlists with others through public links. In an email to subscribers, Bandcamp described the feature as “like a mixtape—but digital, personal, and powered by real support for artists,” emphasizing its unique and intimate nature. This update positions Bandcamp alongside popular streaming giants like Spotify, Apple Music, and SoundCloud, yet it retains a distinctively personal touch. Unlike standard streaming platforms, Bandcamp allows users to stream tracks they haven’t previously purchased only once; after that, they must buy the track to listen again. The most prominent things about the “Bandcamp Playlists” feature Fans can only add tracks they own to their playlists, making each Bandcamp Playlist a true reflection of their support for artists rather than mere passive listening. To enjoy Bandcamp Playlists, visitors must first log into a fan account, which allows the fostering of a deeper connection between discovering new music and directly supporting the artists behind it. Furthermore, listeners can sample tracks they do not yet own. However, after they reach an artist-defined limit of three plays (by default), they are directed to the album page to make a purchase. When you share a Bandcamp Playlist, you are not simply passing along a link; you are offering a carefully curated collection of music that you have thoughtfully chosen to support, enhancing the experience of music discovery within a community of like-minded fans. The post Bandcamp Unveils Innovative Playlisting Feature appeared first on EDMTunes.

This year, EDC opened up its presale for its 2026 event shortly after this year’s event ended. The Future Owl presale launched on May 24th with GA, GA+, and VIP passes for sale. Apparently, they didn’t allocate a specific amount of passes just for presale and the rest for their regular sale, because they have announced that all passes are completely gone. So there will no longer be a regular sale. This has been a milestone for Insomniac, leading up to their 30th anniversary at the Las Vegas Motor Speedway from May 15-17, 2026. EDC first announced on socials that all GA and VIP tickets have sold out, with only a small amount of GA+ left. And due to the enormous response in ticket sales, there will no longer be a regular ticket sale anymore. Making it clear these last GA+ tickets were all that was going to be available. You can be sure that EDC 2026 will be more packed than any of the 29 years before. We are all still waiting for lineup information, details of possible new stage appearances, and the other possible 30th anniversary announcements. You can expect those to come in the months ahead. The post EDC Las Vegas 2026 Sold Out In Record Time appeared first on EDMTunes.

Photo Credit: Google Android Auto is getting a slew of new features, including a Spotify experience with a brand new app that includes support for its “Jam” feature. Google has announced a series of car-related updates for Google I/O, including an overhaul to the Spotify experience for Android Auto. The updated app will rely on Google’s “Car App Library” for Android Auto and Android Automotive OS, with additional flexibility in how apps can be developed for this platforms. For Spotify, this brings major changes in the form of support for Spotify Jam on Android Auto. Spotify Jam allows other Spotify users to connect to someone’s ongoing playlist without pairing to another device. Users scan a code, which enables them to contribute songs to what’s already playing through a friend’s device. This will soon be possible through Android Auto with the use of a “Jam” button, which will appear in the corner of the Now Playing interface. The button brings up a QR code for others to scan, and the display can show who is in the current Jam session, as well as allow them to be removed. According to Google, Spotify’s new app is coming to Android Auto “in the coming months.” Additionally, updates to YouTube Music and Amazon Music are on the way, thanks to the new flexibility in media apps on the platform. Google is also adding support for Quick Share to cars with Google built in, enabling users to do things such as adding stops to a Google Maps route. Additionally, the platform is implementing a light mode (which has been in the works for years), as well as web browsers and more robust support for video apps. Notably, Google says video apps and gaming features will only be available when the car is in park; video apps will utilize audio-only features while the car is in motion. View the full article

Photo Credit: Foreign, Commonwealth & Development Office / CC by 2.0 Former Meta executive Nick Clegg says that a law requiring tech companies to ask permission to train AI on copyrighted work would ‘kill’ the industry. Sir Nick Clegg, former deputy prime minister and Meta executive, believes making tech companies ask artists’ permission before using their copyrighted material to train AI will “basically kill the AI industry.” The reason? Because AI systems are already training on the vast amounts of data scraped online, without permission. “It’s out there already,” says Clegg. Those who work in the UK’s creative sector, such as Sir Elton John and Sir Paul McCartney, have urged the government not to “give our work away” to big tech. But Clegg has doubled down on his assertion that artists’ demands that companies ask permission before using their work are “implausible.” “You can already create art of a sort [using AI], whether it’s a poem, a ditty, an essay, a short story, a picture. You can already do that,” said Clegg. When asked whether artists should be able to withhold their content from tech companies and their AI models, Clegg admitted he understood the artists’ motivation. “On the one hand, yeah, I think it seems to be as a matter of natural justice, to say to people that they should be able to opt out of having their creativity, their products, what they’ve worked on indefinitely modeled. That seems to me to be not unreasonable to opt out.” But that doesn’t mean it’s reasonable in practice, he says. “I just don’t know how you go around asking everyone first. I just don’t see how that would work. And by the way, if you did it in Britain and no one else did it, you would basically kill the AI industry in this country overnight.” “So, I think people should have clear, easy to use ways of saying, ‘no, I don’t [give permission]. I want out of this,’” he explained. “But I think expecting the industry, technologically or otherwise, to preemptively ask before they even start training—I just don’t see. I’m afraid that just collides with the physics of the technology itself.” Clegg was speaking at the Charleston Festival in East Sussex at an event to promote his book, How to Save the Internet, which is due out in September. He stepped down from his position at Meta as president of global affairs earlier this year, just weeks before Trump’s second term in the White House began. On Thursday, Parliament heard from both sectors (creative and tech) about whether copyright holders should be able to see when their work had been used to train AI, and by whom. MPs voted 195 to 124, majority 71, against the proposed transparency amendment to the Data (Use and Access) Bill. View the full article

Everyone has that one song that feels like it saved them or lifts their mood in a way nothing else can. Music doesn’t just entertain us, it grounds us, lifts us, calms us, and often even helps us heal. From the beat that mirrors our heartbeat to the melody that moves us to tears without a single word, sound touches something deeper than logic ever could. Now, Apple Music and Universal Music Group (UMG) are joining forces to explore just how far that reach can go. With the launch of their new Sound Therapy collection, the collaboration is leveraging cognitive science and UMG’s global roster of artists, to help listeners focus, relax, and sleep more effectively. By blending neuroscience with sound design, Sound Therapy reimagines songs that subscribers already know and love, layering them with specialized soundwaves designed to enhance daily routines. A collection was developed by a team of producers, scientists, and audio engineers at Sollos – UMG’s music-wellness venture founded in their London headquarters. The series is divided into three categories – Focus, Relax, and Sleep; each tailored to a specific mental and physical state. In the Focus category, tracks are enhanced with gamma auditory beats and white noise, aimed at improving cognitive performance and sustaining concentration. Relax features theta wave infusions, which are associated with meditative calm and deep relaxation. For Sleep, delta waves and pink noise are introduced, creating a gentler, more natural sound environment to support deep rest. Each sound layer is carefully incorporated to support the body’s natural rhythms and emotional balance, all while maintaining the integrity of the original track. The result is a experience where wellness and artistry meet, and it’s available exclusively on Apple Music. While Sound Therapy introduces a new chapter for streaming, it also echoes something far more timeless. The idea that sound has always had the power to heal – and there’s science to support it. According to Harvard Medical School for example, music activates brain regions tied to emotion, memory, and movement (source), while music-based therapy has been shown to enhance cognitive function, regulate mood, and even aid physical rehabilitation, according to NCCIH (source). Sound has always shaped how we move through the world, and the launch of Sound Therapy serves as a reminder of how deeply music is connected to our wellbeing. Not because it tries to fix us, but because it meets us exactly where we are. Whether it’s by calming the mind, sharpening focus, or easing us into sleep, music proves time and time again that it’s not just background noise, but one of the most powerful tools we have. And in a world that feels like its constantly speeding up, while so many of us are searching for moments of stillness, maybe something like Sound Therapy is exactly what we all need.

Sunday May 18th 2025 was the opening weekend at the largest outdoor beachclub in North America and #1 club in Canada. David Guetta ignited the crowd by opening with ‘I’m Good’ and in that very moment the crowd knew no matter how cold and rainy the day is they were going to have a good time. David Guetta made his return to Quebec for a second year in a row and turned a gloomy 9°C Sunday into an unforgettable kickoff to the season. Despite borderline hypothermic temperatures causing some in the crowd to have blue lips from braving the cold, many still proudly carried the famous Beachclub pitcher which is filled to the brim with their iconic BeachDay Everyday drinks (even if it meant shivering between sips). If ravers were not drinking, dancing, purchasing a poncho or eating the delicious Quebec speciality meal the beloved poutine they could have been enjoying a side quest at the Red bull activation. This activation set had attendees speedely trying to change one tire of an F1 car. This was a fun change in activation compared to previous years of the red bull “bull riding” In Guetta’s own words, “C’est surtout la vibe qui était folle quoi. C’est les gens à chaque endroit, c’est les gens qui font la magie. Je m’étais éclaté donc je reviens.” Translation? “The vibe was crazy. It’s the people in every place—they create the magic. I had a blast, so I’m coming back.” With a strong start like this, it’s hard not to wonder: if Beachclub returns for another season since the 2024 season was set to be the last. If there is a 2026 season will Guetta grace their legendary stage once again? Follow along for more reviews of upcoming Beachclub shows—rain or shine, we’ll be there.

A nighttime shot of Seoul, South Korea. Photo Credit: Yohan Cho YouTube looks to have resolved a bundling-focused investigation in South Korea, where the platform reportedly intends to launch its Premium Lite subscription. Local outlets shed light on the resolution, which will seemingly end a years-long Korea Fair Trade Commission (KFTC) probe. As we reported last month, the investigation centered on YouTube Premium’s music streaming market impact. At present, Premium (offering ad-free access to YouTube proper and Music) is available for $10.87/₩14,900⁠ per month in South Korea, where close to 90% of the population actively uses YouTube. That’s compared to $8.75/₩11,990⁠ per month for Music, and unsurprisingly, many have opted to pay the extra $2 monthly for across-the-board viewing without ads. But according to critics and the KFTC, this model means YouTube’s leveraging its video-sharing dominance at the expense of on-demand streaming platforms. With little incentive for Premium subscribers to utilize different music services, the likes of Melon and more have reportedly suffered material market-share slips in recent years. And it’s safe to say that the competitive landscape is also compelling international players to adapt. Having previously offered only paid plans in South Korea, Spotify embraced an ad-supported tier in October 2024. Now, however, the YouTube Music rivals may catch something of a break with the rollout of Premium Lite. Per BusinessKorea, the KFTC has signed off on a YouTube proposal under which Lite would go live in the nation of 52 million. Technically resurrected last year, Lite costs less than Premium but excludes Music and doesn’t afford ad-free access to music videos on YouTube itself, to name a couple differences. According to the same outlet, Lite will operate alongside Premium; at least in theory, YouTube diehards might migrate from Premium to Lite and then turn elsewhere for music streaming if so inclined. On the other hand, some have acknowledged the distinct possibility that the cheaper plan will help YouTube entrench its already-advantageous position in South Korea. And as described by The Chosun Daily, certain domestic streaming players are criticizing the resolution as ineffective when it comes to reversing the above-outlined market-share trends. In any event, this resolution will further see YouTube put up $21.89 million (₩30 billion) for a fund benefiting “consumer welfare” as well as the South Korean music industry. Separately, the aforementioned Spotify is among the platforms still grappling with KFTC investigations of their own. View the full article

Come for the lanterns, and stay for the lineup. RISE Festival, the Mojave Desert’s soul-stirring gathering of light and music, returns October 3-5 with a 10-year anniversary lineup bringing together world-class music, immersive art and an iconic sky lantern ceremony under the sky. RISE positions itself as a “collective art project” where thousands release lanterns into the night sky, each inscribed with dreams, grief or gratitude. It’s an analog moment in a digital world, with a lineup that matches the magnitude of the world's largest sky lantern festival. Headlining the three-day fest on Friday and Saturday are dance music superstars RÜFÜS DU SOL and Calvin Harris, respectfively. Sunday will then see guitar icon John Mayer helming the stage, underscoring RISE’s curatorial prowess of both electronic and alternative sounds. But it’s not just the headliners that burn bright. The weekend journey into melodic depths continues with RISE's impressive undercard as Ben Böhmer, LP Giobbi, Oliver Heldens, Coco & Breezy and more round out the festivities. This year, RISE is deepening its ritual with the debut of "The Path," a meditative entry experience designed to ground guests before the first beat lands or lantern lifts. Featuring large-scale installations from internationally acclaimed artists like HYBYCOZO, Whitaker Studio and This is Loop, the experience is described by organizers as "a spacious exploration of art and meditation on the strikingly beautiful Jean Dry Lake Bed." Tickets to RISE Festival's 10th anniversary are on sale now. You can check out the full lineup below. View the original article to see embedded media. Follow RISE Festival:Instagram: instagram.com/risefestival TikTok: tiktok.com/@risefestival Facebook: facebook.com/riselanternfestival YouTube: youtube.com/user/therisefestival

Let’s rewind to as Vegas Motor Speedway last weekend. The Electric Daisy Carnival, famously known as EDC, had once again opened its gates. The air was alive with anticipation, filled with the energetic chatter of over half a million people. Yes, you read it right! EDC Las Vegas 2025, held from May 16-18, saw a staggering total attendance of over 525,000. It was not just a festival; it was a celebration of music, technology, and community. The beating heart of EDC is its community, a diverse, vibrant crowd that converges from all corners of the globe to celebrate music and life. Pasquale Rotella, the visionary behind EDC, beautifully encapsulated the essence of this gathering. “As we look forward to 30 years of EDC in 2026, I’m reminded of the strength of this community,” Rotella said. “Let’s cherish the moments we shared this year and carry that spirit into our daily lives. You are the essence of EDC, and I appreciate each of you.” From the euphoric crowd to the pulsating music, from the mesmerizing stage designs to the cutting-edge technology, EDC Las Vegas 2025 was a testament to the power of music and community. It was proof that when people come together in a shared passion – magic happens. The New Kinetic Field Design and New Stage At the heart of EDC’s grandeur is its iconic main stage, the Kinetic Field, which received a dramatic makeover in 2025. Known for its innovative and immersive design, the Kinetic Field outdid itself this year, presenting a futuristic spectacle that encapsulated the theme of the festival. Packed with cutting-edge technology and striking visuals, the new design was a sight to behold, enhancing the electrifying performances and creating an immersive sensory experience for the attendees. But the Kinetic Field wasn’t the only stage that stole the spotlight. The festival grounds sprawled across 15 areas and stages, each with its unique charm and musical focus. The lineup was as diverse as it was impressive, with more than 250 artists delivering heart-pounding performances that spanned various electronic music genres. One stage that stood out in particular was the newly introduced Ubuntu stage, dedicated to Afro house. Named after the African philosophy meaning ‘I am because we are,’ the Ubuntu stage was a vibrant celebration of community and unity, perfectly aligning with EDC’s ethos and adding a fresh musical dimension to the festival. Top Five performances EDC Las Vegas 2025 boasted a lineup featuring more than 250 artists playing across 15 areas and stages. The air was thick with the electrifying beats of electronic dance music, reverberating across the vast expanses of the Las Vegas Motor Speedway. From well-established names to emerging talents, the festival offered a diverse musical landscape that catered to the eclectic tastes of its audience. 1. Mau P 2. Alesso 3. DANNY AVILA 4. Deorro & Friends 5. FISHER Weathering the Storm EDC Las Vegas 2025 had its share of challenges. On Saturday, as the desert night was lit up with euphoric performances and dazzling lights, a storm swept through the greater Las Vegas area. High winds forced the temporary shutdown of two stages, adding an unexpected twist to the festival experience. But the EDC community proved once again why it’s more than just a festival – it’s a resilient family. Even as the winds howled, the attendees stayed positive, demonstrating their unwavering love for music and the festival. And as the storm passed, the shut-down stages reopened, and the event continued with even more fervor, turning a weather challenge into a memorable festival moment. EDC Las Vegas 2025 was not just a record-breaking event; it was a powerful reminder of the strength and spirit of the global electronic dance music community. As we look forward to the 30th anniversary of EDC in 2026, let’s cherish the memories we created at EDC Las Vegas 2025 and carry the magic of those moments into our daily lives. EDC Weedings, A Festival must At EDC Las Vegas, love is always in the air—and if you’re looking to tie the knot or renew your vows, you can do it right on the festival grounds! The festival offers free, non-legal wedding ceremonies at the EDC Wedding Chapel for couples who want a fun and unforgettable way to celebrate their bond. These quick, lighthearted vow renewals typically have a short wait If you want your ceremony to be legally binding, you’ll need to purchase a wedding package in advance. Otherwise, just show up early, embrace the spirit, and get ready for a magical moment under the electric sky. . End Ove Dose at EDC 2025 At EDC, attendees had the opportunity to receive free Narcan samples and life-saving education thanks to End Overdose, a 501(c)(3) nonprofit committed to preventing drug-related deaths through education, medical access, and public awareness. Since 2022, End Overdose has partnered with Insomniac to offer naloxone training and distribute resources at all their festivals and U.S. venues. We had the chance to sit down with Mike Giegerich from the End Overdose team, who walked us through how to properly use the nasal spray—equipping us with the knowledge to potentially save lives not only at EDC but at any festival or event. 🚨 Step-by-Step: How to Use Naloxone (Narcan) During an Opioid Overdose Check for Signs of Overdose Look for these three critical signs: Unconsciousness or unresponsiveness Slow or no breathing Pinpoint pupils (very small) 🔴 If all signs are present, call 911 immediately. Prepare the Naloxone Take the naloxone nasal spray out of its packaging. Hold the device with your thumb on the bottom of the plunger and two fingers on either side of the nozzle. Administer the Dose Gently tilt the person’s head back. Insert the nozzle into one nostril until your fingers touch their nose. Firmly press the plunger to release the medication. Start Rescue Breathing After giving the spray, begin rescue breaths: Tilt their head back and lift their chin. Pinch their nose, cover their mouth with yours, and give 1 breath every 5 seconds. Reassess After 2–3 Minutes If the person is still unresponsive, give a second dose of naloxone. Use the other nostril for the second spray. Continue Rescue Breathing Keep giving rescue breaths until paramedics arrive or the person wakes up. ❤️ Remember: Naloxone won’t harm someone who isn’t overdosing, so it’s always better to use it if you’re unsure. Stay with the person and give emotional support once they wake up — they may be confused or scared. Always follow up with emergency medical help. This training, offered by End Overdose and demonstrated by Mike Giegerich at EDC 2025, empowers festival-goers with life-saving knowledge. Let’s continue to look out for each other. 💙 EDC Las Vegas has once again proven why it reigns supreme on the global stage. With over 525,000 attendees, it has officially become the most attended music festival in the world—a glowing testament to its unmatched energy, production, and community spirit. From sunrise sets to surprise B2Bs and heart-pounding drops under the Electric Sky, EDC 2025 was nothing short of legendary. 🎡✨ Insomniac Event And Pasquale Rotella did it again! Don’t miss your chance to be part of history—the 30th anniversary of EDC is coming in 2026. Grab your tickets HERE and we’ll see you next year in Las Vegas for the celebration of a lifetime! 🌈🎶💥 The post EDC Las Vegas 2025: A Festival for the Record Books appeared first on EDMTunes.

If you’ve ever wanted to dance beneath the stars while being silently judged by an ancient pecan tree, Wicked Oaks has you spiritually covered. Debuting October 25–26 at Austin's historic Carson Creek Ranch, the festival is the genre-defying lovechild of three beloved Texas-born fests—Freaky Deaky, ILLfest and Summoning of the Eclipse—now fused into one mystic mega-event conjured by Disco Presents. In an era of copy-paste festivals, Wicked Oaks dares to get weird. Set on 58 acres of riverside land where history and hallucinations collide, the festival has the feel of a choose-your-own-adventure novel written in lasers, bass and eldritch vibes. According to a press release, Wicked Oaks is inspired by forest folklore and surrealist storytelling, a festival "where mystical creatures and shadowy figures roam among whimsical light displays, fire performances and large-scale interactive installations." Think Midsommar meets Electric Forest, but without the existential dread or culty undertones. "This is a concept we’ve been building for a while," said James "Disco Donnie" Estopinal, Founder of Disco Presents. "We’re excited to bring the best of Freaky Deaky, Summoning and ILLfest to Austin, Texas. Carson Creek Ranch is a beautiful place and Wicked Oaks will bring these communities together in a special way." The lineup is staggering. Each individual festival brand will present its own stage and audiovisual production. The Freaky Deaky stage will feature superstars the likes of Martin Garrix, Eric Prydz, Kaskade and Gryffin, among others; over on the Summoning stage, dubstep luminary SVDDEN DEATH has curated a ferocious roster featuring his VOYD alias, Eptic, Flux Pavilion, NGHTMRE b2b Kompany and more; and the ILLfest stage boasts a more groove-forward lineup with Autograf, Surf Mesa, Tony Romera, Wenzday and more. EDM.com has teamed up with Disco Presents for a special VIP giveaway ahead of the inaugural Wicked Oaks. Read on to discover how to enter. General tickets and camping passes go on sale Tuesday, May 27th at 10am CT via the Wicked Oaks website. Disco Presents EDM.com & Wicked Oaks Festival Giveaway2x VIP Passes + GlampingHow to enterFollow @wickedoaksfest, @discopresentshq and @edm on InstagramIn the comment section of the Instagram post below, tag who you'd bring to Wicked OaksFor a bonus entry, share the post to your Instagram Story and tag @wickedoaksfest Follow Wicked Oaks:X: x.com/wickedoaksfest Instagram: instagram.com/wickedoaksfest TikTok: tiktok.com/@wickedoaksfest Facebook: facebook.com/wickedoaksfest

Loco Dice is a standout artist known for pushing musical boundaries. His fourth album, Purple Jam, released via the innovative label Astralwerks, combines various styles and features his signature chunky rhythms. The 12-track album showcases Loco Dice’s years in club culture and includes collaborations with several artists, creating a unique project that doesn’t follow mainstream trends. Loco Dice gets the jams going vibrantly in Purple Jam album It starts with a moody intro that sets a captivating tone. This energy continues in ‘Heavy Heart’, featuring Skrillex and Nigerian artist Fireboy DML, blending techno beats with emotional vocals. ‘Purple Kawasaki’ brings a lively, bouncy beat, and Italian rapper Guè adds flair to ‘G Class’. For anyone who expresses any interest in checking out this track, feel free to watch the music video for it. ‘One Round Baby’ immerses listeners in exciting sounds while ‘High Roller’, created with Marco Carola, represents modern house music’s essence. In ‘Just Do It’, Moxie Knox delivers soulful vocals, transforming the track into an energetic dance hit. ‘Blowin’ Up’ features tight beats, while ‘Juice’, with The Martinez Brothers and Trinidad James, mixes house and hip-hop styles for a fun track. The overall bass in the album continues to enhance the energy Loco Dice also explores his hip-hop roots in ‘Ice Cold Dealer’ with Haftbefehl. ‘Megalodon’ dives into deeper sounds with strong bass. A significant moment arrives with the collaboration on ‘Road Runner’ with Carl Cox, marking a reunion after two decades. This track combines powerful beats with a driving bassline. The album closes with ‘Designer Kidz’, a futuristic collaboration with 1 Up Crew. Overall, the Purple Jam album from Loco Dice reflects the electrifying, beautiful musical journey of Loco Dice as he crossed genres and cultures while blending history with innovation. The post Loco Dice Brings Out Hypnotic Beats in New ‘Purple Jam’ Album appeared first on EDMTunes.

Brazilian sensation Vintage Culture and rising New York talent Layla Benitez join melodic forces on the new single ‘Nirvana’, dialing in a brooding vocal hit that expertly walks the line between the club, playlist, and radio waves. Primed for a May 23 release on Loco Dice’s Knee Deep in Sound imprint, ‘Nirvana’ aptly sets the tone for the festival season ahead. Building a bridge between melodic techno aesthetics and afro house rhythms, ‘Nirvana’ uplifts and soothes. Percolating synths and sweeping bass swells set the tone, but the single is largely carried on the back of its dramatic build—culminating in a payoff that feels both elegant and mature. A tender vocal performance by singer Max Milner dials in the song’s emotive nature, tying the knot on a future favorite that’s as polished as it is memorable. Having already found praise from BBC Radio 1 mainstays Pete Tong and Danny Howard, ‘Nirvana’ makes a strong bid for one of the summer’s first hits. Commenting on the creation of the single, Layla Benitez shares: “I played an early version of the track at Pacha last summer while Lukas [Vintage Culture] was in the booth. He immediately connected with it and had ideas. From there, the creative process truly became an organic back-and-forth.” The release signifies the latest stride in Vintage Culture’s incandescent year, coming after ‘She The Last One’, a compelling collaboration with ARTBAT, and his recent reinterpretation of Empire of the Sun’s ‘Cherry Blossom’. His May tour itinerary reflects this propulsion, featuring notable performances in Phoenix, Miami, Atlantic City, and Detroit before the summer ignites globally with engagements in Ibiza, Brazil, and Belgium. Guaranteed to give a rush of serenity amidst waves of dancefloor drama, ‘Nirvana’ by Vintage Culture & Layla Benitez is out now on your favorite streaming platforms. The post Vintage Culture & Layla Benitez Collab On ‘Nirvana’ appeared first on EDMTunes.

Chinese-Australian tastemaker Wax Motif and South African innovator Kyle Watson are unstoppable as they unite for the first time on ‘Push Up’, a high-energy house track that effortlessly merges their signature low-end styles into an explosive club anthem. This bold collaborative track features the fiery lyricism of UK MC Scrufizzer and it comes out now through the prominent Australian dance label Sweat It Out. ‘Push Up’ provides gritty vocal hook and a booming percussive groove, striking the ideal balance between a darker club track and an undeniable summer anthem. With Scrufizzer’s vocal rhythms and adrenaline-pumping drops, the record showcases the strengths of both artists. Wax Motif’s bass-driven prowess and Kyle Watson’s masterful sound design, they create an energetic sensation that will surely captivate festival stages and late-night dance floors alike. The top track makers who ensured ‘Push Up’ brings out that powerful energy Wax Motif has established himself as one of the most versatile producers in electronic music, effortlessly blending house, hip-hop, and UK bass. His impressive portfolio includes collaborations with industry heavyweights like Ty Dolla $ign and Zhu, as well as headlining prestigious global festivals and curating his acclaimed House of Wax events. He is a dynamic force redefining the landscape of dance music. As the label head of No Context Records, Kyle Watson commands attention with his unique blend of chunky drums and captivating textures. With releases on renowned labels like Realm and Insomniac, extensive global tours, and backing from tastemakers such as Chris Lake, Gorgon City, and John Summit, Watson has solidified his reputation as a mainstay in both club and festival scenes worldwide. Scrufizzer brings his signature rapid-fire delivery and infectious energy to ‘Push Up’, infusing the track with an unmistakable UK flair. In fact, Scrufizzer also attracted lots of fame for his collaborations with artists like Danny Byrd, Zed Bias, and Tiësto, Scrufizzer stands as a powerful voice at the intersection of grime, UK garage, and electronic music. Unleashing the track’s dynamic vibes for this coming summer With ‘Push Up’, Wax Motif and Kyle Watson deliver a bass anthem that demands the attention it really deserves. Also, this exhilarating fusion of global influences is loaded with raw energy from Scrufizzer’s vocals, poised to ignite dance floors all summer long. Experience the magic live on July 6th at The Midway Block Party in San Francisco, where Wax will join forces with Matroda for their iconic ‘Waxtroda’ set, with Kyle Watson taking the stage just before them. The post Wax Motif and Kyle Watson Team Up on ‘Push Up’ feat. Scruffizer appeared first on EDMTunes.

Disclosure is experiencing a slight delay with the release of their new song. The track is a club version of Dur-Dur Band’s top song, Dooyo. Initially, the song title of Disclosure’s version was going to be Warya. But they received a bunch of backlash for the song name choice. Something they didn’t understand, the word Warya is a disrespectful word in the Somali culture. The DJ duo got a mistranslation of the word, which led to the mistake. They have admitted their mistake and have mentioned that the track name will remain Dooyo. But the real reason the release of the song was delayed is that rumors have been spreading that they don’t have permission to use Dur-Dur Band’s song. Disclosure did not want to release the song with these rumors in the air. So they paused the release and have expressed to their fans and the music community that the rumors are entirely untrue. In their discord, they wrote: “We want to reassure everyone that whenever you hear a sample of anyone else’s music on an officially released Disclosure song (including this one), it will ALWAYS be cleared, legally & through all the proper channels such as record labels publishing etc. This has been done with the owners of the rights to this song & our team have spoken with Abdinur Daljir who confirmed that he and his wife Sahra Dawo (both original Dur-Dur members) are the sole writers/composers of the song. They will be paid every time the song is played, and the owners of the rights to the song were also paid a fee when we signed the contract to clear the sample. That being said, it has more recently come to our attention that there is another current iteration of the group known as ‘Dur-Dur band international’ who live in London & are still active & touring the original bands songs. SO, we are also now in conversation with them to make sure they’re happy too.” It appears they have done everything ethically and legally correct. They are making sure everyone is getting their cut and crediting them as a featured artist, as they always intended to. This helps create more attention to the band’s music and Simolia’s culture. They also wrote to keep their fanbase informed, “Sadly we decided to pause releasing the track as we don’t want to risk anyone seeing these rumours & not knowing the truth. We don’t want to be known for doing something that portrays us in this way. Ultimately we want to still release it as we love the track so much & we want the original writers to benefit from it too, but we’ll see what the response is here, and time will tell. We love and respect the people of Somalia & we love your music so much. We hear you & see you. In the meantime, we will be listening to Dur-Dur Band & hoping we can still make this work soon.” The post Disclosure Pauses Single Release Due To Dispute Over Sample Clearance appeared first on EDMTunes.

On July 19, Verknipt returns to the Johan Cruijff ArenA for the second edition of Verknipt ArenA. But this isn’t just another massive hard techno rave; it’s history in the making. Verknipt ArenA is officially aiming to break the GUINNESS WORLD RECORDS title for the largest laser show, unleashing over 1,000 lasers across the stadium – more than twenty times the number used in a typical production and far surpassing the current record of 824 set in Dubai. Last year’s show, featuring 50 lasers, was already impressive – but what’s coming now is simply mind-blowing. What makes this night truly special is the scale and ambition behind the spectacle: at exactly 23:50, during a specially timed moment, the entire stadium will erupt in a sea of 1.000 synchronized laser beams, creating a once-in-a-lifetime audiovisual experience designed to etch Verknipt ArenA into the global record books. The full lineup features APHØTIC, Basswell, CARV, Cloudy, Cynthia Spiering, DYEN, Fantasm, Hardsok, Holy Priest, Karah, KLOFAMA, Nico Moreno, NOVAH, NYCO, NZGÜL, Onlynumbers, PALØ, Paul Elstak, Winson, XRTN. Tickets for the event are available through this link. Following the explosive Verknipt ArenA debut in 2024, which brought together 40,000 ravers for a jaw-dropping 10-minute audiovisual show featuring custom-synced lights, lasers, and sound, Verknipt ArenA is raising the bar once again for 2025. This edition fuses a GUINNESS WORLD RECORDS title-breaking ambition with the brand’s signature hard techno energy. With a groundbreaking 360-degree stage design and an unprecedented number of lasers rigged throughout the stadium, the ArenA will be transformed into a fully immersive light and sound experience. In the acclaimed Road to ArenA documentary Verknipt explains more about the upcoming edition at the Johan Cruijff ArenA and future of Verknipt. “We are incredibly excited for this year’s ArenA Edition. Alongside a powerful line-up featuring both established and emerging techno talent, we’re pushing boundaries with our attempt to break the GUINNESS WORLD RECORDS title for the largest laser show in the world. The idea of programming 1,000 lasers still blows our minds – especially when last year’s 50 already felt unreal. This has been months in the making, and we’re pulling out all the stops to deliver a truly once-in-a-lifetime experience. We can’t wait to share this monumental night with over 40,000 fans – it’s going to be nothing short of historic.” – Organization Verknipt ArenA This year’s edition showcases a powerful lineup of global heavyweights and rising stars, once again affirming Verknipt’s exceptional curation and commitment to the full spectrum of hard dance genres. Expect sets from Nico Moreno, known for his heavy basslines and punchy kicks. The ArenA show will feature explosive back-to-backs like Cloudy b2b NOVAH, DYEN b2b Fantasm, CARV b2b Holy Priest, and Basswell b2b Onlynumbers, delivering nonstop energy. Cutting-edge performances from APHØTIC b3b NYCO b3b XRTN, Karah b2b KLOFAMA, and hardcore icon Paul Elstak b2b Cynthia Spiering round up the night. PALØ, NZGÜL, and Hardsok will take part in featuring the exclusive Verknipt ArenA 2025 Album Showcase during the event.

Neversea Kapital, the newly developed Romanian festival by the creators of UNTOLD in Europe and Dubai, and Neversea Festival, drops a wave of artists for its first celebration in Bucharest, the gem Capital of Romania. Alok, Axwell, Don Diablo, Kaaze, KSHMR, Lost Frequencies, Nervo, Salvatore Ganacci, Sickick, Steve Aoki, Claptone, and MËSTIZA will heat up the mainstage from July 4 to 6 on the National Arena. The Temple stage welcomes the world’s No. 1 techno DJ, Charlotte de Witte, in Bucharest for the first time, previously playing UNTOLD Festival in Romania. One of the most influential in modern techno, she is known for her dark, intense, and minimalist sound. With hypnotic sets and signature tracks like “Selected” and “Doppler”, she’ll perform at Neversea Kapital, delivering a pure, authentic experience. The Temple adds more power and BPM to its techno stage with Deborah de Luca, Korolova, Nina Kraviz, and Mau P. Axwell, the legendary Swedish DJ and founding member of Swedish House Mafia alongside Steve Angello and Sebastian Ingrosso, has shaped the global EDM scene with iconic tracks and electrifying sets. His worldwide hits include “One (Your Name),” “Save the World,” and “Don’t You Worry Child” with SHM, as well as “Sun Is Shining” and “More Than You Know” with Ingrosso. He’s been nominated for five Grammy Awards and has twice won “Best House DJ” at the DJ Awards. Salvatore Ganacci, a fan favourite for his eccentric performances, is a must for Neversea Kapital’s debut in Bucharest. The Bosnian Swedish DJ and producer is known for his eclectic musical style and wildly unconventional, humorous, and unpredictable performances. Every set he plays becomes a spectacle, and he has a special connection with the crowds of Neversea and UNTOLD. Lost Frequencies, the Belgian DJ and producer Félix De Laet, is one of electronic music’s most charismatic stars. With over 32 million monthly Spotify listeners and more than one billion streams on the platform, his success is unmatched. Lost Frequencies will take over the main stage with his unique style. MËSTIZA blends music, fashion, and female empowerment with a sound that fuses flamenco rhythms with melodic techno, afro house, and Latin, Arabic, and African influences. In 2023, they released their debut album “Quëreles”, Spain’s best-selling album in its first week. More acts will be revealed soon. The festival will have 3 stages, the third with urban rap, trap, hip-hop, and multiple music spots with DJs. Neversea Kapital is a pilot edition inspired by the spirit of Neversea, one of the biggest beach festivals in Europe, and reimagined for the city. It is where music meets culture, street art, style and fashion, a food festival, creative energy and connection, all fused into one unforgettable urban playground. Tickets are available on neversea.com. Neversea Kapital will continue to grow into its own identity from 2026, becoming a major new addition to the global festival scene. Next year, Neversea Festival will return to the beach in the beautiful coastal city of Constanța. Neversea Kapital marks UNTOLD Universe’s first music festival in Romania’s Capital, Bucharest. The team is preparing for the 10th anniversary of the iconic UNTOLD Festival in Cluj-Napoca, from August 7-10, and the second edition of the biggest festival ever held in the United Arab Emirates, UNTOLD Dubai, from November 6-9.

MSpectralDynamics / Melda Production Yo UKF! For “Run It” with DJ Diesel, I kept it super simple. No crazy gear, just tools I trust. The whole thing was made in FL Studio, which I’ve been using forever. Most of the sound design came from Serum. It is my go-to plugin! Super flexible, super clean. I don’t overthink it. I just start twisting knobs until something cool happens. One of my favorite tricks in Serum is to resample and re-import my own patches as new wavetables, then process them again using FM or warp modes. It creates these weird, gritty textures that feel alive. I love Serum because it lets me be surgical when I need to, but still lets me go full chaos mode when the vibe calls for it. But the real MVP on “Run It” was MSpectralDynamics. That plugin is wild. It’s not just a compressor or an EQ. I use it to tame harsh frequencies, balance messy layers, and glue everything together. Especially with all the heavy bass and chaotic textures in this track, MSpectralDynamics helped keep things punchy and loud without the usual muddiness. It kind of works like magic. Honestly, it saved me hours of surgical EQ and second-guessing. I first discovered it a few years ago through a friend, while I was looking for new ways to clean up my mixdowns and do more creative processing. At first, I didn’t totally get what it was doing. It acts like an intelligent, frequency-dependent compressor that reacts to your sound in a really smart way. It’s a spectral compressor/expander and gate, working across hundreds of tiny frequency bands instead of affecting the whole signal like a traditional compressor. I picture it as hundreds of mini-compressors, each handling their slice of the spectrum. Perfect for dubstep, where things can get messy fast. In the studio, I like to overprocess on purpose. Take a simple sound, crush it, distort it, stretch it, and then pull it back in with EQ or filtering to find that sweet spot. Most of the bass fills and reese basses in “Run It” came from that approach. Sometimes the end result sounds nothing like the original sound and that is what makes it fun. Catch IVORY On Tour : May 24 – Denver – Bluebird Theater / May 30 – London – Oslo Hackney Follow IVORY: Spotify / Instagram Cover Image Credit: @iso.ash

I’ve been overwhelmed by the fantastic new album releases lately. And with the bank holiday weekend here, it’s the perfect opportunity to share an exciting album review. Whether you’re gearing up for a lively BBQ, hitting the road for an adventure, or just lounging at home with some snacks and a flavoursome beverage. You’ll doubtless want to discover fresh music to elevate your experience. With this in mind, not long ago, I teased that pop sensation Tom Aspaul was getting ready to unveil his third album. Well, the moment has finally arrived. Tom’s highly anticipated album “Cabin Fever” is out now, and it’s a must-listen! Sharing some thoughts in December 2024 on the first single release “Sauna/Cabin,” I noted… “With an undeniable spark ignited, Tom vividly relives the adventures of his mind-altering Swedish encounter, captivating listeners and leaving them wanting more“. Continuing on, Tom elaborates… “I went to Sweden to relax post-tour and ended up staying awake for two days almost losing my mind. It was not conducive to relaxation at all. I would like to go on record saying I would never recommend LSD or any type of drug, we were very stupid to think we had any sort of control. However, we got through it together and it spawned an album. Over the last 18 months, I’ve been reliving every second of it with Gil Lewis (producer/songwriter) and I’m so thrilled (and relieved) to share this crazy experience”. When listening to “Cabin Fever” for the first time, it’s impossible not to notice the dramatic shift in musical direction. Coupled with the meticulous refinement of pop stylings throughout the album. Producer Gil Lewis employs an impressive array of production techniques. Thus creating innovative soundscapes that merge seamlessly with Tom’s lush, pop-rich vocals. This blend not only elevates the overall audio experience but also highlights Tom’s profound lyrical artistry with striking authenticity and emotional depth. In comparison to the vibrant disco and dance-pop aesthetics of his earlier albums, “Black Country Disco” and “Life In Plastic“. “Cabin Fever” offers a more introspective and mature perspective. Above all inviting listeners to engage with the themes of personal growth and transformation embedded in each track. The album’s focus singles, “Drama” and “That Girl,” powerfully embody a mature musical and deeply confessional lyrical perspective. “Drama,” for example, delves into introspection and profound soul-searching. Yet Tom skillfully juxtaposes this heavy emotional weight with a self-directed music video featuring an outfit evocative of a Shakespearean bard. “The drama has defined me, who am I reminded of?” he sings, inviting us to ponder on this thought-provoking dialogue. Another standout moment of musical diversity arises in “That Girl,” a collaboration with Gil Lewis and Stefan Storm of The Sound of Arrows. This track poignantly captures the longing for a carefree existence, as Tom reflects on the longing and isolation experienced as a gay man. He laments, “I never ever got affection from the guys, no attention from anyone, ooh I didn’t have a chance, just a fear of love and rejection. Another lonely young queer in a small town looking for a change to come (But it never did).” The accompanying visualizer is a breathtaking display of animated psychedelia. The clip is crafted by Jill Chrisp of Studio Shuggi, enhancing the song’s emotional impact and allure. But let me tell you, a display of phenomenal artistry carries all the way through this project. Personal and intense at times. Ultimately, thought-provoking and revealing, “Cabin Fever” is stellar work. Essential listening. “Cabin Fever” is out now on digital platforms HERE Pre-order vinyl HERE (out 1st June) Upcoming shows: May 29th 02 Academy – Glasgow UK (KESHA support) May 30th Albert Hall – Manchester (KESHA support) May 31st Mighty Hoopla – London June 7th Wild’n’Sweet – Utrecht June 13 Rock for People – Hradec Kralove June 14 West Pride – Gothenburg June 26 Nottingham Pride Connect with Tom Aspaul Facebook: https://www.facebook.com/tomaspaulmusic/ X: https://x.com/tom_aspaul Instagram: https://www.instagram.com/tom_aspaul/ The post ALBUM REVIEW: “Cabin Fever” by Tom Aspaul appeared first on EQ Music Blog. View the full article

June 2025 is set to be a stacked month for EDM enthusiasts no matter where they may be located across the globe, with a lineup of festivals that promise unforgettable experiences. From the mystical forests of Michigan to the sun-kissed beaches of Croatia, here are ten must-attend EDM festivals this June. 1. Electric ForestDates: June 19–22 Location: Rothbury, Michigan, USA Electric Forest offers a unique blend of music, art, and nature. The 2025 lineup features artists like Tiësto, Louis The Child, Fisher, Disclosure, and more, set against the enchanting backdrop of Sherwood Forest. Attendees can also enjoy curated events, workshops, and immersive art installations. 2. Defqon.1Dates: June 26–29 Location: Biddinghuizen, Netherlands Known as the world’s premier hardstyle festival, Defqon.1 2025 promises high-energy performances from top artists like Vertile, Wildstylez, Sub Zero Project, and Angerfist. Set at Walibi Holland, the festival offers a weekend filled with powerful beats and an electrifying atmosphere. 3. Primavera SoundDates: June 5–7 Location: Barcelona, Spain Primavera Sound 2025 boasts a diverse lineup with headliners Charli XCX, Chappell Roan, and Sabrina Carpenter. The festival, held at Parc del Fòrum, also features performances by LCD Soundsystem, Haim, Jamie xx, and many more, offering a mix of genres in a vibrant coastal setting. 4. World Club DomeDates: June 6–8 Location: Frankfurt, Germany Dubbed the “biggest club in the world,” World Club Dome transforms Frankfurt’s Deutsche Bank Park into a massive dance floor. The 2025 “Moon Edition” features a stellar lineup of international DJs, providing an out-of-this-world experience for attendees. 5. Hideout FestivalDates: June 22–26 Location: Zrće Beach, Pag Island, Croatia Set on the picturesque Adriatic coast, Hideout Festival combines beach parties, boat parties, and open-air venues. The 2025 lineup includes artists like Chris Stussy, Eliza Rose, Interplanetary Criminal, and Skream, offering a perfect blend of sun, sea, and sound.# 6. Escapade Music FestivalDates: June 20–22 Location: Ottawa, Canada Celebrating its 15th anniversary, Escapade 2025 brings a star-studded lineup to Canada’s capital. Headliners include Kygo, RL Grime, The Chainsmokers, and Disclosure, with special stage takeovers by Subtronics’ Cyclops Recordings and Anjunabeats’ Anjuna25 showcase. 7. World DJ FestivalDates: June 14–15 Location: Seoul Land, Gwacheon, South Korea Returning for its 18th edition, World DJ Festival 2025 features headliners like Anyma, Alan Walker, Alesso, and DJ Snake. Set in the vibrant city of Seoul, the festival offers a dynamic mix of global EDM talent. 8. Afterlife FestivalDates: June 13–14 Location: Circuit de Barcelona-Catalunya, Spain Afterlife Festival 2025 presents a two-day event curated by Anyma and MRAK, featuring artists like Mind Against, Kevin de Vries, Recondite, and Rebūke. Known for its immersive visuals and deep techno sounds, the festival offers a transcendent experience. 9. UNUM FestivalDates: June 5–10 Location: Rana e Hedhun, Shëngjin, Albania Set on the golden sands of Albania’s coast, UNUM Festival offers 120 hours of non-stop music across three stages. The 2025 lineup includes Dixon, Seth Troxler, tINI, and Sonja Moonear, providing a unique blend of house, techno, and minimal beats. 10. Palm Tree Music Festival HamptonsDate: June 21 Location: Shinnecock Nation, Southampton, New York, USA Hosted by Kygo, the Palm Tree Music Festival returns to the Hamptons with a lineup featuring Fisher, Mau P, Blond:ish, and Coco & Breezy. Set against the scenic backdrop of Southampton, the festival offers a luxurious beachside EDM experience. With such a diverse set of festivals, June 2025 promises unforgettable moments for EDM fans worldwide. Whether you’re dancing under the stars in Europe or soaking up the sun in North America, these events offer something for every electronic music enthusiast.

Just when you thought Tomorrowland had explored every dimension of magic and EDM, it’s cracking open an ancient glacier to unveil an entire literary universe beneath the surface. The iconic festival brand has long been renowned for turning music festivals into myth-making playgrounds, and it's now diving deeper into the realm of narrative immersion with the release of its latest fantasy novel, The Odes of Orbyz. Serving as the thematic cornerstone for Tomorrowland's 2025 festival in Belgium, this limited edition hardcover is a gateway into the frozen underworld of Orbyz, the newest setting in the brand's ever-expanding literary universe. The story follows warrior-turned-mystic Tybla, whose investigation into a cataclysmic mine explosion thrusts her into a clash between ancient civilizations and shadowy threats from the "Deep-Dark" of their homeland. The 300+ page novel, available in English and Dutch via the Tomorrowland store, marks its third fantasy adventure novel following the success of The Spirit of Life and the Book of Wisdom. It's part of the organization's multimedia arm, Tomorrowland Fiction, which is now "planning more literary and creative adventures including comic books tied to the Tomorrowland universe and screen adaptations," according to a press release. Those attending Tomorrowland 2025 will find traces of The Odes of Orbyz brought vividly to life, from the festival's towering Mainstage to intricate design elements scattered throughout its other 16 stages. Tomorrowland 2025 will take place over the weekends of July 18-20 and July 25-27 in Boom, Belgium. You can find the full lineup here. View the original article to see embedded media. Follow Tomorrowland:X: x.com/tomorrowland TikTok: tiktok.com/@tomorrowland Instagram: instagram.com/tomorrowland Facebook: facebook.com/tomorrowland

Electronic music has always pushed boundaries and reflected cultural shifts in society. But how can this vibrant genre address urgent global challenges like climate change? What does it mean to turn complex scientific issues into engaging music? Can art inspire real action on climate problems that affect everyone? How does music become a tool for both awareness and hope? One of the most unique voices emerging is DJ Climate Crisis, an artist who transforms complex scientific issues into engaging electronic music. This artist draws from diverse influences to create sounds that feel fresh and meaningful. In this article, we will explore DJ Climate Crisis’s unique blend of music and activism. Crafting a Soundscape for Environmental AwarenessMidwest Today notes that DJ Climate Crisis mixes different electronic styles to create unique sounds. The artist uses industrial and dark tones to reflect environmental themes. For example, deep-sea mining inspired a track with heavy reverb and eerie echoes. These sounds represent the ocean’s depth and the mining’s physical impact. Each song is carefully designed to evoke a clear message. Listeners experience complex topics in an emotional and engaging way. The music communicates without needing complicated scientific language. It connects audiences globally, transcending cultural and language barriers. This approach makes environmental concerns accessible and deeply felt. How does audience feedback shape future tracks?Audience reactions help the artist identify which environmental topics resonate or need more clarity. Feedback often leads to revisiting certain sounds or reworking song narratives for better impact. Listener engagement directly informs the evolution of the project’s creative direction. Turning Scientific Data Into Engaging MusicScientific research underpins much of DJ Climate Crisis’s musical work. The artist links tracks to credible sources like the EPA. Environmental data is translated into musical narratives that are easy to grasp. Other artists are using similar approaches to make science more accessible through music. DLD News states that Beatie Wolfe’s project From Green to Red stands out as a powerful example. She transforms 800,000 years of climate data into a musical and visual experience. This environmental protest piece has been showcased at major events like the Nobel Prize Summit and COP26. This method educates listeners without overwhelming them with technical details. DJ Climate Crisis’s background in environmental studies strengthens this approach. The music encourages systemic change by highlighting corporate and government roles. It simplifies complex ideas into compelling and relatable art forms. Audiences gain knowledge while feeling motivated to take action. The artist bridges the gap between science and popular culture. Do visuals accompany data-driven songs?Most tracks are released with interactive or animated visualizations that mirror the data. These visual elements serve as an educational tool and deepen listener immersion. The combination of sight and sound builds a richer understanding of the environmental issues. The Power of Real-World Samples in StorytellingUsing real-world audio clips adds depth and urgency to the music. The track “Advertorials” includes Mark Zuckerberg’s Congressional testimony samples. These voices highlight misinformation problems related to climate change online. This technique combines storytelling with social commentary effectively and powerfully. Samples give listeners authentic context within the musical experience. They encourage reflection on digital platforms’ roles in spreading information. The artist enhances the narrative through carefully chosen audio moments. Music becomes both art and activism through this method. The audience hears and thinks critically while enjoying the tracks. Are environmental sounds used in the samples?Yes, natural and industrial sounds are layered into tracks to reflect thematic elements. Sounds like melting ice or deforestation creates a visceral experience tied directly to the issue. These samples turn environmental destruction into something listeners can emotionally register. Highlighting Hidden Hazards Impacting the EnvironmentEnvironmental threats often go unnoticed, quietly affecting ecosystems and human health. Many toxic substances persist in the environment for decades without obvious signs. These hidden dangers add urgency to the broader issues addressed by DJ Climate Crisis. One example frequently discussed by scientists is per- and polyfluoroalkyl substances (PFAS), chemicals known for their harmful effects and persistence. ScienceDirect mentions that aqueous film-forming foam (AFFF) is a type of firefighting foam that has been a major source of PFAS contamination. It was widely used by firefighters and military bases for decades due to its effectiveness in extinguishing fuel fires. Unfortunately, long-term exposure to AFFF has been linked to severe health issues, including cancer, notes TorHoerman Law. The AFFF lawsuit has brought increased public attention to the urgent need for stricter chemical regulations and environmental protection. Through music, DJ Climate Crisis draws attention to such hidden toxins as key elements in the climate change narrative. What makes music effective for discussing toxic hazards?Music brings data to life by adding emotional depth that news often misses. Harmful chemicals turn into personal stories through rhythm and sound. This approach helps listeners grasp complex issues and creates a stronger sense of urgency and connection to the topic. A Vision for a Renewable FutureDJ Climate Crisis combines serious themes with messages of hope and progress. Songs like “The Future Is Bright” inspire belief in positive change. The artist supports renewable energy projects through direct partnerships and donations. Renewable energy helps communities invest in clean energy solutions. For example, Protect Earth News highlights that New York State’s Green Bank created a $250 million fund for community projects. The Community Decarbonization Fund offers low-cost capital to local lenders. It focuses on helping disadvantaged communities cut greenhouse gas emissions. This initiative supports clean energy projects that improve environmental and economic outcomes. These efforts empower people to contribute directly to sustainability goals. Collective action is essential to combat climate challenges effectively. How do visual elements reflect future possibilities?Music videos showcase vibrant ecosystems and cities powered by clean technology. Scenes feature solar panels, vertical farms, and thriving wildlife habitats. These images inspire hope and encourage listeners to imagine a sustainable future where nature and innovation coexist harmoniously. DJ Climate Crisis proves how music can turn complex data into emotional, relatable stories. The artist blends beats with science to highlight hidden environmental dangers in a powerful way. Each track sparks awareness while encouraging listeners to think about their role in change. Real-world audio samples and compelling visuals make the message both clear and memorable. This creative method helps close the gap between science and public understanding. Music becomes more than entertainment when paired with urgent climate issues. DJ Climate Crisis shows that change starts when people truly connect with the message. The work inspires both reflection and meaningful action.