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If you thought ISOKNOCK's late-2024 takeover of Snapdragon Stadium was their peak, think again because they just gave fans a reason to clear their fall schedules. After igniting festivals and stadiums with the raw electricity of their "4EVR" shows, ISOxo and Knock2 are keeping the momentum blazing. The duo have revealed the official dates for the debut of their own curated music festival, Niteharts Fest, scheduled for October 11-12, 2025 in San Diego. They confirmed the dates after fans driving on the I-15 spotted a billboard in Nevada. ISOxo/Knock2/Instagram The announcement confirms what fans have been buzzing about since ISOKNOCK’s euphoric hometown blowout in San Diego this past December. Niteharts Fest is shaping up to be the next evolution in a meteoric career that’s moved at the speed of sound since both artists earned spots in EDM.com's Class of 2022 and 2023, respectively. ISOKNOCK's Coachella debut in 2024 turned the festival's legendary Sahara stage into a pressure cooker of sweat and sound, while their high-wire performance at Chicago’s North Coast Music Festival—in a shipping container suspended mid-air—proved there’s no stage too lofty for the tandem. Niteharts Fest promises to be no different. Together, ISOxo and Knock2 have become the embodiment of a new generation in electronic music. Their debut album, a high-energy manifesto of trap music's future, dropped in August of last year and cemented their standing as leaders of a flourishing wave of hungry producers testing the boundaries of sound design. Fans can RSVP here to stay up-to-date on Niteharts ticketing information. Follow ISOxo:X: x.com/isoxo_ Instagram: instagram.com/isoxo_ TikTok: tiktok.com/@isoxo_ Facebook: facebook.com/ISOxo Spotify: spoti.fi/3dwtO3h Follow Knock2:X: x.com/knock2music Instagram: instagram.com/knock2music TikTok: tiktok.com/@knock2music Spotify: spoti.fi/3OHeylI

When Axwell Λ Ingrosso released More Than You Know on May 24, 2017, few could have predicted the kind of staying power it would have. What began as a summer single became something far more lasting. Built around emotional lyrics, steady percussion, and an unmistakable vocal hook, the release felt personal without being dramatic. It didn’t need to shout. It just needed to land, and it did. By the end of that year, the song had reached number one in Germany and Austria. It climbed charts across Sweden, Belgium, and the Netherlands. In 2025, it remains part of the conversation. You still hear it at beach clubs, reunion parties, and anywhere someone wants to play something that actually feels like something. A Collector’s FavoriteThe full More Than You Know EP remains a favorite among fans and vinyl collectors. The limited 2LP version is still listed on resale sites, often at a premium. For those who followed the Swedish house wave closely, owning a physical copy means more than just having a release. It’s a piece of history tied to a period where the genre felt both polished and personal. Even now, younger listeners are discovering the EP for the first time. The simplicity of the production and the clarity of the emotion continue to draw people in. There are no gimmicks, just a clean execution of something that still feels relevant. Still in RotationThe song hasn’t disappeared from the scene. In early 2025, a fresh edit began circulating during festival season, landing in warmup slots and emotional end-of-set moments. DJs across Europe and Asia have continued to find space for it in their selections. Some include it in full. Others build it into transitions or use the vocal line to shift the mood. What stands out is its adaptability. The original mix still holds up in modern settings, and even brief appearances are met with cheers. It’s one of those releases that doesn’t require context to work. It simply fits. It Meant Something Then. It Means Even More Now.Eight years later, Moe Than You Know continues to mean something different to everyone who hears it. For some, it brings back memories of 2017. For others, it might be something they just discovered but already feel attached to. The emotional weight of the lyrics combined with the understated production allows it to settle in a space most songs never reach. When someone says this release “means more than you know,” it isn’t just a reference to the title. It’s the truth. There are songs you hear and move on from. Then there are the ones that stay with you, quietly showing up when you least expect them to. This one still speaks. Just maybe not out loud.

Photo: Krivitskiy For those trying to make sense of the post-apocalyptic hell-scape known as the US Copyright Office, we wish you the best. What started as a tech bro ambush has shifted into an all-out war for control over the US Copyright Office — and the critical policy direction that comes with it. It’s not entirely clear why former US Copyright chief Shira Perlmutter was abruptly fired, though widespread conjecture pointed to the handiwork of tech bro operators like Elon Musk and David Sacks — not to mention the very powerful cadre of pro-AI, Trump-allied tech titans. The theory sounds logical enough, but why can’t they finish the deal? As recently-fired Register of Copyrights Shira Perlmutter launches her legal counterattack against the Trump Administration, we’re guessing the White House will forge ahead with their chosen replacements at the Copyright Office and umbrella Library of Congress. But wait: the White House’s interim picks aren’t very pro-AI or pro-tech, raising serious questions about the tech bro puppet master theory. If Musk & Co. directed the dismissal of the more pro-copyright Perlmutter, why aren’t more AI-friendly replacements being named? Tossing another perplexing incident into the riddle: Trump himself ‘re-truthed’ a rather anti-tech post on Truth Social — from legal ally Mark Davis, who has sharply questioned the copyright-be-damned mantra of the AI class. As we head into the weekend, some top-ranking Department of Justice officials are assuming positions at both the Library of Congress and US Copyright Office. But is that how this works? A key argument in Perlmutter’s legal filing is that the White House and Department of Justice lack any authority to fire the head of the Copyright Office. Instead, the head of the Library of Congress has the sole authority to appoint the Register of Copyrights, though it should be noted that the President does appoint the Librarian of Congress with Congress’ consent and has the power to remove the Librarian as well. Perhaps this is procedural quibbling, but it raises the question: will a federal judge issue an injunction and restore Perlmutter to her former post? If so, get ready to crank the mayhem meter to 11. But will the Trump Administration simply seek another method to dispose of Perlmutter if a judge steps in? Perhaps the more vexing question for the music industry is whether a restored Perlmutter will have anything close to her previous influence. Shaping copyright policy with a Director-under-attack seems dicey at best, with one policymaker telling DMN that a Trump-appointed, pro-copyright figure might be the best outcome here. But who might those people be? Besides the legal questions (and lawsuit) surrounding the shakeup, it remains to be seen whether the aforementioned DOJ officials will stick around in their new posts or make way for non-acting replacements. Meanwhile, getting far less attention is a pernicious piece of pro-AI legislation in the ‘Big, Beautiful Bill.’ The ‘Big, Beautiful Bill’ passed the House by the narrowest of margins before heading to the Senate. And buried with the voluminous Bill is a dastardly 10-year moratorium on state-led AI regulations. That’s right: by law, states would be prevented from enacting AI regulations of any size or flavor. It’s a big, beautiful bonus for AI megaliths like Alphabet, Meta, and OpenAI, with pesky regulations off the table for a full-blown decade. As one might expect, state attorneys general argue that the moratorium would be “sweeping and wholly destructive of reasonable state efforts to prevent known harms associated with AI.” In a recent open letter to Congress, they point out that the absence of federal protections means states are often a first line of defense against technological harms—including those impacting personal identity, privacy, and creative rights. On the AI side, the argument is that over-regulation will kill technological development and competitiveness with rivals like China. Of course, the ‘Big, Beautiful Bill’ still has a gigantic Senate hurdle, and plenty of changes are likely to occur. Can pro-copyright forces — not to mention state AGs — remove or soften the 10-year provision? Sadly, this isn’t the best of times for copyright defenders like the NMPA, RIAA, and others. The Trump Administration has its copyright defenders and big tech challengers, but can music’s well-heeled lobbyists steer this ship towards a zone of content protection and compensation? Part of the problem is Hollywood, which is ardently anti-Trump and, well, Californian. That anti-Trump energy has certainly dominated the music side as well. However, DMN keeps hearing that the music industry would be wise to fire up its Nashville contingent, including its Red State superstar musicians. Incidentally, that includes Trump pals like Kid Rock, who flanked the president during his ratification of the momentous Music Modernization Act during the first term. Perhaps it’s time to roll out that game plan again in the more critical battle against AI? More as this chaotic situation develops. View the full article

Breakaway just announced the lineup for its Philadelphia debut, and let's just say the festival is more stacked than a proper Wawa hoagie. Scheduled for September 12-13 at the Festival Grounds at Subaru Park, the fest marks another milestone for Breakaway, the nation's fastest-growing traveling music festival. Philly now joins the brand's growing roster of locations, proving that when it comes to good electronic music, the city doesn't mess around—much like Eagles fans climbing greased streetlight poles during Super Bowl celebrations. Presented by CELSIUS, this two-day extravaganza will feature headlining performances by Excision, Zedd, Two Friends, Cloonee and EDM.com Class of 2024 star Of The Trees. Two Friends, the creators of the beloved "Big Bootie Mix" series, are stepping outside of their typical performance style to throw down an exclusive Breakaway set focused on heavy-hitting bass music. The undercard is also impressive, featuring ACRAZE, Disco Lines, Dombresky, Eptic, ROSSY, Trivecta, EVAN GIIA and Night Tales, among others. Tickets are on sale now, including 2-Day GA, VIP, Ultimate VIP and Space Deck Terrace tickets and Space Deck tables. You can check out the full lineup below. Follow Breakaway Music Festival:X: x.com/breakawayfest Instagram: instagram.com/breakaway TikTok: tiktok.com/@breakawayfest Facebook: facebook.com/breakawayfestival

Ticketing platform XP has announced a $6.2 million raise. Photo Credit: Jessica Christian Web3 ticketing platform XP has announced a $6.2 million raise and doubled down on plans “to build the most fulfilling ticketing experience for fans.” The year-old ticket-resale marketplace unveiled the funding in a blog post as well as a formal release. Founded and led by former Grubhub exec Michael Saunders, XP says it “puts fans first with transparent, fair-market prices and tech-forward ticketing innovations.” Now, the company has a cool $6.2 million at its disposal to continue expanding those innovations, among them an AI-powered price-comparison extension. New York City-based Blockchange Ventures, which per its website backs “founders with visions as big and bold as the Blockchain itself,” led XP’s latest raise. Additionally, the round drew support from crypto-minded investment manager L1D and David Kalk’s Reflexive Capital. Addressing his business’s raise, the XP head Saunders called out the many competitors operating in the evidently lucrative ticketing space. “Buying tickets shouldn’t feel like you’re getting taken advantage of,” said Saunders, who’s also at the helm of Captain Labs, the Solana-focused tech studio behind XP. “Fandom is an integral part of a person’s identity, and yet most platforms treat fans like transactions. We believe fans deserve better—and that starts with recognizing and rewarding fans’ loyalty and passion,” concluded Saunders, whose platform is said to boast “millions of dollars in annualized ticket sales.” While there’s certainly something to be said for rewarding fans, logic suggests that lowering prices is the best way to stand out in the increasingly crowded live-entertainment arena. On this front, XP indicated that its model means customers can “save up to 30%…compared to the same seats listed on other resale marketplaces.” As things stand, these resale marketplaces aren’t limited to well-entrenched players like Live Nation’s Ticketmaster, SeatGeek, the possibly-for-sale Vivid Seats, and StubHub. Back in August 2024, TickPick scored a cool quarter of a billion dollars in funding, and the U.K.’s Seat Unique announced a close to $20 million extended Series A. Then, Amsterdam’s Celebratix in November pulled down about $1.2 million and emphasized a goal of bringing its blockchain tech to several international markets. In other words, competition is fiercer than ever in ticketing, where regulatory scrutiny isn’t letting up. Most conspicuously, that refers to the DOJ’s apparently ongoing antitrust lawsuit against Live Nation and Ticketmaster. But the same companies are also the subject of at least one government crackdown across the pond. Returning to the States, a DOJ inquiry into “unfair and anticompetitive” live/ticketing practices is in full swing, and not-so-subtle anonymous sources have pointed to a possible criminal antitrust probe targeting Live Nation and AEG alike. View the full article

A new study published in the Harm Reduction Journal examining drug-checking practices at music festivals has revealed a complex web of barriers preventing attendees from testing substances for safety. The research surveyed 227 attendees of Sonic Bloom, a four-day EDM festival in Colorado, about their use of drug-checking tools, including reagent test kits and fentanyl test strips. Approved by Colorado State University's Institutional Review Board, the findings suggest that while drug-checking tools represent a promising harm reduction strategy, multiple systemic challenges limit their effectiveness in real-world settings like music festivals. The study highlights a lack of education about testing procedures, which has led to "a critical need to reduce barriers" for the "at-risk population" of festival-goers despite an increase in public health campaigns about substance contamination. Financial barriers emerged as a primary concern, with nearly 8% of participants citing the cost of reagent test kits as prohibitive, while about 7% found fentanyl test strips too expensive. More significantly, roughly one in four participants struggled to obtain testing materials at all. "No access to free test strips in my entire county," said one 28-year-old woman surveyed in the study. Even when attendees possessed testing materials, the festival environments themselves created obstacles. Weather conditions, particularly wind, made outdoor testing especially difficult for powdered substances. More than 11% of participants cited festival restrictions as barriers, noting that many events prohibit drug-checking services or ban testing supplies entirely. "Some festivals do not allow testing kit sales or the entrance of them—this should be allowed to curate a better experience," said one respondent. The lack of secure, sterile testing locations at festivals further complicated efforts to check substances safely. Several participants expressed frustration with having to conduct testing in exposed, unsanitary conditions. Legal concerns also deterred some festival-goers from using testing tools. Participants reported confusion about the legality of possessing reagent kits and fentanyl strips, with some believing the materials could be classified as drug paraphernalia. "In some states it's a felony to carry test kits," noted a 31-year-old participant, though the legal status of testing materials varies significantly by jurisdiction. You can find the full study in the Harm Reduction Journal.

Tomorrowland has always pushed boundaries, but now it’s really doing something no other music festival has attempted: releasing a full-length fantasy novel tied directly to its theme. The Odes of Orbyz is the third installment in Tomorrowland’s growing literary universe, and it’s more than just a backstory—it’s a portal into the icy world of Orbyz, the festival’s new theme for 2025. Set in the icy subterranean city of Nymbuz, The Odes of Orbyz follows Tybla, a warrior turned Adept of the Order of the Mane. When a mysterious explosion and a series of disappearances disrupt her community, she sets out to uncover the truth. Facing ancient rivals and dark secrets lurking beneath the surface, Tybla’s journey leads to an unexpected alliance that could save their world. The integration of The Odes of Orbyz into the festival experience means that elements from the book will appear throughout the festival grounds. From stage designs to interactive installations, the story comes alive, offering attendees a deeper connection to the theme. Even those who can’t attend in person can immerse themselves in the world of Orbyz through the novel. Building on its expanding literary universe with The Spirit of Life and The Great Library of Tomorrow, Orbyz marks a major evolution. This 300+ page limited-edition hardback features festival artwork, an illustrated glossary, and two detailed maps of the realm. With sprayed edges and collector’s item quality, it offers a tangible piece of the Tomorrowland experience. Tomorrowland Belgium 2025 will unfold over two weekends—July 18–20 and July 25–27—in the scenic De Schorre park in Boom, welcoming 400,000 People of Tomorrow from across the world. Since its inception in 2005 by brothers Manu and Michiel Beers, Tomorrowland has evolved into one of the world’s most iconic electronic dance music festivals, renowned for its elaborate stage designs, immersive storytelling, and diverse lineup across more than 15 stages. Get the book and more info about Tomorrowland at tomorrowland.com. The post Tomorrowland 2025’s Orbyz Theme Comes to Life In New Fantasy Novel appeared first on EDMTunes.

Hard rock and electronic dance music have always been worlds apart, but that was before DJ Snake decided to bridge the gap. The Paris-based music producer and DJ has taken the audacious step of remixing the rock classic ‘This is the New Sh*t’ by Marilyn Manson into a pulsating dance track. The result? ‘Reloaded‘. A track that is as edgy as it is danceable, and as defiant as it is catchy. For those of you who are not familiar with the original song, ‘This is the New Sh*t’ was a hit from Marilyn Manson’s 2003 album The Golden Age of Grotesque. It was a track that epitomized Manson’s brand of shock rock, with its aggressive guitars, pounding drums, and confrontational lyrics. DJ Snake has taken this raw power and woven it into a hard-hitting dance track that showcases his innovative production techniques. ‘Reloaded’ is a taste of DJ Snake’s forthcoming album Nomad. If this track is anything to go by, we can look forward to an album that is not afraid to push boundaries and venture into new territories. But let’s not get ahead of ourselves. Let’s dive into ‘Reloaded’ and explore what makes it such a standout track. Historic Premiere: The Wall of Death The first time ‘Reloaded’ was heard by the public was at DJ Snake’s sold-out show at Stade de France. With over 80,000 fans in attendance, the track was an instant highlight. The crowd’s reaction to the track was nothing short of phenomenal, with the track’s raw energy sparking the largest Wall of Death ever seen in EDM history. For those not in the know, the Wall of Death is a concert phenomenon where the crowd splits into two, then charges at each other when the music drops. It’s a spectacle that’s usually associated with heavy metal concerts, but DJ Snake managed to bring it to the world of EDM with ‘Reloaded’. It was a fitting premiere for a track that blurs the lines between genres and challenges preconceived notions about what dance music can be. ‘Reloaded’ is a track that dares to be different, and it’s clear that fans are more than ready to embrace this new direction. A Sneak Peek into ‘Nomad’ ‘Reloaded’ is more than just a standalone single; it’s a taste of what’s to come on DJ Snake’s upcoming album ‘Nomad’. If this track is anything to go by, we can expect an album that explores new sounds and pushes the boundaries of what dance music can be. While we don’t have a full tracklist or release date for ‘Nomad’ yet, we can be sure that it will be an album that’s worth waiting for. After all, DJ Snake has never been one to take the safe route, and ‘Reloaded’ is proof that he’s not about to start now. Whether you’re a fan of hard rock, dance music, or just love a good tune, ‘Reloaded’ is a track that demands your attention. It’s a bold step into new territory for DJ Snake, and we can’t wait to see where he takes us next. The post DJ Snake Unveils New Hybrid Single ‘Reloaded’ appeared first on EDMTunes.

Photo Credit: Justin Higuchi / CC by 2.0 A new TikTok trend is turning the concept of ‘propaganda’ on its head — and singer-songwriter Gracie Abrams finds herself squarely in its crosshairs. The trend is known as ‘propaganda I’m not falling for’ and sees Gen Z TikTok users creating lists of things, people, or concepts they’ve labeled propaganda—or things they refuse to buy into. The lists are often set to a remix of Charli XCX’s single “I think about it all the time” featuring Bon Iver and can be mundane things like oat milk, Teslas, or even marriage. The trend is less about the literal definition of propaganda and more about expressing skepticism or ironic detachment from mainstream tastes, cultural norms, or internet hype. The word ‘propaganda’ has thus become a Gen Z codeword for anything that is over-hyped or simply not for them. Whereas older generations would use the term ‘industry plant’ to describe an artist they feel is foisted upon them in popular culture—Gen Z have created their own label. Much of the Gen Z cohort feels as though Gracie Abrams’ music and branding represents a certain ‘mainstream indie’ aesthetic that is widely promoted and inorganic. They’re labeling her ‘propaganda’ to describe the concept of an industry plant—a way to resist what they perceive as algorithm-driven popularity. For Gen Z, it’s a way to label things cringe while poking fun at the mainstream for enjoying the music. Some Gen Z users have admitted that placing Gracie Abrams in their lists of ‘propaganda’ items is a way to poke fun at the trend itself. Abrams’ status as widely discussed figure in pop culture has led to her being in the crosshairs for Gen Z—though the effort isn’t necessarily a coordinated campaign of genuine dislike against the singer-songwriter. Nearly anything that the Gen Z cohort feels is over popularized can receive the label—Gracie Abrams just happens to be the current target. Gracie Abrams herself has not directly commented on the trend, though she has defended herself against haters and addressed rumors on TikTok. View the full article

Photo Credit: Parkwood Entertainment Superfans who dished out thousands to secure Beyoncé tickets during the pre-sale are experiencing buyer’s remorse that on-sale prices have been significantly less. Tickets for major acts like Lady Gaga, Kendrick Lamar, and Beyoncé are known to go fast, so fans are accustomed to acting accordingly during pre-sales in order to avoid being shut out. But things have been different for Queen Bey’s Cowboy Carter tour, in which many tickets are winding up available for the general on-sale or the resale market—often for a fraction of the pre-sale prices. That’s a far cry from how things were during Taylor Swift’s Eras Tour, where fans didn’t even get a chance at the general on-sale, with tickets long gone by the time the pre-sales dissipated. The whiplash in pricing is frustrating fans who paid top dollar for tickets to see Beyoncé during the Beehive pre-sale, only to find the same seats available for a third of that price after the fact. “I bought Cowboy Carter pre-sale tickets for $1700 for Sweet Honey Bucket Pit at MetLife on the 22nd,” one fan complained on social media. “The same tickets are now $600. I’m f—ing pissed.” “F Ticketmaster, the tickets that are right next to me are now $1500 cheaper!!!” lamented another. “Hell, I could go to a different city and see another show for less than that. I’m thankful for getting to see Beyoncé front row, but damn my wallet hurts.” “I’ve gotten to a point that I’m no longer going to compete in a pre-sale,” said Annie Rodriguez, a concertgoer who paid around $860 for her ticket, after which seats fell as low as $500. “As a fan who is signing up for the pre-sale so that you can guarantee a seat, you’re hoping that the artist will be kind to their true fans.” Rodriguez doesn’t blame Bey for her buyer’s remorse. As a veteran concertgoer, she blames “dynamic pricing,” in which face value fluctuates based on demand. But despite artists like Oasis claiming ignorance over the use of dynamic pricing for their tickets, conventional wisdom in the industry is that artists choose to utilize the feature—and should be well aware they’ve done so. In general, fans are quick to blame Live Nation and Ticketmaster, the merger of which has come under additional scrutiny by federal lawmakers. That’s largely thanks to the debacle with Swift’s Eras Tour ticketing two years ago. Last year, the Justice Department sued Live Nation over its monopoly in the live entertainment industry, asking a court to break up the conglomerate. But the broader resale market is under scrutiny too, and has been for a while now. “The Coalition for Ticket Fairness believes that a transparent and open resale market is essential to restoring balance and fairness in the ticketing ecosystem,” begins a statement from Jason Berger of the Coalition for Ticket Fairness. “When fans are allowed to freely buy, sell, or transfer tickets across platforms, it creates competition, drives prices down, and gives fans the flexibility they deserve.” “During recent high-demand events, including Beyoncé’s Cowboy Carter tour, many fans discovered that secondary marketplaces offered tickets at prices substantially lower than the so-called ‘presale’ prices on primary platforms,” Berger explains. “These real-world examples prove that an open market doesn’t hurt fans—it helps them. It introduces real choice and breaks the monopoly that often drives up prices under the guise of exclusivity.” “Restricting resale or locking tickets to a single platform only benefits a few dominant players—not the fans. An open and transparent resale market ensures fairness, affordability, and freedom for consumers,” he concludes. “Fans want choice. Choice drives competition, and competition drives fairness.” Ultimately, so-called superfans who pay top dollar for first dibs on tickets shouldn’t be too surprised when tickets beyond the pre-sale drop in value. The industry has made clear that as long as superfans are willing to pay any price to secure tickets, pre-sales for the hottest shows will continue to cost a pretty penny. Buyer’s remorse in this case isn’t applicable to you since the jacked up prices were the cost for first dibs on tickets rather than attending at all. View the full article

ATLiens have released a massive official remix of Creed's 2002 alt-rock hit, "One Last Breath," a track once synonymous with emotional overload in the post-grunge era. Known for their otherworldly bass drops and mysterious persona, the masked duo's rework reimagines "One Last Breath" for festival stages, twisting the knife into its internal despair with pulsating bass. Bridging the gap between the angst of late-'90s post-grunge and 2020s maximalism, the remix preserves the soul of Scott Stapp's anguished vocals, which hang heavy before ATLiens unleash a bass drop that feels like gravity finally giving out. Their aggressive edit amplifies the original's existential dread while simultaneously offering what feels like a solution: a cathartic injection of heavy bass that lends itself perfectly to the conclusion of a live set. What started as a viral TikTok teaser gained further traction during performances at Ultra Music Festival and Red Rocks, where the remix became a highlight of ATLiens' sets. For longtime Creed fans and bass-heads alike, it serves as a cultural handshake, forged in nostalgia but delivered with modern production teeth. You can listen to ATLiens' remix of Creed's "One Last Breath" below. Follow ATLiens:Instagram: instagram.com/atliensofficial X: x.com/atliensofficial TikTok: tiktok.com/@atliensofficial Facebook: facebook.com/atliensofficial Spotify: spoti.fi/3MM6nEj

Photo Credit: Lilly Raye Music / Warner Chappell Music Warner Chappell Music extends its strategic partnership with management company and publisher Lilly Raye Music. Warner Chappell Music, the publishing arm of Warner Music Group, has extended its strategic joint venture partnership with Lilly Raye Music, the management company and publisher run by founder Edward Matthew and A&R Manager Justin Martinez. Established in 2020 and expanded in 2023, the partnership is focused on supporting collaborations between creatives across Asia, Europe, and the US. Lilly Raye Music has continued to gain industry recognition for its growing influence. It was nominated for Publisher of the Year at the MMF Awards Sweden 2024. The partnership is stepping up activity in Germany and the Netherlands with a sharp focus on the dance and electronic scenes. Further, it’s building its A&R firepower in the UK to support the careers of talent in that market. Recent successes include: Grammy recognition for their work on Summer Walker’s CLEAR 2: SOFT LIFE EP and Janelle Monáe’s The Age of Pleasure; elevating local talent in Sweden, helping deliver 10 No. 1 singles in the market over the last three years; and artist collaborations, including Doechii, GloRilla, and FLO. Achieving major global sync placements and growing their presence in Asia by 40% are also among the partnership’s successes. The Lilly Raye management team also continues to make waves behind the scenes, contributing to breakout successes for artists like Ayra Starr, Cian Ducrot, RAYE, and Renee Rapp. “We’re delighted to renew our deal with Warner Chappell, which has expanded so much in scope over the past few years,” said Edward Matthew and Justin Martinez. “Connecting creative talent across three continents is as exhilarating and inspirational as ever, and Warner Chappell’s combination of global firepower, local knowledge, and cultural curiosity makes it an essential partner for us.” “I’m so pleased that we’re renewing our collaboration with Edward, Justin, and the whole Lilly Raye crew,” added Lars Karlsson, Managing Director, Warner Chappell Music Nordics. “They bring a passion and an energy to their work that is unrivalled, and they have an uncanny ability to spot talent and partner compatible creatives together.” Guy Moot, Co-Chair and CEO of Warner Chappell Music, concludes, “We’re built a really solid relationship with Edward and Justin over the past few years. I trust their A&R instincts and their strategic nous. They have an infectious enthusiasm for forging cultural connections between writers and producers from different parts of the world. The amazing results speak for themselves, so I’m excited that we’re extending our partnership.” View the full article

You’ve sung this one. I know you have. Yes, I know I’m arriving a bit late to the party, but I can’t let more time go by without me letting you know about this piece of news. Ferry Corsten, the legend of Dance music, revisited one of his many magical aliases from yesteryear, Gouryella, for its second vocal track, ever, ‘Marama (Moon & Stars)‘. The single marks Gouryella’s twenty-fifth anniversary, an occasion Corsten commemorated at the twentieth anniversary of Transmission Festival. The name “Marama”, which translates to “moon” in Māori, offers a poetic and moving journey that intertwines cosmic imagery with human vulnerability. Featuring a captivating vocal performance from Saskia Lie Atjam, ‘Marama’ upholds Gouryella’s legacy of harmonising melody, feeling, and significance with a distinctive outer space feel. We’re so happy to see the Gouryella moniker pop back up on our radars, and with a track that sounds so reminiscent of the Gouryella we all know and love. PS: If you were a fan of Way Out West’s ‘The Gift’ from 1997, this one will be a warm and friendly throwback… Listen to Gouryella‘s brand-new ‘Marama (Moon & Stars)’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry. The post Ferry Corsten Revisits Mythical Gouryella Alias For ‘Marama (Moon & Stars)’ appeared first on EDMTunes.

Following their collaborative hit ‘Cheatcode,’ which has already amassed over 12 million streams on Spotify, Hairitage and Black Tiger Sex Machine have reunited to detonate another sonic bomb: ‘Ricochet.’ This highly anticipated track is their brutal follow-up forged in the intense mashup between their two dubstep styles. The track is out now via Kannibalen Records. From its opening moments, ‘Ricochet’ builds a palpable cinematic tension, a coiled spring ready to unleash havoc-wreaking drops and earth-shattering low-end frequencies. It’s a seamless fusion of BTSM’s signature cybernetic heaviness and Hairitage’s raw, unfiltered intensity. Hyro The Hero lends his bold vocals on this one, packaging the track to be a lethal dancefloor weapon. About BTSM Over the years the Canadian group Black Tiger Sex Machine have established themselves as key figures in the bass music scene. Along with their music BTSM pushes the boundaries of what a live show can be, implementing an extremely immersive experience where visuals, lights, music and their signature Tiger Helmets are all controlled live. Their grassroots approach has fostered an extraordinarily faithful fan base called the BTSM Church. BTSM are world-traveling artists having played hundreds of international shows across the US, Canada, Asia, Europe and Africa, as well as major festivals including Lollapalooza Chicago and Paris, EDC Las Vegas, Shambhala, Electric Forest, Osheaga, TomorrowWorld, Ultra and more. Their Futuristic Thriller Tour debuted the Movie Experience, which wove live action cinema and storytelling into their show. The following year, BTSM shared Chapter 2 through an equally impressive tour. The entire Movie Experience sold out at such venues as Bill Graham, Red Rocks and more. About Heritage Hairitage has established himself as one of the most recognizable spectacles in dubstep. Since his breakout single “The Movement,” Hairitage has consistently delivered massive tracks in collaboration with esteemed labels such as Kannibalen Records, Monstercat, Deadbeats, Never Say Die Records, and more. He solidified his place in the scene with the chart-topping “40 Cal” on Never Say Die Records, which has racked up over 25 million Spotify streams since 2019. What sets Hairitage apart is his refreshing blend of hip-hop and bass, resulting in intense yet colorful compositions that have captivated audiences. His collaboration with Shaquille O’Neal (DJ Diesel) on “BANG YOUR HEAD” became a festival anthem in just a month, grabbing over 8 million streams on Spotify – and counting. Hairitage boasts a dedicated fanbase of 350K monthly listeners and millions of streams worldwide on tracks like “Cheatcode” and “Hustle.” He’s also known for his many viral remixes, including Gorillaz’s “Feel Good Inc” and “Paul’s Dream” from the Dune Soundtrack. The post Black Tiger Sex Machine and Hairitage Unleash Relentless Dubstep Fury with ‘Ricochet’ appeared first on EDMTunes.

Ace Agency has announced the addition of DVBBS to its artist roster, representing the Canadian electronic music duo worldwide. With a string of Platinum-certified hits including “Not Going Home,” “IDWK” and “Tinted Eyes,” DVBBS have firmly established themselves among Canada's most successful dance music exports. The signing marks a new chapter for the globally recognized brothers, Chris and Alex van den Hoef, as they continue to evolve both creatively and professionally. Hailing from Toronto, DVBBS skyrocketed to international acclaim with their 2013 smash hit "Tsunami," a track that became one of the defining anthems of the big room house era. While their fame initially blossomed via big room productions, they have experimented with different sounds over the years, touching upon genres like trap, future bass and house, among others. Their accolades include four Juno Award nominations alongside high-profile collaborations with artists ranging from Martin Garrix and Galantis to Wiz Khalifa and 2 Chainz. Known for their high-energy performances, DVBBS have played over 1,000 shows in more than 75 countries, including headlining slots at world-renowned festivals like Tomorrowland, EDC and Ultra. Follow DVBBS:X: x.com/dvbbs Instagram: instagram.com/dvbbs TikTok: tiktok.com/@dvbbs Facebook: facebook.com/dvbbs Spotify: tinyurl.com/yc48twem

Kieran Hebden, more commonly known as Four Tet, has teamed up with guitarist William Tyler to reveal a new album, 41 Longfield Street Late '80s, due out in September. The album's announcement came via social media, where Hebden shared that the pair began recording over three years ago during sessions in Los Angeles. Alongside a collection of studio photos, he announced that the first single, a cover of Lyle Lovett’s "If I Had a Boat," is out now. View the original article to see embedded media. The project brings together two distinct musical voices, pairing Hebden’s textured production with Tyler’s expressive guitar work to explore new territory. Tyler, who previously played in Lambchop and Silver Jews, has since built a solo career defined by his contemplative blend of ambient folk and instrumental Americana. He finds an unlikely yet fluid match in Hebden’s ever-evolving palette. Hebden said the albums primary influence was he and Tyler "discovered a shared deep connection to ‘80s American country and folk music—artists like Lyle Lovett, Nanci Griffith, and Joe Ely." "I think we both in our own specific ways want to recontextualize a lot of music that we grew up with, regardless of the genre, and I think that’s what this album reflects," Tyler added. "It’s a lot of nostalgia but it’s also very forward focused. I don’t even know what genre I’m supposed to be in at this point, but I trust Kieran and I love what we’ve done together. He’s become a dear friend and I can’t wait to see what’s ahead for us." The lead single offers the first look into that world. Their take on "If I Had a Boat" trades Lovett’s country tone for something more atmospheric and spacious. Tyler’s guitar takes the lead while Hebden surrounds it with ambient textures that slowly stretch and reframe the song’s emotion. You can listen to "If I had a Boat" below and pre-order 41 Longfield Street Late '80s here. Follow Four Tet:X: x.com/fourtet Instagram: instagram.com/fourtetkieran Facebook: facebook.com/fourtetkieran Spotify: spoti.fi/37kV2Id

Photo Credit: Chief Fashionista / CC by 2.0 Young Thug has ignited controversy over his take on Kid Cudi’s testimony during Diddy’s sex trafficking and racketeering trial in New York. The Atlanta rapper posted “Dam cudi a rat lol” on X/Twitter shortly after Kid Cudi’s appearance in court. The rapper quickly deleted the message, but it has sparked controversy in the hip-hop community over the ethics of testifying in criminal cases involving fellow artists. Kid Cudi—real name Scott Mescudi—took the stand yesterday to deliver testimony about Diddy’s actions. Prosecutors believe Cudi’s testimony was necessary in seeking to establish a pattern of violence and intimidation by Sean ‘Diddy’ Combs. During his testimony, Cudi spoke of several events involving the rap mogul. He testified that in 2012, his Porsche was destroyed in a Molotov cocktail attack that he believed to be a warning from Diddy. Cudi says the warning was due to his brief relationship with Cassie Ventura, Diddy’s ex-girlfriend and another witness at the trial. Kid Cudi described receiving a call from his dog sitter about the car being on fire and later saw photos showing the top of the Porsche had been cut into for the Molotov cocktail to be placed. Cudi also alleges that Diddy broke into his Los Angeles home in 2011 after discovering that Cudi was dating Cassie Ventura. During that break-in, Cudi said his dog was confined to the bathroom and Christmas presents were left opened in the kitchen. Young Thug’s ‘rat’ comments underscores ongoing tensions in the hip-hop community over the code of silence and what is perceived as ‘snitching.’ The rapper himself was recently released from prison after a RICO case and has previously criticized artists who co-operate with the authorities in any capacity. Young Thug also criticized fellow rapper Gunna for co-operating with authorities during the YSL RICO case, in which Gunna accepted a plea deal. View the full article

Photo Credit: Billy Joel by slgckgc / CC by 2.0 Billy Joel cancels all scheduled concerts in North America and England due to a diagnosis of a brain disorder, normal pressure hydrocephalus (NPH). Billy Joel has been diagnosed with normal pressure hydrocephalus (NPH), a brain disorder in which excess fluid accumulates in the brain’s ventricles. As a result, the star has cancelled all concerts on his itinerary—17 shows in total, across stadiums in North America and England. “I’m sincerely sorry to disappoint our audience, and thank you for understanding,” said Joel, whose last concert took place on February 22 in Connecticut. Near the end of the performance, after throwing his microphone stand to a crew member, Joel fell flat on his back. But he quickly stood up and was able to finish the set. A month later, he announced that he was taking a four-month break from touring due to a “medical condition” that he said required surgery and physical therapy. Joel planned to return to the stage on July 5 in Pittsburgh. “While I regret postponing any shows, my health must come first,” he said in a statement at the time. “I look forward to getting back on stage and sharing the joy of live music with our amazing fans. Thank you for your understanding.” It’s unknown if his medical issues at the time were related to his NPH diagnosis, though that seems likely. NPH affects around 0.2 percent of people in their seventies (Joel is 76), and can cause walking issues, bladder control issues, and cognitive problems. Most commonly, it’s addressed with a surgery where a device is implanted to remove the excess fluid. “This condition has been exacerbated by recent concert performances, leading to problems with hearing, vision, and balance,” his team explained in a statement. “Under his doctor’s instructions, Billy is undergoing specific physical therapy and has been advised to refrain from performing during this recovery period. Billy is thankful for the excellent care is he receiving and is fully committed to prioritizing his health.” Normal pressure hydrocephalus (NPH) “can affect several brain-related abilities, including thinking and concentrating, memory, movement, and more,” reads a description from the Cleveland Clinic. “The symptoms of NPH look very much like those of dementia, but NPH is sometimes reversible.” “NPH is unusual among dementia-like conditions because it’s often reversible,” the clinic explains. “However, the chances of reversing this condition are highest with early diagnosis and fast treatment. Delays in diagnosis and treatment make it more likely that the damage to your brain from the pressure will be permanent, severe, or both.” Billy Joel finished his decade-long residency at Madison Square Garden in July last year. Afterward, he continued to tour across America and England with around two shows a month. View the full article

Fired Copyright Office head Shira Perlmutter, who’s challenging her dismissal in a lawsuit. Photo Credit: USCO Axed Copyright Office head Shira Perlmutter is suing the Trump administration over her “blatantly unlawful” dismissal – and seeking, among other things, a court order allowing her to remain in the post. Perlmutter submitted that straightforward complaint yesterday, after she was fired as Register of Copyrights earlier in May. One component of a wider Library of Congress and Copyright Office showdown – more on this in a moment – Perlmutter’s ordered exit arrived days following the firing of Librarian of Congress Carla Hayden. In turn, Deputy Attorney General Todd Blanche (one of multiple defendants in the action) was named as Hayden’s replacement on an acting basis. From there, as described by Perlmutter’s action, Blanche “sent two Justice Department officials to the Library of Congress” to begin as the acting Deputy Librarian and acting Register. Specifically, those DOJ officials are Associate Deputy AG Paul Perkins, tapped to serve as the acting Register of Copyrights, and Blanche’s Deputy Chief of Staff, Brian Nieves (acting Deputy Librarian). But as the plaintiff sees things, President Trump doesn’t have the “authority to name a temporary replacement Librarian of Congress, much less name a high-ranking DOJ official whose presence offends the constitutional separation of powers.” “In short, the President’s attempt to name Mr. Blanche as acting Librarian of Congress was unlawful and ineffective, and therefore Mr. Blanche cannot remove or replace Ms. Perlmutter,” the filing party summed up of her position. Meanwhile, though Perlmutter’s complaint contains several requests for relief, the most noteworthy is that mentioned above, concerning her staying aboard as Register. The court should “[e]nter a preliminary and permanent injunction ordering that Plaintiff Shira Perlmutter may not be removed from her office as Register of Copyrights and Director of the U.S. Copyright Office,” the legal text spells out. Regardless of how Perlmutter’s legal challenge unfolds, it’s safe to say that the broader battle for Copyright Office control involves more than a few moving parts. In its latest weekly report, DMN Pro broke down the multifaceted situation, which is still replete with unknowns when it comes to policy and, in turn, the optimal approach to lobbying. Besides the legal questions (and lawsuit) surrounding the shakeup, it remains to be seen whether the aforementioned DOJ officials will stick around in their new posts or soon make way for non-acting replacements. The timing here is certainly important. Despite the widespread idea that “tech bros” facilitated the Copyright Office and Library of Congress overhaul – Perlmutter’s firing directly followed the release of an AI training report – evidence suggests that the acting replacements are hardly Big Tech proponents. View the full article

We’ve got a reimagined gem for you today. Talk about a song full of history today! Toolroom‘s latest will have you reminiscing about yesteryear this time. They always deliver, but this time they brought out the big guns for a combo designed to mark the dancefloor: Sara Parker‘s rendition of a 30-year-old classic, icon Eats Everything, and irresistible beats. ‘My Love Is Deep‘, a timeless composition originally released in 1995 on the Sharp Boys’ own ‘Sharp Recordings’ imprint, took the scene by storm back then — and Eats Everything and Sara Parker aim to achieve the same level of engagement three decades later. The original track’s enduring legacy is inextricably linked to the late, venerated DJ Tony De Vit, who famously championed it on the dancefloor of London’s Trade nightclub. Fast forward to the present, and the iconic track receives a scorching “Reebeef”. This reimagining arrives hot on the heels of Eats’ debut album, We Lost Ourselves and Found A Family, released in March 2025. With 15 years of experience, Daniel Pearce, the man behind the alias, he has garnered widespread acclaim for his adaptable productions and electrifying DJ sets, which showcase his broad musical spectrum that encompasses House, Bass, and Tech House. Listen to Eats Everything’s Reebeef of Sara Parker’s ‘My Love Is Deep’, by hitting the ‘Play‘ button on the Spotify player below. 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 Eats Everything Masterfully Revamps Sara Parker’s ‘My Love Is Deep’ appeared first on EDMTunes.

Here are two tracks to kick off your weekend in style. Ibiza’s beloved DJ collective, Melon Bomb, is reaching a new summit this year, with the launch of their very own imprint, Melon Bomb Records. The new label is set to officially drop on May 30th, coinciding with the group’s 10th anniversary to the day, marking a decade spent cultivating some of the island’s most iconic dancefloors. The inaugural release on Melon Bomb Records will be a two-track EP, whose A-side is appropriately titled ‘Sunshine‘, and it also happens to be the collective’s debut single. The track serves as a heartfelt tribute to the White Isle’s inviting weather, warmth and vibe. Meanwhile, the B-side, ‘Underground‘, is meant to resemble the collective’s late-night vibe. This release is particularly timely, since it’s one of the first events the Isle is having this year, just after the International Music Summit, and ahead of the summer season. On a more personal note, ‘Sunshine’ is pure bliss, even though both releases are great, the A-side is just so radiant and full of joy, I’m loving it. Starting a label just made sense for us. We’ve always done things our own way, and this is a chance to keep that going — making and releasing music that feels right, without overthinking it. It’s just about good tunes, good people, and keeping the vibe alive. -Melon Bomb In addition to the label launch, Melon Bomb is embarking on a fresh series of residencies for 2025. They’re making a welcome return to their spiritual home at Pikes and are set to kick things off with a highly anticipated set at the Hï Ibiza opening party. Listen to Melon Bomb‘s debut release, the Sunshine EP, by hitting the ‘Play‘ button on the Spotify player below. 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 Melon Bomb Unveil New Label Honouring A Decade Of Ibiza Influence appeared first on EDMTunes.

Words by Alex Lambeau, Zach Salafia, and Ross Goldenberg. Alison Wonderland – Get Started (Mary Droppinz Remix) Mary Droppinz has returned to the release radar with her signature brand of bass music, this time offering an undertaking of Alison Wonderland’s “Get Started.” The remix from the Dancing Astronaut Artists to Watch in 2025 arrives just ahead of her set at Lightning in a Bottle, where she plays the Thunder stage just two years after serving as a stage opener at the very same festival. Arcando & A Little Sound – Stars Arcando’s upholding of his Dancing Astronaut Artist to Watch in 2025 status has been well documented over the past five-plus months. Following the official release of his “Limitless” drum ‘n’ bass reimagining, Arcando has returned with his fourth offering of the year in “Stars,” teaming up alongside UK talent A Little Sound for something on the slightly more lighthearted side of the drum ‘n’ bass spectrum. ATFC & Lisa Millett – Bad Habit (Clüb De Combat Remix) Clüb De Combat — the second of Dancing Astronaut‘s Artists to Watch in 2025 releasing this week — have reimagined ATFC and Lisa Millett’s iconic 2000 Defected release, “Bad Habit.” Channeling classic house with a contemporary edge, the remix originally gained traction after Solomun, Four Tet, Chloe Caillet, and Mau P closed Ultra’s Resistance stage with it. And the duo’s remix marks a bold new chapter in the legacy of “Bad Habit,” blending a throwback temper with modern production muscle. Hayden James & AR/CO – We Could Be Love (Rivo & Mark Hoffen Remix) Rivo — the fourth and final release Dancing Astronaut‘s Artist to Watch in 2025 to appear on this week’s release radar — joins Mark Hoffen on a remix of Hayden James and AR/CO’s standout single, “We Could Be Love.” Rivo originally burst on to the scene in 2023 with his afro-house rendition of Disclosure’s “You & Me,” which exploded across the social media landscape and made waves in the club and festival circuit alike. And on the live side, the Parisian producer has an upcoming date with Eric Prydz as part of his residency at Ibiza’s newest club, UNVRS. Blonde Maze – Second Sight New York-based producer Blonde Maze has delivered her sophomore album Second Sight via Enhanced Chill, showing off her signature blend of indie-electronic and melodic bass soundscapes. The 10-track LP tells a cohesive story evoking feelings of heartbreak, clarity, and catharsis, featuring collaborations with Lizzy Land, Polar Inc., Attom and more. OCULA & Syon – Where You Are If we’ve said it once, we’ve said it a million times: OCULA is physically incapable of producing a forgettable song. After a pair of This Never Happened releases to start the year, OCULA has returned to Lane 8’s home with “Where You Are” alongside Syon. Having initially come across Syon’s vocal and instantaneously falling in love with it, OCULA continues to stretch his ever-expanding production depth within melodic house. LAYZ & Calcium – LIGHTS OUT What started as a weapon of a live opener — dating back to LAYZ and Calcium‘s debut back-to-back sets at Rampage Belgium and Tomorrowland in 2023 — has now received an official release under the title of “LIGHTS OUT.” After seeing fans’ reaction — both at shows and online clamoring for the tracks release — the duo knew they had to finish the hard-hitting dubstep crossover. And two years after its initial debut, “LIGHTS OUT” has officially landed on streaming platforms. OMNOM & Marco Strous – Everyone’s Your Friend OMNOM and Marco Strous have been behind a highly anticipated ID over the past few months, and have now turned in their new single, “Everyone’s Your Friend.” The Insomniac Records-backed release brings together two standout talents in today’s house music landscape in OMNOM — the Los Angeles native known for his distinctive sound design — as well as Marco Strous, an artist whose sound reflects both his Portuguese-Dutch roots and international influences. Backed by Insomniac and arriving just a week removed from the former’s EDC Las Vegas appearance, the release taps into a more unconvential side of house that’s defining the genre’s path forward. Featured image: Envision/IG The post Dancing Astronaut’s New Music Friday: Mary Droppinz, Clüb De Combat, Blonde Maze, and more (May 23, 2025) appeared first on Dancing Astronaut.

Spotify’s leadership continues to cash out significant amounts of company stock, with co-founder Martin Lorentzon recently selling more than $665 million worth of shares in a single transaction. Despite more than $2 billion already sold by insiders, executives and board members are still offloading their Spotify holdings. Lorentzon Joins $1.8 Billion Insider Selloff Trend With Over $1 Billion in Recent Stock Sales The recent stock sales were disclosed in regulatory filings, confirming Lorentzon’s divestment from Spotify (NYSE: SPOT). These transactions are part of a broader trend of insider selloffs, which have continued even as Spotify shares reached an all-time high of $669 earlier this week. According to analysis by DMN Pro last month, Spotify insiders — including top executives and board members — have collectively sold around $1.8 billion worth of stock. Most of these sales have occurred during the stock’s recovery since its sharp drop into the $70s range in 2022, with activity concentrated in 2023, 2024, and so far in 2025. Lorentzon’s latest selloff began on May 16, when he sold 11,275 optioned shares for approximately $7.31 million, according to filed documentation. Though significant, this sum was dwarfed by a much larger transaction just days later. On May 21, Lorentzon, through his investment entity Rosello Company, sold founder’s shares valued at $658.61 million. Together, both transactions total $665.92 million in stock sales. When combined with another major selloff in November 2024 — also via Rosello and totaling $384 million — Lorentzon has liquidated over $1 billion in Spotify stock within the past six months. Spotify Stock Soars Despite Executive Selloffs — What Do They Know That We Don’t? These ongoing insider sales have sparked speculation. Chief among investor concerns: Do these Spotify insiders know something that the general market does not? There’s no clear answer, and for now, speculation remains just that. Despite the selloffs, market sentiment has held steady. At the close of trading yesterday, Spotify stock stood at $636.75 per share — off the recent peak but still 113% higher than it was in late May 2024. Spotify’s recent stock surge has been driven by its push to grow its subscriber base, reduce operational costs, and improve profitability. While the platform has introduced new features, its core model hasn’t changed dramatically from when its valuation was much lower. With analysts tying optimistic forecasts to continued growth in paid subscribers, the key question going forward will be how Spotify’s user numbers hold up in Q2 2025. The post Spotify Executives Continue To Sell Shares — Co-Founder Martin Lorentzon Unloads Over $665 Million In One Go appeared first on EDMTunes.

A former Westminster, California police officer is facing 16 felony charges after she was seen partying at a music festival despite claiming a debilitating head injury left her unable to work, according to press release issued by the Orange County District Attorney's Office. From 2022 to 2023, Nicole Brown allegedly attempted to bilk the California’s workers’ compensation system out of $600,000, citing a diagnosis of "severe concussion syndrome" sustained in the line of duty. She complained of various ailments like headaches, dizziness and an inability to work on the computer. But her dance moves told a different story. Fellow attendees of Goldenvoice's Stagecoach Festival, a number of whom knew Brown was off work on Total Temporary Disability (TTD), saw her drinking and dancing her way through the event in April 2023 before reporting their findings to the Westminster Police Department. A subsequent investigation revealed Brown's romp through the Empire Polo Club—where Goldenvoice's Coachella festival also takes place—wasn't her only activity during her time off. She also allegedly visited Disneyland, ran in a pair of 5k races and went skiing. According to the Orange County District Attorney's Office, Brown has been charged with nine felony counts of making a fraudulent statement to obtain compensation, six felony counts of making a fraudulent insurance benefit claim, and one felony enhancement of committing an aggravated while collar crime over $100,000. She faces a maximum sentence of 22 years in state prison.

Calussa unveils a new label, NUSONIDO, signaling more than a sonic shift—it’s a reset after the creative limits of Hurry Up Slowly. The Miami-based duo, made up of brothers Andrew and Gino Gomez, built their name by blending Afro and Latin rhythms with global house grooves. But success brought constraints. Over time, their label no longer reflected their evolving identity. In this EDMNOMAD exclusive interview, we speak to Calussa about the future of new sound under NUSONIDO. Calussa Curates New Sound Without Closing Doors via NUSONIDO The duo, Calussa didn’t just want a new label—they needed a new mission. After years building Hurry Up Slowly into a respected name, they found themselves outgrowing its structure. Their sound had shifted, their energy had evolved, but their label no longer reflected that change. NUSONIDO was born from that tension: a bold return to instinct, freedom, and full creative alignment. “We had events that did not completely revolve around the label and the label artists,” the duo admits. “Now we really want our showcases and events to revolve around the artists releasing on our label.” For Calussa, NUSONIDO became a vehicle to get back to their purpose. “It became clear we were boxed into one ‘genre’ when we started to feel that our own records did not fit our own label,” they explain. “Considering how much time and energy we put into Hurry Up Slowly and the amazing ecosystem we helped build, it was not an easy choice. But we felt our heart and soul were somewhere else.” Rather than committing to a single genre, NUSONIDO opens the door to new rhythms, textures, and eras. Afro House remains foundational, but no longer defines the label’s boundaries. “Afro House is definitely still deeply rooted inside us,” the brothers share. “However we’re just finding ways to take elements from it and merge with the new sound we’re into.” This new direction begins with the White Tiger EP, created with Ben Miller, part of Chris Lake’s creative circle. The project draws inspiration from early 2000s house and reflects the polished, percussion-heavy identity that will define NUSONIDO’s catalog. “These tracks show the side of us we want people to hear more of,” they add. Built for clubs, not categories, the label reflects Calussa’s refusal to be musically boxed in again. The Machine Behind the Music Launching a label is one thing. Running it at the pace they’re aiming for is another. Calussa plan to move toward a weekly release schedule, an ambitious timeline that requires more than passion. “Getting to a point where you are releasing music weekly definitely takes a well-run system and team behind it,” Calussa explains. That momentum comes from experience. “We are lucky that from years of running another label we understand how important it is to have a dependable and experienced team to be the backbone of the engine,” they say. “That way we can focus on purely signing bangers and quality music without getting too stressed in the nuances of the daily label management.” With a team they trust, Calussa can zero in on A&R and artist development. “We have an all-star team we have assembled for this NUSONIDO and they are ready to absolutely crush it.” NUSONIDO: Global Vision, Local Roots While Calussa has foundations rooted in Miami, NUSONIDO was designed with a global ear. The brothers have always believed their music spoke to international audiences. “Honestly, while being rooted in Miami, I have always felt our music was global and attracted a lot of different audiences,” the duo reflects. The new label aims to make that global vision official. “We aren’t just ‘one thing’ or ‘one sound.’” Their approach to curation is equally intentional. Not every track makes the cut. “Even if we think a track is a banger, if it does not match with the palette we are creating, it is a pass,” Calussa echoes. But when a track fits, they go after it. “There are some records we have hunted down and signed by some of our favorite producers that specifically fit the new label sound and cannot wait to share them with everyone.” Staying Grounded, Building Meaning Behind the scenes, Calussa’s growth has been shaped by the humility of their peers. “Hanging out with artists that we look up to and just seeing how passionate they still are and how they help mentor/grow other artists,” the Miami duo shares. That passion fuels their perspective and deepens their approach to leadership. Success, for Calussa, doesn’t hinge on the metrics most labels chase. “Success is actually the hardest thing to gauge in this industry and I think it’s actually something that is internal,” they reflect. What matters more than numbers is resonance. “For us, I think success is being able to move crowds in any given market of fans that are there to listen to your music.” For NUSONIDO, meaning will always matter more than hype. Setting the Record Straight, Then Setting the Standard NUSONIDO gives Calussa a platform wide enough to hold all their influences. It also clears up a common misconception. “It would go back to the perception that we are only ‘one thing,’ whether people think that’s Afro or even Latin,” Calussa explains. “Our range of music is so wide and we have inspirations from all forms and genres of music.” Their long game isn’t about fleeting trends. It’s about endurance. “Five years from now I want NUSONIDO to be one of the only labels that can take you through generational eras of sound through timelessness,” Andrew and Gino share. With a clear identity and a restless drive NUSONIDO is already on that path. The White Tiger EP by Calussa & Ben Miller is out now on all platforms via NUSONIDO. This is the first step in a long game—and one that promises to keep evolving. The post NUSONIDO Isn’t Just Calussa’s Next Chapter—It’s The Whole Story Now appeared first on EDMNOMAD. View the full article