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After a transformative period of creative reinvention, Florian Picasso, founder of Dekadance, releases his second EP of the year. After a highly anticipated return with his Hi Heels EP in April, Picasso brings out a three-track EP. It ought to bring the highest vibes this Summer. Thus, the great-grandson of Pablo Picasso releases the Booty EP. It is available on Solomun’s highly coveted label Diynamic. Booty EP The title track ‘Booty (Riviera Mix)’ starts off the EP with a heavy and funky bassline. The heavily analog vocals give out a retro feeling. Alongside the acid elements of the track, all the elements exhale a warm yet dark and vintage-esque breath into the song. The grooves continue with the next song ‘Karaoke Corner (Riviera Mix)’. The track is a sexy and dark psychedelic trip. From echoes and stutters to harder synths and wonky percussion. Funny enough, the track has similar elements to the ‘Monster Mash’ by Bobby “Boris” Picket. Lastly, ‘Till I’m Dead (Riviera Mix)’ completes the EP. With even heavier kicks and distortions, the song balances out the darker tones with higher-pitched vocals. Not only are all three tracks unique and twisted in their own way, but they deliver finesse and cohesiveness. This is within the auditory artwork of Florian Picasso. Florian Picasso Florian Picasso is an enigmatic DJ with an artistic vision. His knack for curation is poised to become a reference point in the cultural lexicon. As the great-grandson of Pablo Picasso, he carries a legacy of creativity. However, it’s his own sound that’s making waves on the global stage. A DJ and producer with nearly two decades of experience, Florian is now experiencing a bold resurgence in the electronic music world. His recent highlights include a standout performance at Berlin’s iconic HÖR, a packed show at ADE with his music and arts collective Dekadance, and curating the sound and mood for Patek Philippe’s first watch launch in 25 years. These milestones mark just the beginning of what promises to be a defining chapter in his career. Florian’s new sound is as complex as his background — a mix of groovy, bouncy, and hard-hitting beats that reflect his passion for both spontaneity and introspection. His music is sexy and euphoric, while also deeply vulnerable and expressive. This unique blend of emotions is rooted in his journey: raised in a world of privilege and art, but as an adopted child, he also struggled with feelings of belonging. DJing became a way for Florian to process these emotions and channel them into music. His music speaks to both the mind and the body. Shake what your mama gave you this summer, and listen to the Booty EP here: The post Florian Picasso Provides Delightful New ‘Booty’ EP appeared first on EDMTunes.

To mark this year’s GeoGuessr World Championship, online beat battle platform Audeobox is hosting a unique remix competition in partnership with GeoGuessr and FL Studio – and the top prize is an official Universal Music Group release. The Remix Challenge invites producers from across the globe to flex their creative muscles and rework the GeoGuessr World Championship’s 2025 anthem, Legendary. The winner will not only get a major label drop, but they’ll be able to head to the championship finals, taking place between August 29-30 in Copenhagen. READ MORE: “There’s a terrible housewifely tidiness”: Why Brian Eno thinks there’s too much “fiddling” in modern music production Budding producers will be able to download stems of the championship anthem, which was originally performed by Mapei and written by Niki & the Dove and produced by YARO. The top three tracks will all receive one year of FL Cloud Pro, GeoGuessr merch and a Pro Subscription, as well as an Audeobox subscription, a unique badge, and loot cubes. The prizes then vary, with third place set to receive FL Studio Producer Edition, while second place will get FL Studio’s Signature Bundle. First place will receive FL Studio’s All Plugins Edition – as well as the all-expenses-paid trip to Copenhagen, of course. Entering is free – all you need to do is create an Audeobox account and download the official World Championship Anthem Stems. Once you’ve reworked Legendary into your own legendary mix, you’ll have to submit your remix through the official GeoGuessr Challenge page. The submission deadline is June 15, with voting opening to the public the next day. Voting will run for a month, closing on 16 July. While GeoGuessr started out as a quaint browser game back in 2013, this year will be the game’s third annual championship. The team are keen to utilise GeoGuessr’s global platform and offer a hopeful producer the chance of a lifetime. “GeoGuessr has always been more than just a game – it’s a global culture powered by an incredibly creative community,” Mikael Falgard, Head of Esports at GeoGuessr, tells EDM. “By partnering with Audeobox, we’re inviting remixers worldwide to put their own spin on our anthem and become part of this championship moment. We’re excited to hear the sounds our community creates.” Head to the official Remix Challenge page to find out more. Submissions close on 15 June. The post Win this remix contest and you’ll get your music released through UMG appeared first on MusicTech. View the full article

Pop artist Ellie Dixon uses everyday items found within the home to create her tracks, from chopsticks to microwave doors. Appearing on the latest episode of the My Forever Studio podcast – made in partnership with Audient – she reveals how doing so helps to keep her set up cheap and cheerful. Dixon has amassed millions of streams, and one of her most popular songs, Green Grass, utilises the sounds of wooden spoons. As a self-producing artist, she makes a lot of songs right from her own bedroom, and experiments with clutter lying around on her desk. READ MORE: My Forever Studio: Ellie Dixon is banned from Currys She explains, “I’m someone that wants something instantly, so I’m not waiting to program a synth or order some percussive thing. I can make that [sound], and I want to make that in the next two minutes because I’ve got an idea, or I’m making it with my mouth.” Asked what weird samples have snuck into her tracks, she replies, “My favourite is if you slam a microwave door – unbelievable snare sound, so good. You get such a slam, like you know how microwaves just always sound pretty violent? These natural sounds, they have so much natural variation, there’s this imperfection that I think we’re really drawn to as imperfect beings. “When there’s this mass draw to something, it’s normally quite an imperfect human aspect of it that we love, and [going] back to the psychology of music, I think our brains are very clever… If you manipulate a natural sound I think your brain can still tell it came from something natural.” Dixon adds, “Even if you’re not consciously making that connection you’re just going, ‘Oh there’s something about this that I like.’ And if you hear these everyday sounds that you hear in your world buried in music, I think it feels very familiar and homely.” Host Chris Barker suggests it can be dangerous however, because when people know a sound is made in this way, they can never un-hear it: “Yeah, you’ve got to be careful about the information you share,” says Dixon You can check out the full episode of My Forever Studio below: Ellie Dixon heads out on tour this September. You can grab tickets to see her via her official website. The post “I’m not waiting to program a synth… I can make that sound”: How Ellie Dixon samples everyday objects to keep her set up low-cost appeared first on MusicTech. View the full article

Label boss HI-LO unveils his first solo release of 2025 with ‘United In Trance’, out June 6 on his imprint, HILOMATIK. Following a massive start to the year with ‘INFERNO’ (with KASABLANCA), ‘Born To Love’ (featuring Sarah de Warren) on HILOMATIK, and ‘Work That Body’ (with Temper) on Armada, the Dutch producer returns to the spotlight with a driving, euphoric techno-trance fusion that showcases the full force of his musical vision. Debuted at Ultra Music Festival and supported by Armin van Buuren, Afrojack, Eli Brown, and KSHMR, ‘United In Trance’ is a full-throttle, peak-time anthem that blends HI-LO’s signature techno power with the emotive textures and uplifting spirit of trance. Building on the genre-blurring momentum seen in his Oliver Heldens DJ sets, the track embodies a unifying sound that connects both of his musical personas in a bold new way. When I started this track during ADE week in 2023, I just wanted to make a full-on Trance anthem for my Oliver Heldens alias, but as I was developing the idea, it became more of a HI-LO techno trance banger. Trance music has served as a bridge between the two projects over the last few years; it’s something that unites them, especially in my versatile, higher-energy Oliver Heldens sets. That’s why I called this track ‘United In Trance’. The reactions on the track have been amazing in both my HI-LO and Oliver Heldens sets in completely different contexts, so I’m very excited for this one to be finally released! HI-LO Already generating major buzz in his recent live sets and across global dancefloors, ‘United In Trance’ marks another high-impact release from one of electronic music’s most versatile and forward-thinking artists. “United In Trance” is available June 6 on HILOMATIK. The post HI-LO – United in Trance appeared first on EDMTunes.

Gadhouse has launched a new vintage-inspired turntable named HENRY, offering a blend of both “nostalgia and progress”. Accompanied by two bookshelf speakers, a crystal clear lid, and a unique slipmat, the sophisticated HENRY turntable is now available in Ebony or classic Mahogany, and is marketed as the cool uncle of the Gadhouse product range. READ MORE: Audio Technica’s $10k Hotaru turntable spins your records on a floating, light-reactive platform Gadhouse describes HENRY as the music aficionado’s turntable and speaker set. It supports “seamless” digital streaming, and features Bluetooth connectivity, a 60W speaker, and an Audio Technica T3600L cartridge. It offers a low noise design system, a speed selector for 33 ⅓ and 45RPM records, plus USB encoding for recording your vinyl. “When Henry shows up to Gad’s House, all eyes are on him. He’s sophisticated, effortlessly charming, and timelessly stylish,” says Gadhouse. “Timeless is the way Henry lives. Loved by every Gadhouse member for [the] reason that he never goes out of style. “For every morning meeting, he confidently chooses the ebony suit that gives him composure and a sharp professional edge. On warm weekend afternoons, Henry often plays jazz from his vinyl collection, sharing stories from the past with the little ones gathered around. With a mahogany pipe in hand, he’s the dream uncle, effortlessly cool and full of rich, deep character waiting to be discovered.” Earlier this year, Gadhouse launched its COSMO Solar turntable range, with a clear-tech, Y2K aesthetic. The new additions to the lineup were first revealed during CES 2025 back in January, and come in three cosmic-inspired lid colours including Venus Red, Jupiter Green, and Neptune Blue. The COSMO Lucid White also made a return, known for its plain, transparent design to match any style. The HENRY turntable will begin shipping from 16 June. It is priced at £275, and you can order it now directly from Gadhouse. The post Gadhouse’s vintage-inspired HENRY turntable offers “the perfect combination of nostalgia and progress” appeared first on MusicTech. View the full article

Taking over the birthplace of techno next month, Red Bull's "B2B" event series is officially touching down in the US for the first time. The one-night-only club concept is set to land July 11th at Detroit's historic Majestic Theater, bringing a genre-defying lineup and a unique format that places the dancefloor front and center. Curated by HiTech, Detroit's rising ghettotech trio, the event features four heavyweights performing in a relay-style sequence of b2b DJ sets. That means four acts providing nonstop energy as the they rotate through unexpected pairings, culminating in a final face-off that brings the night full circle. "Red Bull B2B" moonlights as a tribute to Detroit’s legacy as a seedbed of the techno genre. Pre-show events at Paramita Sound and the Underground Music Academy dig into that history, honoring the city's past while locking horns with the storied Red Bull brand. The evening's lineup reflects that DNA. Beloved for their blend of electro, techno and hip-hop, HiTech will be joined by DJ Swamp Izzo, an Atlanta trap and hip-hop mainstay with a reputation for turning any room into a riot; Parisian disruptor CRYSTALLMESS, bringing her confrontational club alchemy; and local renaissance man Sheefy McFly, who rounds out the crew with his raw take on ghettotech music. Tickets to "Red Bull B2B" at the Majestic Theater are on sale now.

The electronic music community is constantly evolving with new sounds inspired by the scene of yesteryear. EDM.com's weekly Fresh Picks series discovers new music and unearths influential tracks that help define the underground dance scene. You can find the below tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here. EDM.com Fresh PicksSan Holo - CLOSE YOUR EYESSnakehips, Louis The Child - Nobody Else But USub Focus & bbyclose - On & On (Taiki Nulight Remix)Darby, Strobez - Lose My MindDaniel Allan, Port London - Better With YouDevath - BlumengartenRad Cat - leave it all behindMidnight Dance Party - without ur loveJhay Rivas - SAFE WITH ME (SECRETOS)Matt Troglia, RÆ - EchoToMix - Sweet DreamsJanus - TailsLit Wilson, PAV4N, outlo - SUTTAM

Hardwell is hitting the road this summer, and Europe’s biggest stages are bracing for impact. The Dutch dance music powerhouse this week announced a 15-date European tour, which begins June 20th in Poland before closing out August 23rd at Creamfields in the UK. Hardwell will perform across 11 countries over the course of 10 weeks, including high-profile appearances at Ultra Europe and Tomorrowland as well as a pair of rare club sets. While the venues vary, the energy he brings to every set remains constant. Best known for pioneering big room house in the early 2010s, Hardwell’s recent productions reveal a more nuanced approach. Since returning from a lengthy hiatus with 2022’s Rebels Never Die, he has embraced a darker and more techno-leaning aesthetic often labeled as "big room techno." The DJ in March debuted his track "Sanctuary" at Ultra Music Festival, demonstrating more depth with trance-inspired production. Whether it’s cerebral, industrial or euphoric, Hardwell’s sound is unpredictable by design. If past is prologue, his European fans can count on one thing this summer: he’ll leave every dancefloor in a better mood than he found it. You can purchase tickets to Hardwell's 2025 European summer tour here. View the original article to see embedded media. Follow Hardwell:X: x.com/hardwell Instagram: instagram.com/hardwell TikTok: tiktok.com/@hardwell Facebook: facebook.com/djhardwell Spotify: spoti.fi/3s1xcJD

Bass music fans ought to find shelter immediately because Subtronics, Friction, and P Money have joined forces for a new collaboration, "Legends," and it's an absolute missile of a track. Out now via Subtronics' Cyclops Recordings, it arrives at the perfect time to decimate festival stages across the world. "Legends" is a rare brainchild of three diverse artists that emerges greater than the sum of its parts. The buildup is a brooding drum & bass shell laced with tension, created in the mold of Friction's best work. But when P Money spits "I know from the other side, legends never die,” the arrangement detonates, giving way to a punishing drop that fuses Subtronics' unmistakably heavy bass with tightly programmed drum patterns and grime-inflected grit. The British grime MC's relentless bars provoke the beat from the word "go." His flow grounds the madness with determination, providing a lyrical spine to the sonic barrage. For Friction, it’s arguably his most blistering collaboration to date. For Subtronics, it’s a seamless continuation of his shapeshifting bass music dominance as fans feverishly anticipate the sequel to his Fibonacci project. You can listen to "Legends" below. Follow Subtronics:X: x.com/subtronics Instagram: instagram.com/subtronics TikTok: tiktok.com/@subtronics Facebook: facebook.com/subtronicsofficial Spotify: tinyurl.com/yupr7jmk Follow Friction:X: x.com/friction Instagram: instagram.com/officialfriction TikTok: tiktok.com/@officialfriction Facebook: facebook.com/frictiondnb Spotify: tinyurl.com/4a3ns7h5

Rising DJ and producer Skilah has just unveiled her fifth original release, “Earthquake,” now available on all major streaming platforms. It’s a hard-hitting tech-house anthem built for the dance floor and the track helps to bolster her rapidly growing discography and presence in the club and festival scene. “Earthquake” is Skilah’s third release of 2025 following her collaboration with Austin Millz, “Sweat” released via Ultra Records, and “All I Wanna Do.” This comes less than a year after her debut release “Move (Don’t)” released in September of 2024 and her follow up, “Housewrecker.” Since her debut release last year, Skilah has been building up her presence on the live side of the industry and has her debut pop-up set planned the same day as “Earthquake” comes out. Fittingly, it comes in her home state of Minnesota ahead of her performance at Breakaway Music Festival the same day. She’s graced past stages like Groove Cruise, Breakaway Arizona, Montreal’s New Gas City and more. Listen to “Earthquake” below. Featured image: Meg Blair The post Skilah releases new tech house single, “Earthquake” appeared first on Dancing Astronaut.

Liverpool based design company Dorothy launch their *NEW* SPECIAL EDITION Discoteca Ibiza T-Shirt – designed for house lovers and dance floor regulars, making the perfect addition to the summer wardrobe for anyone who loves everything Ibiza. For those who were there for the early days of which shaped the islands iconic musical identity to those who endulge themselves in the islands modern clubbing season- Dorothy’s Discoteca Ibiza T-Shirt is for everyone. The T-shirt follows the same mapping concept as Dorothy’s NYC Disco T-shirt, instead mapping the locations of the iconic dance clubs and venues on the island of Ibiza that were at the heart of Balearic Beat. From the start of DJ Alfredo’s residency at Amnesia in 1984 to the closure of Space in 2016. Also featuring Pikes, Privilege, Pacha, Bora-Bora, DC10, Es Paradis and Cafe del Mar. The T-shirt features a small print on the front and a large graphic print on the back. Yours for £35/$47 USD and is available at: https://www.wearedorothy.com/products/discoteca-ibiza-t-shirt The post Discoteca Ibiza T-Shirt. Mapping Ibiza’s Musical Heritage appeared first on Decoded Magazine.

Brian Eno has absolutely had it with over-produced music. The musician and pioneering ambient producer has explained how he keeps creativity flowing in the studio, and why he avoids “fiddling” with his records. Eno has just released two albums – Luminal and Lateral – with composer Beatie Wolfe. At a playback and Q&A event held in Eno’s West London studio earlier this week, the duo lifted the curtain on their creative process, and revealed how they bonded over a shared hatred of NFTs. READ MORE: “If you knowingly build systems that can enable war crimes, you inevitably become complicit in those crimes”: Brian Eno calls out Microsoft over ties to Israeli government As reported by NME, when writing, the pair used Eno’s famous Oblique Strategies cards, which he created with Peter Schmidt in 1975. The cards provide rules and constraints to make the creative process challenging and tear down any walls or mental blocks. “If she has a card that says, for example, ‘destroy everything’, and I have a card that says, ‘change nothing and continue with immaculate consistency’, then you’ve got two people who are working at cross purposes, which sometimes produces good results,” says Eno. “What we tried to do was to set it up so the game was always interesting, so it never became another day in the studio. We tried to make it so that every day was a thrill, and it was, pretty much.” Eno later explains how he likes to leave an “emptiness” in his work to allow for feeling to flow in: “You’d think that the first question people ask themselves when they’re making pieces of music in studios would be, ‘am I getting any feeling from this?’ But funnily enough, a lot of people don’t,” he says. “I don’t like fiddling anymore. I can hear fiddling – it makes me nervous. When I listen to recordings that have a sense of slight carelessness, I prefer them, when it hasn’t been tidied up… There’s a terrible sort of housewifely tidiness presented with music, because it’s now possible to fix absolutely everything to some kind of platonic ideal of what a C-sharp bass note should be, for example.” Luminal and Lateral are available to buy or stream. You can also head to Beatie Wolfe’s website to find out more about her work. The post “There’s a terrible housewifely tidiness”: Why Brian Eno thinks there’s too much “fiddling” in modern music production appeared first on MusicTech. View the full article

Producer Timbaland has launched his own AI entertainment company and has unveiled its first artist, TaTa. The company, called Stage Zero, has been co-founded with film/TV producer Rocky Mudaliar and entrepreneur Zayd Portillo. Their first “signee” TaTa is powered by Suno, and forms part of a new genre that Timbo has coined as “A-Pop”. However, he says that she is not just an avatar. READ MORE: Record labels reportedly in licensing talks with AI music firms Suno and Udio While details remain minimal at this stage, it is reported that Stage Zero will also bring along a number of AI-driven creative tools. Timbaland – who has worked with Nelly Furtado, Justin Timberlake, Madonna, and many more — will be handling the majority of the production side of things within the company. He already has a working partnership with Suno, serving as its Strategic Advisor. In a statement, as shared by Billboard, Timbaland comments, “I’m not just producing tracks anymore. I’m producing systems, stories, and stars from scratch. [TaTa] is not an avatar. She is not a character. TaTa is a living, learning, autonomous music artist built with AI. TaTa is the start of something bigger. She’s the first artist of a new generation. A-Pop is the next cultural evolution, and TaTa is its first icon.” He also tells the outlet directly, “The technology of today is perfect for what this is. What used to take me three months only takes me two days. In the beginning, it was like a toy. It was like going to a toy store. You gotta go through gluttony, because you can’t believe that it’s here.” Mudaliar adds, “The artists of tomorrow won’t just be human, they’ll be IP, code and robotics that are fully autonomous. That’s what we’re building at Stage Zero.” Last March, in a new interview with The Inner Court, Timbaland shared his thoughts on the current state of music and AI’s role within it. Reflecting on how politics and social divides have bled into music, he said, “This whole election divided us. What I mean by that is it divided the music. The music sounds bland, it sounds boring.” He continued, “We talk about AI, and that is the only thing that has a pure soul right now. That you can create something and just express your true feelings and it comes out beautiful.” The post “I’m not just producing tracks anymore… I’m producing stars from scratch”: Timbaland unveils AI entertainment company – and its first Suno-powered artist appeared first on MusicTech. View the full article

Minnesota grown and classically trained, Hydrah is a musical triple force, an electronic music producer, composer, and singer blossoming into the club and festival scene. Her background has manifested into intricate compositions that synthesize orchestral-inspired melodies atop heavy driving bass lines with powerfully indelible vocals, reminiscent of a siren song with raw power. Emotionally charged and melodic, Hydrah’s latest works are an evolved fusion on the cutting edge of dance music. Hydrah unveils a deeply cinematic return on her own imprint, Acropora, with a stunning new single that fuses raw emotional power and atmospheric elegance. Driven by her haunting vocals and rich, textural production, the track channels her time immersed in nature and reflects on the fragile state of our changing planet. Ethereal yet grounded, it’s a sonic journey that blurs the line between dancefloor energy and environmental storytelling, a powerful statement from an artist who continues to craft music with meaning. What is the story behind the track? Most of my creative inspiration comes from nature—it’s my true paradise. The lyrics of this track reflect a deeper story: one of ecosystems under threat and the beauty of the natural world slowly disappearing. With this release, and more to come, I’m shining a spotlight on organisations dedicated to protecting our planet. For this project, I’ve chosen to support The Nature Conservancy, a group I’ve personally volunteered with and deeply admire for their impactful conservation work. Alongside the track, I’ve created a visual piece filmed on the rugged, dramatic shores of Lake Superior, the largest freshwater lake in the world. In the video, I perform the song live, surrounded by the raw power and serenity of nature—a setting that mirrors the emotion behind the music. Tell us more about your production process My process varies day to day. Sometimes it’s a vocal line that pops into my head and I take it from there; other times I start with just a pad to create a mood. I always aim for a strong catchy melody, and sometimes that is both the vocal line and the synth line. I love to layer melodies, but this is a tricky and delicate balance. With electronic music productions, the possibilities are endless. Did you do anything special production-wise with this one that might be interesting? I usually have very minimal vocals, as I think techno tends to lean more this way, but I decided to make this one very vocal heavy and vocal focused, which is not normal for me. What were your influences for this track? I wanted this track to feel raw and emotional. I was listening to a lot of Vivaldi and Beethoven when producing this track. Classical music is where I find my melodic inspiration. How would you describe the track? This is a powerful, cinematic, and vocal-driven track with strong textural elements and atmospheric elegance. What are your plans for this year as an artist/DJ? I have several more releases on the way with my label, Acropora, as well as other melodic house and techno labels. I plan to film more live performances in natural settings all over the United States and continue on my mission to raise awareness through music and art. Hopefully, soon I can take this concept international! Do you have anything exciting coming up? Right after the release, I plan to unplug and go off-grid into the wilderness for a week. I am thrilled to get this track out into the world, but I also feel the need to detach from technology for a bit to reset my mind. This also helps with my musical productivity. Is there anything extra you can share with us about yourself? I am also a water scientist, and I am grateful I have found a way to combine my passion for science and music! The post Hydrah Releases Emotionally-Charged Anthem ‘My Paradise’ appeared first on Electric Mode.

The countdown is now on for Sonus Croatia 2025, as the lineup is completed with a meticulous blend of international tastemakers and discerning regional talents, who play the sun-kissed paradise of Pag Island from August 17 – 21, 2025. In partnership with the world’s leading live events experience creator, Insomniac, Sonus Croatia is the perfect blend of musical escape and travel adventure with steadfast attention to sound, production and crowd experience. The last remaining second tier tickets are available via https://www.sonuscroatia.com/book/, including a limited time €50 discount on all-inclusive ticket and accommodation packages. Day Tickets will be available from next week. The final round of names for the 12th edition of Sonus Croatia brings another wave cutting-edge performers to Pag Island, including house and techno trailblazer SYREETA, who came up through the East London scene to land resident duties at ANTS and HE.SHE.THEY, and Space Miami resident Thunderpony, famed for his deep and dynamic sets. Further additions include a wealth of regional talent, including Ani., BAGGI, Dash, Dejan Milicevic, GLIA, Hudi, Labud, Mariano Mateljan, MENE, Tea Vuckovic and Tom Bug. Furthermore, this year’s festival gets underway with an essential Opening Party at Aquarius on August 16th – playing will be Easternderz party and label founder East End Dubs, who blends dub, garage, tech and minimal, Dutch house titan Franky Rizardo, and Elena Mikac. Stage partners have been levelled up too, with Italy’s Decibel Open Air, Madrid’s cultured club The Bassement, Düsseldorf party crew Kiesgrube and Ibiza favourites Keep On Dancing set to host, joining the previously announced Space Miami, LA’s Factory 93, London’s FUSE and Nordstern. All this comes on top of the eclectic likes of previously announced headliners Adam Beyer, Anetha, ARTBAT, Ben Klock, Boris Brejcha, Deborah De Luca, DJ HEARTSTRING, Indira Paganotto, Joseph Capriati b2b Seth Troxler, Miss Monique, Reinier Zonneveld live, Ricardo Villalobos, Richie Hawtin, Sven Väth, and tens more. Sonus Croatia is a three-way partnership between veteran and industry-leading event producers Time Warp, Balkans electronic music tastemakers We Love Sound, and Insomniac, which is best known for its iconic EDC events. Between them, they bring world-class know-how that ensures every single detail is perfected across the whole festival, all while sticking to the same values that have made it such a revered celebration of underground music. Sonus takes place across the renowned beachfront venues of Aquarius, Papaya, Kalypso, and Noa Beach Club. This year, Sonus will take over the Noa Beach Stage for a special one-off event, allowing people to swim and dance in the water for the first time. As well as the main stage action, the dancing continues across legendary boat parties, and up close and personal afterparties. Away from the well sequenced sounds, the Novalja region offers a wealth of things to explore, from hikes into the stunning nature, mouthwatering local cuisine, water sports, kayaking, rock climbing, quad bike hire, bungee jumping, wind and kite surfing, all within a few minutes of the main site. Accommodation is just as varied and accessible, and ranges from villas and 5* hotels to glamping and apartments. There is no finer blend of forward thinking music, escapist beauty and natural charm than at Sonus Croatia, which maintains a proud partnership with the Croatian National Tourist Board. #InspiredbyCroatia #CroatiaFullOfLife The post Sonus Croatia 2025 Reveals Full Lineup, Brand Partners and Opening Party for Return to Pag Island appeared first on Electric Mode.

Crescent London · • 𝗙𝗥𝗘𝗘 𝗗𝗟 • Sunday Bath – Circle [FREEDL19] After some tatsy free techno? Sunday Bath makes his debut on Crescent London showing his darker side. Immersed in a shifting, obscure landscape, the groove remains the key element of “Circle”, the upcoming freedl. The Rome-rooted artist, Giacomo Occhiuzzo, proposes to the listener his idea of techno. Rumbling and insistent basses sculpt the track, and yet they give space to tense emotional landscapes to emerge and hypnotise. Coming from a wide musical background, Sunday Bath is not only a sound designer and a DJ. Studying music since his childhood and playing different instruments and styles is what defined his path Download here The post FREE DOWNLOAD – Sunday Bath – Circle appeared first on Decoded Magazine.

Starting today, the spirit of Tomorrowland has found a permanent home in Ibiza with the opening of its official store. The brand behind one of the world’s most iconic music festivals has officially opened its first-ever retail experience on the island. It’s now welcoming visitors into a world where music, design, and lifestyle converge under one roof. Located in the newly launched Ibiza Gallery complex in Playa d’en Bossa—steps from Ushuaïa Ibiza and Hï Ibiza—the store opens daily from 11:00 to 23:00. More Than Merch: An Immersive Lifestyle Destination Calling Ibiza home, the Tomorrowland Store is not your average festival shop. It’s a fully curated experience that brings together fashion, gastronomy, technology, homeware, and artisanal design. Shoppers will find everything from premium festival apparel—including hoodies, swimwear, and sunglasses—to unique collaborations with brands like Serax, Baobab Collection, Sarda, MORPHO, and JBL. Tomorrowland’s official signature fragrance is also available, alongside exclusive jewelry, vinyls, and printed editions of the festival’s history. Each piece has been designed in-house by Tomorrowland’s Great Library Design Studio. This ensures the same attention to detail and storytelling that defines the mainstage are maintained. Tomorrowland Ibiza Store: A Visual Masterpiece With Its Own Terrace & Expo The space is visually stunning, echoing the architectural spirit of Tomorrowland’s Antwerp headquarters. Inside, signature butterflies, natural textures, and custom-designed concrete stairs guide visitors through immersive displays that celebrate the festival’s magical world. Beyond the store, a 269.5-square-meter terrace styled with MORPHO furnishings offers a peaceful escape. Here, guests can sip Solo Vida sparkling wine and taste Acta Non Verba vintages. They can also enjoy local Hierbas liqueurs or simply unwind with a specialty coffee. By sunset, the terrace transforms again. Sunset Sessions bring the magic to life with live DJ sets. Expect artist meet-and-greets and exclusive tastings, all capturing the soulful community spirit that defines the People of Tomorrow. Celebrating Two Decades of Tomorrowland Inside the space, fans can explore the Tomorrowland Expo, an interactive installation that journeys through 20 years of the festival’s evolution. Learn of its humble beginnings to its present-day global stature. For those who want a permanent souvenir, the store even features an exclusive tattoo studio, offering festival-inspired designs in a safe, professional environment. With this flagship location in Ibiza, Tomorrowland expands beyond the festival grounds, delivering a year-round experience that blends storytelling, style, and shared passion. Prefer to shop online? Shop for your Tomorrowland favorites by visiting their online store. The post Tomorrowland Opens Its First-Ever Official Store in Ibiza appeared first on EDMNOMAD. View the full article

Rise Festival is back with the first drop of big names for its 2025 edition. The world’s biggest independent ski and music festival returns to Les 2 Alpes from 6–13 December for another week of snow, cutting-edge music and non-stop parties in the mountains. For more info and tickets, visit http://www.rise-festival.com. The 2025 soundtrack comes out swinging with the first wave of acts featuring a potent mix of electronic talent. House, garage, drum and bass, minimal – it’s all here. Phase one brings a stacked mix of heavy-hitters and fresh names, including Kettama, Kanine, Lens, Interplanetary Criminal, Overmono (DJ set), Josh Baker, Mozey, Max Dean, Luuk Van Dijk, Rossi., Badger, Serum, Gaskin, Diffrent, Ellia Jaya and Wildish. Rise draws a global crowd every year (45+ countries represented in 2024) across three main stages, five indoor venues and a late-night warehouse site that turns into the ultimate alpine afters. Whether the crowds are there for the boarding, the raving or both, it’s a high-altitude experience like no other. Set in a beautiful, snow-covered village, Rise Festival has something for everyone, from the absolute beginners to the seasoned shredders. Expect raves 2600m up the mountain (no other party has views like this one), spa recovery sessions, dining above the clouds, and all kinds of standout moments. Tickets start from £389pp for a festival pass plus a 6-day lift pass. Or go all in with a festival pass, lift pass, accommodation and gear hire from just £699pp for a group of 8 or £839 for a group of 4. Grab yours now at www.rise-festival.com. The post Rise Festival announces phase 1 lineup appeared first on Decoded Magazine.

Decoded Magazine · Decoded Magazine Mix Of The Month Winner May 2025 – Molotov Every so often, a mix lands in our inbox that doesn’t just tick the technical boxes, it transports you. This month’s Mix of the Month does exactly that, and it’s with real pleasure that we spotlight the talented Molotov, aka Trevor Phillips, as our May winner. Trevor’s journey into electronic music is one born from pure passion. He fell in love with club culture at just 14 years old, sneaking into his first all-night rave, a rite of passage that would ignite a lifelong obsession. By his late teens, armed with a pair of turntables and an ear tuned to perfection, he began teaching himself to beatmatch by syncing identical records. Hours spent on the dancefloor were matched by hours spent studying the DJ booth, watching, learning, and eventually becoming one of the figures behind the decks. Growing up in the golden age of trance, his influences read like a hall of fame: Marco V, Paul Oakenfold, Sasha, Digweed, and PVD. In more recent years, Trevor has found his calling within the deep and hypnotic sounds of Progressive House, though his heart still pulses to the rhythms of Psytrance. With five years as a resident DJ on Subcode.club, countless podcast features for labels like Droid9, Big Bells Digital, Pangea Recordings, and Vesta Records (where he also works as A&R), Trevor’s sound has matured into a rich blend of melody, drive, and atmosphere. His involvement with Celtic Tribe, a Psytrance collective hosting bi-monthly events in South Wales, further showcases his diversity and love for the underground. This month’s mix is a testament to Trevor’s deep musical knowledge and innate storytelling behind the decks. A journey built on emotion, progression, and expertly blended transitions We’re also excited to announce that Decoded Magazine has teamed up with Argentina’s Golden Wings Music Radio as an official partner for our Mix of the Month competition, giving our winners even greater exposure across the global underground scene. June submissions close on the 20th, so if you think you’ve got what it takes, now’s the time to send us your finest work. Let’s start at the beginning. Tell us how you approached this mix from a creative and technical standpoint. What story were you aiming to tell, and how did that influence your selection, sequencing, and transitions? When I saw the advert for Mix of the Month, I thought to myself, “Right, I want to bring the listeners on an emotional and mind-opening, energetic journey.” So I chose 11 tracks that I felt captured everything I wanted to express through this mix. I began with a track by Static Guru called “Crystalomancy” (Twins in Mind Remix). Twins in Mind’s music is very enigmatic and really opens my mind and senses. From there, I gradually increased the tempo over the next four tracks, guiding the mix into Progressive House. I then added one of my favourite breaks tracks, “When Worlds Collide” by Alex Vidal (Manu Riga’s Balearic Dreams Remix), and transitioned into Hypnotic Progressive to bring the journey to a close. Were there any particular production or mixing techniques you used to maintain cohesion or enhance dynamics across the mix? For instance, did you favour long blends, harmonic mixing, or any custom edits to help the narrative flow? For this mix, I used some FX, like flanger and a touch of colour, mainly during a couple of track breakdowns. I also used fairly long transitions to make it less noticeable when one track ends and the next begins, allowing the flow to remain seamless. After finishing the mix, I ran it through a program called Audacity to adjust the levels. That way, when it’s uploaded to SoundCloud or Mixcloud, the listeners hear it just as I did during the creation process. From a curatorial perspective, how do you balance introducing fresh, lesser-known tracks with maintaining a sense of familiarity or emotional connection for the listener? Does this balance influence how you define your own sound or identity as an artist? I carefully balanced the selection of tracks between older and fairly new productions. If you listen closely, you’ll notice I have a real love for vocal elements and shaker samples, shakers, especially, which give the tracks a real sense of motion. Coming from a Trance background, I tend to push the tempo of my mixes a little faster (forgive me, haha!). I’m also fortunate to be part of some of my favourite music labels, Droid9, Vesta Records, Transensations Records, Deepersense Music, to name a few, which means I receive promos almost every week. I love sharing them with the world and introducing people to the music I truly believe in. Tracklisting Static Guru – Crystallomancy (Twins In Mind Remix) The Bitzpan,Banyattti – Out Of Bounds Banyatti – Sky Highway Sasha Vs Junkie XL – Beauty Never Fades (Andy King Refit) Slavlotski – Crystal Nova When Worlds Collide – Manu’s Balearic Dreams Emmanuel Dip & Faruma – Minsk F-Act – Angular Momentum (Allan Mcloud Remix) Ignacio Salgado – Cyan (Ezequiel Perini Remix) Mlab – Cph4 (Alex Vidal Remix) Latin Intelligent – Hoodoo Basement (CJArt Remix) The post Mix of the Month May 2025 Winner – Molotov appeared first on Decoded Magazine.

There are moments in every John Wick film when the bass drops and you know someone's about to be very, very sorry. Those moments derive from the virtuosic hands of Le Castle Vania, the producer who has spent over a decade crafting the electronic music behind cinema's most stylish assassin franchise. The artist, whose real name is Dylan Eiland, has been the musical architect behind many of the John Wick universe's most memorable scenes since the original movie back in 2014. His influence has been so significant that he even appeared as himself in its first sequel, John Wick: Chapter 2, DJing at a rave while Keanu Reeves lights up a now-iconic fight sequence as the titular antihero. What ultimately emerged was a rare and fascinating approach. Rather than composing to finished footage, director Chad Stahelski began calling Eiland during pre-production, allowing the music to inform the filming process itself. "We've built a strong creative trust," Eiland tells EDM.com of his creative relationship with Stahelski, who famously served as a stunt double for Reeves on The Matrix. "Anytime I start working on music for one of his films, it begins with a conversation. We talk about the tone, the emotion, the story and what he wants the audience to feel. Those conversations help me lock into the vision and create something original that fits this universe we've built." His latest Wickian masterstroke is an EP of music appearing in the franchise's fifth installment, Ballerina, which compliments a score from its longtime composers, Tyler Bates and Joel J. Richard. The challenge, Eiland explains, was "introducing a more graceful and haunting dimension" to the bloodthirsty franchise, like perfectly pressing a suit concealing a cache of weapons. Eiland, a decorated DJ who has graced the stages of EDC, Ultra and many other leading EDM festivals, faced another tough task: the weight of fan expectations. The John Wick fanbase dissects every detail with the intensity of forensic accountants examining the High Table's books. Rather than shrinking from this scrutiny, he says he embraces it as fuel, constantly imagining those crucial theater moments when audiences experience their collective "oh shit" reaction to the icy Reeves glare that means someone's about to regret being born. The result is a composer who has arguably become as integral to the John Wick universe as the actor himself. Ballerina pirouettes into worldwide theaters today, June 6th, with a killer cast featuring Ana de Armas and Norman Reedus, among others. Prior to its release, we caught up with Le Castle Vania to discuss his inventive work for the film. EDM.com: Take us into your studio during those 3am sessions when inspiration strikes. What's your secret to capturing those fleeting moments of creative lightning for such an iconic film series? Le Castle Vania: When I sit down to write music for these films, my goal is always to bring my musical voice into the world we’re building in a way that feels intentional. I want the music to feel like it lives inside this gritty, underground universe—like it belongs there. I never want it to feel like someone just dropped an EDM track into the background of a club scene. I think a lot of films have tried to emulate what we’ve done with John Wick, but that’s one of the marks they always miss. They’ll license an existing electronic track and just throw it behind a fight or club scene. But our process goes way deeper. Every cue is sculpted specifically for the energy and timing of each shot in the scene. It’s built into the DNA of the world. A big part of that process over the years has been collaborating with Chad Stahelski, the director of the John Wick series. We’ve built a strong creative trust. Anytime I start working on music for one of his films, it begins with a conversation. We talk about the tone, the emotion, the story and what he wants the audience to feel. Those conversations help me lock into the vision and create something original that fits this universe we’ve built. Even though Chad didn’t direct Ballerina, he produced it and was deeply involved creatively. He was actually the one who brought me in on this project, and those early conversations helped me get locked into the mindset of this next chapter. As for those 3am moments—I don’t wait around for inspiration to strike. I’ve built a system to generate it. I carve out time, sit down and the rule is simple: just start. Even if I have no specific ideas beyond the general vibe that I want for the scene, I’ll build a basic beat, experiment with sounds or play around on a synth. That first small spark always leads somewhere. Before I know it, I’m deep in the flow—and that’s when the real magic happens. EDM.com: Appearing as yourself in the concert-shootout scene from Chapter 2 must have been a wild experience. How did it shape your understanding of your role in the John Wick universe? Do you see yourself as a character within this world, and how does that influence your creative direction when producing projects like Ballerina Code? Le Castle Vania: Yeah, that was such an incredible experience. Aside from filming the scenes I was in, I also got to stay in Rome for several extra days just hanging out on set and watching a lot of the other scenes get filmed. That alone was a huge source of inspiration. Seeing the sheer amount of work and creativity that goes into making these films—the lighting, the choreography, the stunts, the camera work—was really eye-opening. So many creative people all coming together to build this massive, stylized world. It’s just such a cool thing to be part of, and to see it all come together into something that people connect with on such a big level... it's honestly an honor. One of the biggest things that came out of filming that scene was Chad's idea to flip the traditional process. Normally, composers don’t start writing until the film is in post. We get the edited scenes and write to picture. But for that concert-shootout scene in Chapter 2, Chad wanted the music playing live on set so the energy would be there in the moment. The crowd could dance in time, the actors could feel the pulse. So I wrote an early demo of the track that would become "John Wick Mode," and we blasted it over the speakers while filming. Then later in post, I refined the track to match the final cut of the scene. That moment really shifted how we work. Ever since then, it’s become part of our process. For big musical scenes—like the club sequence in John Wick: Chapter 4 or the new one in Ballerina—Chad will call me during pre-production and tell me about the scene he's planning. He’ll lay out the vibe, what he wants to achieve emotionally or visually, and I’ll write music specifically for him to film to. Later, we go back and dial it in further during post. It’s this cool back-and-forth that makes the music feel even more connected to the energy of the scene. As for whether I see myself as a character in the John Wick universe... maybe? I'd definitely be down to make another appearance in a future film or spin-off and build on that idea if the opportunity arises. I think it's a fun Easter egg for fans who are really tapped into the music of the series. But even if that doesn’t happen, I’m more than happy just getting to help shape the sound of this world. That’s where I feel most at home. EDM.com: You mention introducing "a more graceful and haunting dimension" for Ballerina, but how do you prevent that grace from defanging the violence that makes John Wick music so visceral? In other words, what's the risk of sanitizing brutality in pursuit of elegance? Le Castle Vania: That balance was something I thought about constantly while working on Ballerina. I always want to push myself creatively and raise the bar with each new project, but it was just as important to me to make sure the music still carried the same visceral, powerful energy that fans expect from the John Wick universe. There’s a certain raw intensity that’s become part of the musical DNA of these films, and I didn’t want to lose that—I wanted to evolve it. My years of experience as a DJ and remix artist really helped with that. That background taught me how to blend contrasting elements and create tension between different moods—light and dark, beauty and aggression, elegance and chaos. So when I set out to bring in a more graceful and haunting dimension to Ballerina, it was never about softening the impact. It was about finding new ways to bring depth and contrast to the music while still hitting just as hard emotionally and sonically. In fact, I think weaving in elements of beauty or elegance can sometimes make the brutality feel even more intense by contrast. It creates that push-and-pull that pulls the listener deeper into the experience. The key is knowing when to let that elegance breathe, and when to slam the door with something heavy and aggressive. That kind of dynamic range is what gives the music real weight. And if anyone’s wondering whether this soundtrack still goes hard: I’d say tracks like "Ballerina Code" and "One Bullet Well Placed" absolutely deliver the kind of intense energy that Wick fans expect. Those tracks are meant to hit hard and leave a mark, while still living in the same elevated world as the film. EDM.com: Electronic music often gets dismissed as "easier" than orchestral composition because of its technological tools, yet your work requires split-second timing with on-screen action. What's the most technically demanding aspect of your craft that people don't understand, and how do you respond to purists who see electronic film scoring as somehow lesser? Le Castle Vania: I’ve done both. Over the course of my career, I’ve written more traditional film score and recorded full orchestral sections—and I’ve also created music that’s completely electronic and built from the ground up with synths, drum machines and custom sound design. I have a deep respect for both sides of the spectrum, but they each come with their own set of challenges. One thing a lot of people don’t realize is that with traditional film scoring or orchestral music, it’s much easier to get away with little tricks—like adding or removing a beat here and there, or shifting the tempo—to help sync musical moments to picture. But when you’re working on a highly featured, rhythm-forward track like the ones I create for the John Wick club scenes, you don’t have that same flexibility. If you start warping the groove too much, the music can instantly feel clunky or awkward, especially if it’s something the audience is really locked into. It has to hit with surgical precision while still feeling natural and driving. Those scenes present a unique set of challenges that I feel I’m really well-suited for, especially because of my background. I’ve spent years touring the world as a DJ and electronic music producer, and now I’ve also built up a lot of experience composing to picture. That combination allows me to approach these scenes in a way that’s both musically compelling and tightly woven into the visual storytelling. At the end of the day, the idea that electronic scoring is somehow "lesser" because it uses different tools is just outdated. The tools are only as good as the ideas behind them. And honestly, most of the biggest and most respected traditional film composers today are all weaving electronic elements into their scores. It’s become a part of the modern sound of cinema—because when used well, these elements can be incredibly powerful and emotionally impactful. Whether it’s a full orchestra or a gritty modular synth, what matters is the emotion, the timing and how well the music serves the story. EDM.com: Electronic music in film also often risks being overshadowed by visuals or narrative, yet your work in the John Wick series has become iconic in its own right. How do you go about composing for scenes that are inherently chaotic to ensure the music not only supports but elevates the storytelling? Are there specific techniques or philosophies you lean into to make your tracks feel integral rather than supplementary? Le Castle Vania: For me, it all comes down to intention. When I’m writing music for these kinds of high-energy scenes, I’m always thinking about how the music can heighten the story, not just sit underneath it. I’m not just making a track and hoping it works—I’m crafting something that’s tailored to the rhythm of the scene, the choreography, the energy, even the emotional undercurrent. One of the big things I focus on is timing. I’ll often write music that’s synced to very specific beats in the action—a punch, a gunshot, a camera move—even if it’s subtle. That kind of precision helps blur the line between the music and the action, so it all feels like one cohesive thing instead of separate layers stacked on top of each other. I also try to bring a sense of atmosphere and tension into the mix. It’s not just about having a hard-hitting drop or a cool groove. It’s about creating a sonic world that pulls you deeper into the scene. That could mean using more cinematic textures, distorted synths, custom-designed drum hits—whatever helps the music feel like it’s part of the world on-screen. Fortunately for me, the music is often intended to be a major part of the identity of the scenes I’m brought in to work on. It’s there to push the energy, to help define the feel of a moment. But at the same time, I’m always working to find that balance where the music can elevate the scene without distracting the audience or pulling focus from the action. It has to serve the story first—but when it’s done right, it becomes something people remember long after the scene is over. Le Castle Vania.Dylan Eiland Photography EDM.com: The franchise has a rabid fanbase that dissects every detail, from choreography to sound design. How do you handle the weight of fan expectations when crafting music for a project as high-profile as Ballerina Code? Have you ever altered your creative direction based on fan feedback, or do you shield yourself from external pressures to preserve your artistic vision? Le Castle Vania: The fans are honestly amazing. I’ve always felt a lot of support and kindness from them, and I really appreciate how deeply they care about every detail—including the music. Over the years, many of them have become fans of my other music outside the films, and that means a lot to me. I definitely put a lot of pressure on myself, but I don’t see it as a bad thing. It’s more like fuel. It pushes me to raise the bar every time and to create something that’s really going to get people hyped. When I’m writing, I’m often imagining what it’s going to feel like as a fan sitting in the theater—and asking myself, how do I deliver that "oh shit!" moment that gets people bouncing in their seats? That mindset drives me to make the music as good as it can possibly be and to help elevate the scenes in a meaningful way. EDM.com: If John Wick ended tomorrow, what would be your biggest regret about opportunities unexplored within that sonic universe? What ideas have you been holding back? Le Castle Vania: Honestly, if I had one regret, it would be not having more opportunities to collaborate directly with my friends Tyler Bates and Joel J. Richard. The three of us have all contributed music across the John Wick films, and I truly admire their work. What they’ve created for this universe—especially the thematic threads and sonic character that run through the scores—is incredible, and I’ve learned a lot just from listening to what they’ve done. Most of my music for the series has been written separately, usually focused around the big, stylized club and action scenes. But I’ve always thought it would be cool to do some deeper creative collaboration with Tyler and Joel—just getting in a room together and building something from the ground up. Tyler and I did co-write and produce a track for this film with the band Evanescence, which was a great experience. I would’ve loved more chances to combine our styles in unexpected ways. I think they’re two of the best in the business. So yeah, if the Wick world were to wrap up tomorrow, that would probably be the one thing I wish we could’ve explored more. EDM.com: Beyond John Wick, what genre or type of story do you think your particular brand of electronic composition could revolutionize next? Where do you see the biggest gap between what films need sonically and what they're getting? Le Castle Vania: I definitely feel like I belong in the action space, especially when it comes to stylized films, sci-fi or anything set in a near or distant future. Any kind of story that calls for a hybrid electronic score, where the music can help shape a heightened, modern world—that’s where I thrive. Some of the first soundtracks that ever made me think, "Damn, I want to do music for film someday" were The Matrix and Fight Club. Those were two of the coolest movies I had ever seen at the time, and both leaned heavily into electronic music in a way that felt fresh and impactful. Getting to work with Chad, who has deep roots in The Matrix, and now having Keanu as the star of the films I’m most known for… that’s been a surreal full-circle moment for me. But I also want to show people I’m not just "the club scene guy." I’ve built my chops as a composer and I’m hungry to take on bigger challenges. I’ve scored entire video games for studios like PlayStation, where I’ve recorded live orchestras, percussion sections, soloists—and fused all of that with my own electronic instrumentation to create bold, hybrid cinematic scores, and I know I could deliver something truly special for the right film. I’d love to be known as the guy you call when your film needs to feel big and badass—when you need music that brings edge, power and emotion, but still feels fresh and modern. That’s the space I want to keep pushing forward. Follow Le Castle Vania:Instagram: instagram.com/lecastlevania Facebook: facebook.com/lecastlevania X: x.com/lecastlevania Spotify: spoti.fi/3nLUZQj

Chris Lake has dropped a new single, "Savana," a track that elevates his signature house sound into something that feels like medicine for the chronically overworked. With a heady house beat and dopamine-fueled vocals, "Savana" is a sonic passport to somewhere the Wi-Fi doesn't reach and your boss can't find you. Its escapist mantra ("a little less stress, a little more go harder") taps into house music's fundamental principle: that sometimes the best way forward is to surrender and get completely lost first. Meanwhile, Lake's production wizardry shines in the track's textured drops, weaving together his trademark basslines with sublime synths that shimmer like heat mirages. He understands that sometimes the most profound escape isn't geographic, but rhythmic. "Savana" had operated as a fan-favorite drop in Lake's DJ sets prior to today's release on streaming platforms through his own label, Black Book Records. It appeared in his groundbreaking performance at Coachella, where on Thursday, April 10th, he became the first artist to deliver a set within the iconic festival's campgrounds. "Savana" is the third single to release from the house music virtuoso's long-awaited debut album, Chemistry. Due out July 11th, the project marks his "most expansive body of work to date," according to a press release. "'Savana' works in multiple situations, it's the kind of track that hits at a festival but you wouldn’t mind hearing it on the radio either," Lake explained. "I love when I can balance on that edge between what makes people move on the dancefloor and what resonates in a more casual setting. It’s been fun to test the song in my set, and I have a feeling it's only going to become more prominent." You can listen to "Savana" below and pre-save Lake's forthcoming album, Chemistry, here. Follow Chris Lake:X: x.com/chrislake Instagram: instagram.com/chrislake TikTok: tiktok.com/@chrislake Facebook: facebook.com/chrislake Spotify: spoti.fi/3auKRRk

Crankdat and NGHTMRE have teamed up for the first time to deliver "TYPE SH*T," a bass-fueled collaboration that transforms Gesaffelstein's 2013 hit "Hellifornia" into a full-throttle festival destroyer. Right out of the gate, the track erupts with a striking rework of the French icon's timeless lead melody before the voice of Memphis-based rapper Duke Deuce takes over, injecting raw energy and swagger. His vocals set the tone for the pure bass mayhem to come. "TYPE SH*T" plays out like a raging pressure cooker, Crankdat and NGHTMRE leaning into their intricate sound design with distorted synths, skull-crushing bass and militant drums as the tension builds. Gesaffelstein's melody loops back throughout like a recurring itch that fuels each new drop. Both artists have already made the track a staple in their live sets, firing up crowds at Ultra Miami and EDC Las Vegas, among other major festivals. It's now set to reach its largest audience yet in in July, when they perform together at Tomorrowland, the world's preeminent EDM festival. You can listen to "TYPE SH*T" below and find the new single on streaming platforms here. Follow Crankdat:Instagram: instagram.com/crankdat TikTok: tiktok.com/@crankdat X: x.com/crankdat Facebook: facebook.com/crankdat Spotify: spoti.fi/3l8FXz0 Follow NGHTMRE:X: x.com/nghtmre TikTok: tiktok.com/@nghtmre Instagram: instagram.com/nghtmre Facebook: facebook.com/nghtmre Spotify: spoti.fi/3fkyQ1C

Excision, SVDDEN DEATH and yvm3, three artists who've collectively made tinnitus a lifestyle choice for countless fans, have joined forces for "INSANE!," a dubstep banger that lives up to its name. The collaboration finds a group of the genre's most contrarian producers teaming up for a track that brings it to new heights. We all know that dubstep and riddim artists often focus too much on winning the loudness war, but this trio understands that being loud isn't the same as being effective. Their production on "INSANE!" is both nuanced and punishing, with syncopated bass patterns that churn through blistering drums. Excision's precision, SVDDEN DEATH's aggressive sound design and yvm3's technical polish blend into something that maintains clarity even at its most chaotic moments. You can listen to "INSANE!" below. Follow Excision:X: x.com/excision Instagram: instagram.com/excision TikTok: tiktok.com/@excision Facebook: facebook.com/excision Spotify: spoti.fi/3lLJ5jl Follow SVDDEN DEATH:X: x.com/svddendeath Instagram: instagram.com/svddendeath TikTok: tiktok.com/@svddendeathdubs Facebook: facebook.com/suddendeath Spotify: spoti.fi/3yUw3Zn Follow yvm3:X: x.com/yvm3net Instagram: instagram.com/yvm3net TikTok: tiktok.com/@yvm3net Facebook: facebook.com/yvm3net Spotify: tinyurl.com/mucvkaps

There's a moment in every club night—usually around 2am, when you've had just enough drinks to stop checking your phone but not enough to forget hearing the tenth Brat bootleg of the evening—where the DJ drops something that makes you remember why you came out in the first place. That's "Eyes Open Wide," the new collaboration from Sander van Doorn and BLR. The Dutch producers, who have been crafting dancefloor epiphanies since before TikTok convinced us all we were manifestation gurus, deliver a cerebral banger at the intersection of trance and techno. The track features The Melody Men, whose haunting refrain ("My eyes are open wide, feels like I'm dreaming") evokes that elusive, surreal feeling of inhibitions dissolving on the dancefloor. Meanwhile, van Doorn and BLR produce thumping techno kick drums while trance-inspired arpeggios cascade like digital waterfalls of serotonin. It's manifestation music for people who understand that sometimes the thing you need to manifest is just the will to keep dancing. "Eyes Wide Open" is out now via Dreamstate, the trance label of Insomniac Records. You can listen to the new single below and find it on streaming platforms here. Follow Sander van Doorn:X: x.com/sandervandoorn Instagram: instagram.com/sandervandoorn TikTok: tiktok.com/@sandervandoorn_official Facebook: facebook.com/sandervandoorn Spotify: spoti.fi/3e7pWpB Follow BLR:X: x.com/blrofficial Instagram: instagram.com/blrofficial Facebook: facebook.com/blrofficial Spotify: tinyurl.com/2s38jcep

Gryffin is back with a new single, "Hard Time Lover," returning to his indie roots with a track that's as heartfelt as it is entrancing. "Hard Time Lover" arrives on the heels of a pair of massive collaborations, "In My Head" (with Kaskade) and "Air" (with Excision and Julia Michaels). Where those tracks pushed the outer edges of Gryffin's sound, this one pulls things back inward. Featuring a stirring vocal performance from Chance Peña, the track is about staying when it's easier to run, told with the weary patience of someone who knows what that costs. Peña's voice carries the arrangement with a quiet ache, brushing against the beat like a breeze through open windows. On the production side, "Hard Time Lover" showcases delicate layers and the melodic precision that highlights Gryffin's ability to create depth through subtlety. His signature guitar riffs flicker in and out, building into a slow-burning groove that draws us in through its warmth. You can listen to "Hard Time Lover" below and find it on streaming platforms here. Follow Gryffin:X: x.com/gryffinofficial Instagram: instagram.com/gryffinofficial TikTok: tiktok.com/@gryffin Facebook: facebook.com/gryffinofficial Spotify: spoti.fi/3gl5Jg1