Ravebot

The future is now. Alvin Lucier died in 2021, yet he is still making music. How, you ask? A team of artists and scientists have joined forces to create a lab-grown ‘mini-brain’ made from the blood cells of the American experimental composer. His resurrected brain is currently making music at an exhibition in Australia. The project is known as Revivification and is hosted at the Art Gallery of Western Australia in Perth. Admission is free until August 3rd. Lucier led the way in neurological sound generation. His 1965 work ‘Music for Solo Performer’ made him the first composer to use brainwaves to make music. The video and experience feel way ahead of its time. The Revivification team began talking to Lucier in 2018, and he eventually agreed to donate his blood in 2020. At age 89, he was sadly suffering from Parkinson’s disease. He met with the team comprising artists Guy Ben-Ary, Matt Gingold, and Nathan Thompson, and neuroscientist Stuart Hodgetts, every night over Zoom. The process involved advanced neuroscience, reprogramming his white blood cells into stem cells, which were then transformed into 3D cell structures that imitate brain activity known as cerebral organoids. These organoids are now inside a sculpture which houses 20 brass plates that are connected to the two ‘in vitro brains’. The Guardian reports: “Importantly, Lucier’s organoids don’t just produce sound – they also receive it. Microphones in the gallery pick up ambient noise, including human voices and the resonant tones of the plates, and that audio data is converted into electrical signals and fed back into the brain.” This has raised ethical questions about the use of artificial intelligence. It doesn’t seem like it will be very long before it is available to the public in various ways. The post Artificial “Brain” Grown From Composer’s Blood is Making Music After His Death appeared first on EDMTunes.

Dutch producer Laidback Luke has consistently proven his ability to evolve and surprise, and his latest offering, ‘1000 BPM,’ is no exception. Teaming up with the formidable bass house force Nostalgix, Luke delivers a raw and hard-hitting tech house monster that lives up to its audacious name. Out now on Dim Mak Records, this track is a chaotic, BPM-shifting journey that will leave listeners breathless. ‘1000 BPM’ wastes no time establishing its stomping groove. Punchy drums and a driving bassline lay the foundation for a hypnotic vocal hook, courtesy of Nostalgix’s vocal delivery The energy steadily builds, promising an explosive release. But what happens next is anything but predictable. True to its moniker, the track throws a curveball with a wild tempo switch, spiraling into a drop that plunges the listener into a high-octane frenzy. Nostalgix’s vocals slice through the production, acting as a powerful anchor amidst the shifting BPMs. Her confident delivery perfectly complements the track’s relentless energy, making this track a certified party-starter. Luke reflects on the track, “I enjoyed being physically with Nostalgix when creating this collab. I was so impressed by how organized and fluid she is in the studio. Pushing production boundaries and taking the track to an actual 1000 BPM after I jokingly said that she only plays high BPM stuff. When we figured out the lyrics for it, everything fell in place. We’ve got your hot-girl bloghouse anthem right here!” Nostalgix adds; “1000 BPM is all about being in your party girl era—living in the moment, letting loose, and prioritizing fun above everything else. It’s about dancing with your friends, not caring what anyone thinks, and just enjoying life. Making this with Luke was such a blast! He’s insanely talented, and we instantly clicked in the studio.” The post Laidback Luke & Nostalgix Release Bold Tech House Banger ‘1000 BPM’ appeared first on EDMTunes.

Defected Records is thrilled to announce the highly anticipated rework of Noir & Haze’s seminal deep house track ‘Around’ by the renowned Italian trio, MEDUZA. The updated version of this certified Defected staple is set to drop on April 18th, promising to inject a fresh, techy energy into a beloved classic. Initially released in the early 2010s, a golden era for house music, ‘Around’ quickly became an underground sensation, particularly Solomun’s iconic Vox remix, which dominated dance floors throughout 2011. The track garnered support from influential DJs such as Deetron, Jimpster, and Adam Port, solidifying its place in house music history. Now, MEDUZA, the most prominent streaming Italian artist in history, renowned for their chart-topping hits and electrifying performances on the world’s most prestigious stages, including Creamfields, Detroit’s Movement Festival, and DJ Mag’s #1 club Hï Ibiza in 2024, brings their signature sound to ‘Around’. Their rework infuses the track with a hard-hitting, tech-driven intensity, characterized by stadium-ready builds and euphoric releases guaranteed to ignite their massive global fanbase. Noir expressed his excitement for the new rendition: “I’ve heard many bootlegs, mashups, and remixes of ‘Around’ over the years. It’s hard to top the amazing Solomun and Subb-an remixes originally released in 2011, but nothing hit me like those remixes did. We briefly considered making a new original version and release of the song when it turned 10, but it didn’t feel right at the time.” He continued, “It wasn’t until I heard MEDUZA’s take on the song that I felt inspired. Their version was such a fresh take on the original that it made me wanna produce a new version of the song too. I think their chords and structure of the song are super cool, and it quite simply inspired me to sit down and rethink the song and make an entirely new version from scratch. It’s not an anniversary release (14 years old this year) or any clever timing. This time around, it just feels right. Sounds right.” MEDUZA has already been teasing its rework in recent sets, generating significant buzz amongst its followers on Instagram and TikTok. Furthermore, early support for the track has been spotted online, with videos showcasing renowned DJs like Pete Tong, Vintage Culture, BLOND:ISH, and Miss Monique dropping the energetic new version in their performances. You can listen to it below and on all available streaming platforms Stay tuned for more news! The post MEDUZA Reimagines 2011 House Anthem ‘Around’ by Noir & Haze appeared first on EDMTunes.

STVW is back, and this time he’s teamed up with powerhouse American vocalist Micah Martin to deliver their new single, ‘Alone Here.’ Following the raw energy of “Welcome to My Life,” STVW doubles down on their signature punk rave aesthetic, crafting a track that’s less a gentle nudge and more a full-force shove onto the dancefloor. ‘Alone Here’ is a thrilling collision of gritty rock energy and high-impact dancefloor power. From the moment the track starts, you’re thrown into the relentless production. Think distorted synths that snarl and pulse with an almost violent intensity, coupled with a driving beat that feels less like a rhythm and more like a relentless engine pushing you forward. Enter Micah Martin, whose raw and anthemic vocals are the perfect fuel for STVW’s track. Martin’s voice is laced with a bold energy that cuts through the dense production like a razor. His lyrics come with a passionate urgency, making you just want to fist pump and rage throughout the listen. The post STVW Teams Up with Micah Martin on Punk Rave Track ‘Alone Here’ appeared first on EDMTunes.

Swedish House Mafia has unveiled their latest venture: Superhuman, a new music label that marks a bold step into the future of electronic music. Superhuman aims to become a creative platform that blends music, art, and technology to push the boundaries of the genre.​ A New Era for Swedish House Mafia Superhuman represents a fresh chapter for the iconic trio, known for their groundbreaking contributions to electronic dance music. The label’s launch is accompanied by a series of innovative releases that showcase their commitment to artistic evolution.​ Notable Releases “Skip“: The debut single by Ingrosso and Angello, released on February 23, 2024. The track has inspired several remixes, part of Superhuman. “Flood“, released on October 18, 2024, is a solo track by Ingrosso featuring amazing vocals by Tove Burman. “Lioness“: A Swedish House Mafia track that rocked festivals around the world since its release.​ But the story doesn’t end there. A mysterious teaser titled SH05 just dropped, suggesting a new release is on the way. SH05: A New Track in the making But the story doesn’t end there. A mysterious teaser titled SH05 appears on the website, indicating a new single is on the way. The artists teased as ” XXXXXXXXX XXXXXXXX & XXXXX XXXXXXX (FEAT. XXXXXXXXX)” are likely to be Steve Angello & Sebastian Ingrosso, extending the artists’ duo direction. The title is yet unknown but likely to be “No Enemies”, a massive track that the trio have been playing in their latest sets. What’s Next? If SH05 is any indication, 2025 could be a landmark year for Superhuman and Swedish House Mafia. Whether it’s solo projects, full trio collaborations, or new artist signings, one thing is clear: Superhuman is shaping up to be one of the most exciting new labels in the game. For more information and to explore their latest projects, visit superhuman.music. The post Swedish House Mafia Launch New Label “Superhuman” and Tease New Single appeared first on EDMTunes.

The track ‘Like This’ dropped on Wednesday, April 9th, and it’s an exciting first collaboration between bass music powerhouse NITTI and the genre-blurring trio Levity. This catchy anthem combines Levity’s signature gritty bass style with NITTI’s fresh production touches, and it’s already getting a lot of love on social media. Plus, it gives fans a sneak peek of Levity’s upcoming EP, which looks like it’s going to be one of their most adventurous projects yet. From the get-go, ‘Like This’ brings the energy! In fact, it kicks off with a trap-influenced beat and bold vocals, leading into an electrifying buildup that really gets your heart racing. When the drop hits, it’s a wild ride of twisted bass textures and exciting rhythms that are sure to get festival crowds hyped up and dancing. Levity and NITTY crafted a wonderful partnership in ‘Like This’ This amazing collaboration comes at a perfect time as both NITTI and Levity are gaining serious momentum in 2025. NITTI just wrapped up his successful genre-blending single, ‘Windows’, alongside rock star Social Repose, and he’s gearing up for headlining shows this May across New Mexico, North Carolina, and South Carolina. Furthermore, his rocktronic movement—full of viral remixes, metal-dubstep originals, and his ALT/RAVE pop-up events—are truly pushing the envelope in electronic music. On the other hand, Levity are having an incredible year too! Their sold-out Full Circle Tour in 2024 showcased a next-level live production setup, and their latest track, ‘Postman’, released on Ultra Records back in February, has already racked up over 1.8 million streams on Spotify. With exciting performances lined up for Bonnaroo, Shambhala, Breakaway, Project GLOW, Rampage Open Air, and Elements Festival, Levity is really making waves in the modern bass scene! A sneak peek of what is next to come for bass music’s rising artists Overall, “Like This” is not just a celebration of the fantastic partnership between two of bass music’s brightest stars; it’s a hint at the amazing year ahead for both NITTI and Levity, filled with innovative sounds, captivating releases, and unforgettable performances. Get ready for what’s next to come! Click ‘Play’ on the Spotify link below to stream ‘Like This from NITTI and Levity, a track that gets heart beats pumping at a delightful pace as the bass elevates in perfection. Levity explains how the upcoming EP series will unveil themselves ”While we continue building toward our next project, one that tells a more cohesive story, we wanted to launch a new series of EPs for tracks that may not fit into that narrative but still deserve to be heard. ‘Front to Back’ and ‘Postman’ were the first two releases from this series, and we have two more to follow ‘Like This’ that we are really excited to share. We cannot wait for everyone to hear this one.” The post NITTI and Levity Throw Down Wonderful Bass in ‘Like This’ appeared first on EDMTunes.

Adam Beyer’s Truesoul has long been a breeding ground for next wave talent. Artists including Cirez D, Hot Since 82 and Patrick Topping all released on Drumcode’s little brother label, long before they were the headliners we know today. Next up for the imprint is rising US artist Dark Heart, a former Hollywood talent agent, who has his label debut ‘XYZ’ out now, featuring contributions from LA vocalist Amarha and John Cala, a Columbian, Barcelona-based musician/producer with Latin influences. For those unfamiliar, please introduce yourself. Oooo hi my name is David but I go by Dark Heart. I used to be a talent agent for actors & actresses in Hollywood but I quit to make music and somehow ended up becoming a DJ (it’s a long story). I currently live in LA and spend most of my time making music. Your new EP XYZ on Truesoul featuring Amarha and John Cala is out this week. Share a bit about the creative process and how the record came to fruition. Each song truly has its own story. For ‘XYZ’, Amarha and I wrote that when she was sick and had a bit of a raspier voice. She was worried her vocals wouldn’t sound good but it ended up being perfect. I think happy accidents are one of the most fun things about making music so I’m glad that one came about how it did. For Damn Good, I wanted to juxtapose the “happy” vocal (“I feel so damn good right now”) with a darker beat that hits hard. I wasn’t sure if it would work, so I played out an early version at one of my shows and it absolutely slammed. I was so thrilled with the reaction and immediately finished it in my hotel later that night (or early morning I guess). It’s a massive highlight in my sets and I love how it builds. Cigarette was a wild idea that Amarha and I started with her vocal. We wanted something a bit unhinged and different from what you hear in a lot of dance songs today so we tried to go as weird as possible both with the instrumental and the vocal. At this point John and I had been talking about working on something and we thought this would be a perfect time to put our sounds together. He’s an absolute wizard at production and I think everything he does sounds expensive and tasteful. We kicked it back and forth a bit and finally got it to a point where we absolutely loved it. Tell us how the link up with Adam Beyer’s Truesoul happened. Adam has always been a huge inspiration for me, a few years back he had been supporting a record of mine and I think that’s how we initially connected. I’ve always loved Truesoul as a label, creatively fearless and always pushing the boundaries. As an artist that’s really encouraging because you don’t feel like you have to fit inside of a box. I have always wanted to be a part of the label and I spent a lot of time discerning which of my records could make sense. Needless to say I can’t imagine a better home for these records and I’m thrilled to be making my debut on Truesoul with this EP. Any advice for those looking to gain the attention of a Tier 1 label like Truesoul? I think you just have to make what you love and what’s authentic to you. Don’t worry about the outcome. If you’re being authentic to who you are as an artist, labels and other artists will take notice and want to help you build your vision. Share three Truesoul releases that have inspired you on your musical journey. This is going to be hard because there’s a lot more than three haha. Adam Beyer – Ignition Key – I think I have to go all the way back to the Ignition Key album that I believe launched Truesoul. My favorite song on the album is probably Flamethower but the composition as a whole is just incredible. You can listen to the whole thing front to back and it takes you on a journey. This was inspiring to me as I hope to do something that ambitious and robust in my career at some point. Cristoph – Sleepless Nights – this one came out just before the pandemic hit and I remember listening to it over and over and over during that tough time. It’s one of those records that just takes you on a journey and I think unintentionally captured a vibe that helped me get through that year. It’s quite dark but also has so much emotion in it and that can be hard to achieve without a vocal Roberto Capuano – Move It Man – this record has stuck with me since I first heard it and I couldn’t figure out why until I listened with a more critical ear. I love the acoustic-sounding drums (particularly the snare) and the way the vocal contrasts with the lead synth. This song inspired me to use more acoustic drums in my own records. Before you got into music you were a Hollywood talent agent. Did you always have music bubbling away in the background? Tell us a bit about your background and progression into working on music full time. I definitely always had music bubbling in the background. I used to promote shows at my college and I tried my hand at production back then but didn’t quite go for it all the way. I loved being a talent agent, but I’ve always known that I am a creator at heart. I am from a small midwest town where there isn’t any entertainment presence to speak of, but I had always had artistic inclinations. I studied business in college and I always thought I would do something on the executive side in entertainment. When I graduated college I moved to LA with the sole intention to become a talent agent and when I achieved that, I eventually came to the realization that I needed to create to feel fulfilled. You can’t really have time-consuming hobbies as an agent (which is understandable, it’s a very important job and you need to give your full effort to it) and I realized that I either had to take a shot at music or just put that dream to rest forever. I chose to give it a shot, so I quit my job and got to work in the studio. It took a while to get good, but it was one of the best decisions I’ve ever made and I couldn’t be happier with the outcome. You’ve produced for Dizzee Rascal and Martin Garrix no less. How did those projects come about? I never thought I would be a DJ, my initial intention was to produce for other artists in hip hop and pop. So, a lot of my early production background was focused on that side of things. The Dizzee Rascal one came about because he and Ocean Wisdom had a vocal that they needed a new production on so I built that out from scratch for them. I actually found it quite easy to produce because I already had the main component (the vocal) and I wanted to accent that and find sounds that would compliment their work. The Martin Garrix one is a much longer story, initially that was going to be a collab between myself and another artist, but as any artist reading this will know, sometimes songs take on a life of their own and make sense for someone else. I was very proud to be a part of that record on the production side and it’s still one of my favorite things I’ve worked on. Release and gig-wise, how are the next months looking for you? I actually can’t announce anything right now haha I’m sorry. But I’ve got a big show coming in Los Angeles this summer which I will be announcing soon so stay tuned for that. Next release is looking like May and I think that’s going to be another big one. I also have a ton of new records that I will be going out with in the near future, right now I’m focused on creating things and sharing this EP with the world. Stay tuned on all fronts, I’ll be announcing a lot soon so consider this me announcing my announcements (BIG THINGS COMING hahah). The post EDMTunes Chats with Dark Heart appeared first on EDMTunes.

Emerging goth-pop artist, Georgi drops a remix of her single “That Night” by Al-P of MSTRKRFT on April 18 via Bitch House Records. ‘That Night (AI P MSTRKRFT Remix)’ is a taste of what’s coming from remixes of tracks off her forthcoming debut album Love After Dark by artists such as Aesthetic Perfection and Coatie Pop. It seamlessly blends dance floor elements from the techno, indie dance, darkwave, and EBM genres. Georgi continues her collaboration with Al-P with studio sessions planned in New York in May 2025. Furthermore, she is working on an upcoming dance EP with producer Matia Simovich, known for his work on Boy Harsher‘s “Machina” and other dance floor anthems. “As someone who came up in the techno scene, I am excited to see Al go in this direction. I wasn’t sure if he would do a more electro-sounding production similar to MSTRKRFT, but to see his sound grow into something different is special,” Georgi says. Al P adds, “From the beginning of meeting Georgi, one of my constant thoughts was that I want to do a song with her. Working remotely during the production of ‘That Night’, I was instinctively excited to enter a studio and write from scratch. Georgi really impressed me with her attention to detail and passion for her project.” Fans can also catch Georgi DJing an EBM and industrial set at the Dark Force Festival in May. ‘That Night ft Sanjay [AI-P MSTRKRFT Remix]’ is available April 18 on all streaming platforms. The post Georgi Unveils ‘That Night (AI-P MSTRKRFT Remix)’ appeared first on EDMTunes.

Tim Bergling—known globally as Avicii—left us in 2018, yet his melodies forever echo through clubs, bedrooms, and city streets. Seven years after his passing, the Swedish innovator’s creative spark fuels countless playlists and late‑night drives. His posthumous compilation, AVICII FOREVER, arriving May 16, 2025, gathers nineteen anthems and one unreleased jewel into a single, purposeful heartbeat. The collection promises commemoration rather than nostalgia, framing his evolution instead of freezing him in time. Each track reminds listeners that, though Avicii left the stage far too soon, his music continues writing new chapters forever. 20 Avicii Tracks Fueled by Eternal Beats Interscope, Pophouse, and the Avicii Estate assembled the 20-track AVICII FOREVER album with archivist precision and protective care. They sequenced timeless hits like Wake Me Up, Levels, and Heart Upon My Sleeve beside fan‑favorite deep cuts. Each track reminds listeners how effortlessly Avicii fused folk, soul, and stadium dance into one universal language that lives forever in our hearts. Sequencing rises with Let’s Ride Away, creating a narrative arc that ends exactly where it once began. The compilation album’s storytelling mirrors Bergling’s own artistry. It constantly revisits themes while exploring fresh emotional terrain. AVICII FOREVER Releases ‘Let’s Ride Away’ Let’s Ride Away started as a writing session with country luminary Kacey Musgraves during quieter 2017 evenings in Nashville. Studio fragments later leaked, stirring mythic whispers across dedicated subreddits and festival parking‑lot speakers. After Avicii’s passing, trusted collaborator Carl Falk reopened the session files, respecting every synth stab and acoustic strum. He invited powerhouse vocalist Elle King to record fresh takes that matched Musgraves’ heartfelt blueprint without imitation. The result carries dusty warmth layered over Avicii’s crystalline house cadences, evoking headlights, open highways, and halogen dreams. Fans will soon hear his meticulous kick pattern beneath a chorus urging listeners to embrace their memories. Avicii, Milestones, and Legacy: Forever Breaking Records Meanwhile, Hey Brother quietly crossed 1 billion streams last spring, becoming Avicii’s fifth track to enter Spotify’s elite club. The milestone proves that Avicii and his cross‑genre experiments resonates forever gracefully without aging out. Netflix’s December documentary I’m Tim reopened global conversations about touring pressure, vulnerability, and work‑life balance inside electronic music. The film’s closing scene, showing Avicii serenading Ushuaïa Ibiza one last time, still sends festival veterans into hushed silence. Combined, these cultural touchpoints keep his catalogue circulating in dorm rooms as actively as within boardroom playlists. Guardians of Avicii’s Shared Light The Avicii Experience in Stockholm welcomes visitors with interactive stems, handwritten notes, and unreleased melodies humming beneath glass floors. Souvenirs no longer gather dust; they power Tim Bergling Foundation’s mental‑health initiatives fueled by last year’s $750,000 charity auction. Avicii’s father, Klas Bergling steers the project. He stresses responsible stewardship during recent interviews surrounding mental‑health advocacy. Fans echo that sentiment daily, posting gratitude videos and tattoo photos beneath each new teaser. On May 16 the world will not merely replay music; it will relive countless evenings of communal euphoria. Those collective efforts ensure new listeners meet AVICII FOREVER through creativity first, and philanthropy second, cementing an expansive remembrance. Pre-order AVICII FOREVER here and be one of the first to listen to the unreleased song ‘Let’s Ride Away’. The post New ‘Avicii Forever’ Album Will Feature An Unreleased Song appeared first on EDMNOMAD. View the full article

In the realm of emerging alt-pop artists, it is undeniably Chloe Qisha‘s world in 2025, and we are merely living in it. Her meteoric rise as a singer-songwriter is nothing short of astonishing. More so when especially considering she only took the stage for her very first live performance to support her self-titled debut EP last year. Music industry influencers are rapidly recognizing Chloe as one of the most promising talents on the scene this year. With her unique blend of observational storytelling and distinctive, thoughtful lyricism, Chloe stands out as a captivating artist filled with authenticity and relatable experiences, making her a force to be reckoned with in the pop landscape. Chloe Qisha is on such an exhilarating trajectory these days that makes it nearly impossible to keep up. Hot on the heels of her latest 2025 releases, “21st Century Cool Girl” and “Sex, Drugs and Existential Dread.” She has just premiered the title track of her highly anticipated sophomore EP, “Modern Romance,” on BBC Radio 1’s prestigious New Music Show with Jack Saunders. This milestone, featuring prominently on one of the UK’s leading radio stations, not only underscores the magnetic appeal of her music. Furthermore also serves as a striking confirmation of Chloe’s remarkable artistic talent. Notably, the songs centre around themes gravitating towards love, relationships and well-being. Mostly the human condition is a big interest, to be expected of someone making the most of a psychology degree. In the instance of “Modern Romance,” Chloe blends intimate lyricism and realism in her distinctive sing/speak style as she breaks down aspects of modern dating. Under the guise of an 80s analogue synthesizer pop, meets 00s indie-pop influence. Moreover, this music is buzzy, earworm-worthy and notably distinct. Aside from mastering the musical side of things. Chloe is notably making a name for herself, excelling in visual elements. Her image is androgynous chic and her music videos, echo this cool imagery. Moreover, with cover features for Rollingstone UK magazine, and co-signs from Kelly Clarkson and Chris Martin of Coldplay. There is definitely a sense building around Chloe Qisha that her break out is inevitable. Connect with Chloe Qisha Facebook: https://www.facebook.com/chloeqisha X: https://x.com/chloeqisha Instagram: https://www.instagram.com/chloeqisha/ The post Watch “Modern Romance” by Chloe Qisha appeared first on EQ Music Blog. View the full article

There’s dance music that assaults you, and then there’s dance music that actually gives a damn about your emotional wellbeing. MYRNE’s “Heal EP” falls firmly in the latter category – four tracks of what the Singapore producer has aptly dubbed “emotional dance music,” and in this chaotic world, it’s exactly the sonic medicine we needed. The EP opens with the title track “Heal” featuring Shallou, immediately establishing that this isn’t what you reach for when you want to lose your mind; it’s what you play when you need to find it again. Those milky synth textures feel like the audio equivalent of someone wrapping you in a weighted blanket after a rough day. “Salve In The Mist” deepens the atmosphere with evolving progressions that unfold like chapters in a good book, while “Light Through The Leaves” delivers exactly what its name promises – those expansive chords feel like actual sunshine filtering down through a forest canopy. By the time closer “Lily” arrives with its minimalist flourishes and smooth basslines, you’re fully immersed in MYRNE’s world. For a producer who cut his teeth on Mad Decent and has since conquered Ultra Miami and Tomorrowland, this EP shows remarkable restraint. With 383,000 monthly Spotify listeners and tracks like “Feels Right” crossing 20 million streams, MYRNE could easily chase trends. Instead, he’s crafted something that works as well at home as it does on a dancefloor. The post MYRNE and Shallou Create the Sonic Blanket We All Need Right Now appeared first on Dancing Astronaut.

Following an exhilarating sequence of single releases in recent months. The final and titular track from Kai Bosch, the latest EP, “Popstar of Your Dreams,” has finally arrived. In this new chapter, Kai fully embraces the electronic pop genre, showcasing a bold and dynamic musical style that surpasses his previous works. This EP marks a transformative phase for him, featuring a captivating collection of anthems that weave in emotionally rich and vulnerable lyrical narratives. Most importantly, Kai is revelling in the freedom of creating music that truly reflects his unique artistic vision. Moreover, he’s confidently dialled the pop dynamics up to eleven, and the response to this bold musical evolution has been nothing short of extraordinary. To top it all off, his single “Rodeo Romeo” has been honoured as the BBC Music Introducing Track of the Week on BBC Radio 1. Kai reflects on this transformation, stating… “I always shied away from making this type of music in fear of losing detail and meaning, but I actually think these are my most direct songs yet and I’m very proud of that.” The track, “Popstar of your Dreams,” showcases Kai in his most defiant and thought-provoking form yet. With a punchy, almost punk-pop aesthetic, he brings an invigorated energy to the song, all while channelling an alter ego. Kai courageously delves into the emotional battleground of chasing success in the ruthlessly competitive music industry. This powerful anthem lays bare the inner turmoil of an artist wrestling with imposter syndrome, the crushing weight of burnout, and the relentless pressure to excel on all fronts. With the “Popstar of Your Dreams” EP, Kai Bosch is undeniably on a new trajectory. He crafts a fresh ethos in his artistry that demands attention. This project is an essential listen for anyone who truly appreciates interesting narratives and electric musicality. Stream the “Popstar of Your Dreams” EP HERE Diary date: May 28 – (Headline show) Paper Dress Vintage, London – Tickets HERE Connect with Kai Bosch Facebook: https://www.facebook.com/kaiboschmusic X: https://x.com/kaibosch Instagram: https://www.instagram.com/kaiboschmusic/ The post Listen to “Popstar of your Dreams” by Kai Bosch appeared first on EQ Music Blog. View the full article

Dom Dolla x Kid Cudi – Forever Dom Dolla links up with Kid Cudi for ‘Forever’, a genre-blending house anthem that pairs Kid Cudi’s unmistakable vocals with Dom Dolla’s signature groove. The track fuses emotional depth with a club-ready beat, creating a crossover hit that feels both introspective and euphoric. PAWSA ft. Malachiii – BANG BANG PAWSA teams up with Malachiii for ‘BANG BANG’, a high-energy tech-house banger with bouncy basslines and a bold vocal hook. Designed for peak-time dance floors, the track delivers pure club heat with a slick, minimal edge. Gorgon City ft. Caroline Byrne – Run It Back Gorgon City returns with ‘Run It Back’, featuring Caroline Byrne on vocals. The track blends their classic deep house sound with lush melodies and a catchy chorus, striking a perfect balance between radio-ready and underground cool. Mike Candys – Make Some Noise Mike Candys drops ‘Make Some Noise’, a high-octane big room techno anthem built for festivals and mainstages. With rocking kicks, soaring synths, and explosive drops, it’s a certified energy booster for any mainstage set. Honorable mentions: 4 Strings – Don’t You Ever Go Away Alexander Popov, Sam Bagira, LexMorris, SLYOZY ALYASKI – Empty Streets Andrew Rayel – Trance Is the Rhythm Barely Alive – Chicken Jockey Bart B More – Rave Alert Bassjackers – Beethoven’s Aria Fur Elise Bhaskar, Bruno Be – 5 Days In Búzios Bingo Players – Take It Slow Boys Noize, Human Resource – Dominator Chapter & Verse – Boss It Chicane – Watching Over Me / Epilogue David Puentez x ISAAK – Peace In the Pieces Emie, Zack Martino, Sam Noton – Ghost Fedde Le Grand & Funkerman ft. Smokin’ Jack Hill – Turntable Truth FOVOS – Why do I want you Gabry Ponte, Village People – Frequency (Go West) GRAVEDGR, NZGÛL – TAKE YOUR SOUL Harris & Ford x Robin White – Paradise Koven – Moments In Everglow (album) Laidback Luke, Nostalgix – 1000 BPM Leandro Da Silva, Johnnie Ernest, JEEN SEIGO – Subala Y Bajo LIZOT x Widemode – Yo Te Daré Markus Schulz & Tim Clark featuring Linney – You Belong MARTEN HØRGER ft. Sarah de Warren – Make It Right Martin Jensen x Jaimes – Say No More MOTi – One Time For Your Mind Olly James – Needed Me Plastik Funk, Esox, 3NRGY – Loco Popof, Markus Volker, Enveak – Back & Forth Ray Volpe – PAYBACK SIDEPIECE – Lick Still Young x BRØMANCE – Do It Again STVW x Micah Martin – Alone Here Sunnery James & Ryan Marciano, Flama khaleeji – Mothershift SVDDEN DEATH, yvm3, Nimda & PeelingFlesh – MIDNIGHT Tchami, BL3SS – R 2 ME Tokyo Machine & Guy Arthur – WATCH OUT! Tujamo ft. Andreas Moe – All This Time Will Atkinson – La La La Wiwek, Mike Cervello, LUSU – Siren

$99 ($79 introductory price until 30th May) scalermusic.com Scaler 3 is the most advanced chord progression generator on the market, but it’s far more than just that. It’s a complete platform for creating and editing MIDI parts. READ MORE: Best free plugins: free drum machines that’ll help you make beats faster Scaler can now be used as a standalone creative app with support for your plugin instruments and effects. The newly redesigned interface is divided into three main sections. First, the Browser tab lets you explore templates, chord sets, and scales, while the Create tab gives you access to the deeper features for creating chord progressions. Finally, the Arrange tab lets you sequence and edit each chord region and choose instruments and effects in the mixer. With this three-pronged approach, you have a wide range of tools for creating compositional elements from scratch or using existing audio or MIDI as a reference point. If you’re a beginner looking to improve your music theory, Scaler is an incredible tool to help you learn as you go. With the range of 860 chord sets and 929 motions to choose from, you can explore chord progressions in different genres and moods to find out what resonates with you creatively. How do I start using Scaler 3 in my music-making process? While Scaler 3 presents you with a prescribed workflow, moving from browsing presets to exploring chord possibilities, and on to arrangement, you don’t have to follow this to the letter to get decent results. Naturally, you’ll want to investigate everything that’s on offer at first, but ultimately, you’ll develop a collection of favourite tools you regularly rely upon to help you create chord progressions, melodies, and basslines. To get an instant idea of what Scaler is capable of, I start by selecting one of the templates from the main presets browser. As the template loads, Scaler 3 immediately takes me to the arranger, where I can see chords and MIDI data on the main track, the bass track, the chord follow track, and the melody tracks. As I select each arranger track, the corresponding voicing settings, as well as the mixer and MIDI editor, appear on the tab below. The standard sounds are rather General MIDI-esque, but each mixer track allows you to replace instruments with ones from your own plugin library as well as a chain of effects plugins on each channel, including the master output bus. Scaler can also be used as your primary MIDI generation tool. This way, you can make use of the wealth of scales and progressions accessed in the Browser tab. Selecting a scale is intuitive, as you have a small keyboard and a list of modes and moods to help you filter the main list of scales below. The keyboard is extremely useful for beginners, as you can select notes to find a scale to work in. For instance, if I create a bassline using the notes G, A, C, and D, and need some help building a moody chord progression around it, I can input the notes on the scale browser’s keyboard and select ‘Dark’ from the mood list. Instantly, a single search result reveals a Dorian b5, a mysterious-sounding scale I would never have discovered without Scaler’s help. As I select the scale in the Current Scale tab, it immediately reveals the chord degrees (numbered I to VII) that can be edited and transferred to the Main Track, or even dragged onto a DAW channel. Although Scaler’s functionality adds value to your DAW workflow, there are a few areas where it falls short as a standalone app. Without audio recording or music notation, there will still be professional composers and producers who see Scaler as a luxury rather than a necessity. Having access to your plugin library is an impressive feature, but on the still-to-be-released iOS version of Scaler 3, for example, you will be limited to the availability of plugins on your iOS device. What deeper features does Scaler 3 offer? You’ll notice that, as you add chords to the main track, you can use the lightbulb to help you out when you get stuck. Let’s say you’ve got the first two chords of your progression down, but you’re looking for something less ordinary for the third; the Suggest window can give you a range of results, either based on the tonal input or the specific scale you’ve selected. Once you move from the Browser to the Create tab, the fun can truly begin. Here, you’ll find five sub-tabs that allow you to access Scaler’s more advanced features. With the first tab, you can access chord suggestions based on the circle of fifths. Meanwhile, the next tab provides you with extensive chord modulation options, taking you deeper into music theory than you may have gone before. The Explore tab within the Create section is refreshingly straightforward, and this is where I got the most instant gratification personally. With nothing more than a few clicks around the chord wheel, I immediately stumbled upon some really interesting chords. Next, the Colors tab presents a range of different voicing variations, while the Sketch area lets me match progressions with different phasings and articulations in the Motions library to bring them to life. Who actually needs Scaler 3? If you make music professionally as a pop producer or film composer, your ability to diversify your creative output is crucial in your career. Over time, using Scaler 3 will sharpen your skills and give you a deeper understanding of chord progressions and music theory in general. Even a music theory savant will find features that are too convenient to avoid using. Sure, there may be some limitations as a standalone tool, with the absence of both audio recording and staff notation. However, the undeniable ability to dive so deeply into chord theory as a keyboardist, guitarist, or MPC button-basher makes Scaler 3 the best option in its class for music production. Even if you only use it as a musical mood board, you’re bound to come up with interesting chords and have plenty of fun doing it. At $99, Scaler 3 fits in right next to Mixed In Key’s Captain plugin bundle with a relatively similar scope, although MIK software is focused towards the EDM world. However, if you’re only looking for chord generation without all the music theory, there are more affordable options like EVAbeat Melody Sauce 2 and Audiomodern Chordjam that offer instantly gratifying results. No matter how you make your music, it’s important to note that until you master a tool like Scaler and it becomes a seamless part of the machine, it remains an additional step in the creative process. While most users will find the music theory aspects a little archaic, this side of Scaler will be particularly worthwhile for those making a career in commercial music composition for advertising, motion pictures, and games. Key features Standalone app and AU/VST/AAX plugin for MacOS and Windows Instrument and effects plugin support Keyboard or guitar orientated workflows MIDI arrangement and editing Advanced chord modulation features Extensive Motions library The post Scaler 3 is packed with music theory power, but is it still too niche? appeared first on MusicTech. View the full article

Steve Aoki' built Dim Mak's reputation on sonic anarchy, and Laidback Luke and Nostalgix just reminded us why. The title of their new single, "1000 BPM," is hyperbole, but its energy isn't. Reckless, rebellious and built for the kind of night that ends in daylight and sweet regret, the track is a lipstick-smudged throwback to the label's heyday, when its parties left nobody without a bruise or a story. "'1000 BPM' is all about being in your party girl era—living in the moment, letting loose and prioritizing fun above everything else," Nostalgix said in a statement. "It's about dancing with your friends, not caring what anyone thinks and just enjoying life. An undeniable highlight of "1000 BPM" is its claustrophobic tempo switch, where Luke and Gix zip you inside a synth-stitched leather corset of tension. But just when the pressure becomes unbearable, they break the valve and unleash a ferocious electro house drop. Meanwhile, Nostalgix delivers the hook with the conviction of a rapper who's tired of apologies: "Don’t care what you want, I’m not one of them / I just want to party, 1000 BPM." Bratty and unbothered, she purrs with the kind of glamorous detachment that only comes from the bloghouse era. You can listen to "1000 BPM" below and find the new single on streaming platforms here. Follow Laidback Luke:X: x.com/LaidbackLuke Instagram: instagram.com/laidbackluke TikTok: tiktok.com/@laidbacklukemm Facebook: facebook.com/OfficialLaidbackluke Spotify: spoti.fi/2EXVali Follow Nostalgix:X: x.com/nostalgixmusic Instagram: instagram.com/nostalgixmusic TikTok: tiktok.com/@nostalgixmusic Facebook: facebook.com/nostalgixmusic Spotify: spoti.fi/3l98zsw

While other artists chase viral TikTok moments and disposable streaming numbers, Dabin has spent nearly three years crafting Aura Park, an album that prioritizes depth over drops to explore what it means to be painfully human. The Korean-Canadian producer and instrumentalist today released his fourth album, which functions as an audio journal of contemporary relationships. Its 13 tracks navigate heartbreak and hope with tact and tenderness. The paradox of Aura Park is how something so carefully constructed can feel so organically emotional, like watching tears form in perfect geometric patterns. Look no further than "Deepest Water," where Dabin produces a distorted synthscape that washes over a walk-on-air electro drop as Syd Taylor sings about the messy promise of unwavering loyalty. Elsewhere, Stephanie Poetri's vocals on "Not Enough" deliver self-preservation wrapped in melancholy, with Dabin allowing space before uncorking an effervescent four-on-the-floor drop. It's the sound of moving on, delivered through weightlessly euphoric dance music. The fan-favorite "Hollow" finds Dabin at his most experimental, entwining fluttery future bass with the ferocious dubstep and metalcore of Kai Wachi. With its existential vocals from Lø Spirit, the single, which was named by EDM.com as one of 2023's best electronic tracks, is a risk that pays off. "I See You," one of the album's surefire highlights, is vintage Dabin. Co-produced by NURKO, it's a melodic bass tearjerker elevated by the typically stunning vocals of Skylar Grey, whose visceral performance reminds us that electronic music can still trigger genuine goosebumps. The same can be said of "In The End," his latest joint effort with longtime collaborator Said The Sky, where Clara Mae's haunting vocals conjure the presence of someone who was never there. All said and and done, Aura Park isn't revolutionary in its approach, but its execution is immaculate. True to form, Dabin has crafted an album that demands you dance but insists you feel something in the process. And in a genre that often sacrifices substance for style, that's something worth celebrating. You can listen to Aura Park below and find the new album on streaming platforms here. Follow Dabin:X: x.com/iamdabinlee Instagram: instagram.com/dabinmusic TikTok: tiktok.com/@dabinmusic Facebook: facebook.com/dabinmusic Spotify: spoti.fi/2Krxnxb

Boys Noize has revived Human Resource's "Dominator," honoring the 1991 rave classic while reanimating it with menace, swagger and a fresh coat of chaos. Joey Beltram's seminal remix set the bar high over three decades ago, but Boys Noize was clearly up for the challenge. He weaponizes the original's snarling hoover synth, a sonic war cry of the early hardcore scene, but in his skilled hands, what surrounds it now is all gleaming steel and scorched earth. The original "Dominator" commanded ravers with its raw, almost militant simplicity, but Boys Noize goes haywire and transforms it into a serrated techno banger with fangs. The influential producer dials up the distortion and acid squelch, providing an essential bridge between raving's anarchic origins and techno's technical present. The track arrives after Boys Noize was revealed as the exclusive opening act for Nine Inch Nails' expansive "Peel It Back World Tour," which follows his remix album of the band's brooding score for Luca Guadagnino's Challengers film. One of its tracks, "Pre Signal [MIXED]," was named by EDM.com in its list of 2024's best electronic records. Boys Noize's rework of "Dominator" is out now under Armin van Buuren's Armada banner. You can listen to the new single below and find it on streaming platforms here. Follow Boys Noize:X: x.com/boysnoize Instagram: instagram.com/boysnoize TikTok: tiktok.com/@boysnoize Facebook: facebook.com/boysnoize Spotify: spoti.fi/3349nqE

Some artistic combinations are simply written in the stars, and they don't lie when they pair visionaries. After taking us to the moon back in 2009, Kid Cudi is returning to orbit, this time with Dom Dolla steering the spaceship. The duo today released "Forever," one of the year's biggest dance music collaborations. If "Day 'n' Nite" was the soundtrack to stargazing alone, "Forever" is the euphoric sound of dancing in zero gravity. Dolla's club sensibility meets Cudi's existential cool, and together they find the sweet spot where real anthems live. "We'd never worked together before, but somehow we knew this one would be special," the pair said. View the original article to see embedded media. What elevates "Forever" beyond mere dancefloor utility is its emotional intelligence. Cudi and Dolla's stated intention, crafting something that "takes you to a happier time and place," reads initially as standard artist commentary, but the execution reveals deeper ambition. The desire to freeze perfect, ephemeral moments pulses behind every lyric. Beneath the surface lies a genuine yearning for permanence, a sentiment that resonates powerfully after years of collective isolation and uncertainty. Euphoric synth swells flutter atop a pumping house beat, mirroring how fleeting moments of bliss punctuate our everyday existence, even when it seems mundane. This tension between impermanence and eternity gives "Forever" its narrative depth. The track becomes a meditation on time itself, capturing how dancefloors have always served as escapist autonomous zones where time stands still and worries deplete along with sweat glands. You can listen to "Forever" below and find the new single on streaming platforms here. Follow Dom Dolla:X: x.com/domdolla Instagram: Instagram.com/domdolla TikTok: tiktok.com/@domdolla Facebook: facebook.com/domdollamusic Spotify: spoti.fi/3g2cuTm Follow Kid Cudi:X: x.com/kidcudi Instagram: instagram.com/kidcudi TikTok: tiktok.com/@kidcudi Facebook: facebook.com/kidcudi Spotify: spoti.fi/3ejTOjK

Photo: Luis Quintero What changes are afoot in the music industry conference circuit? You’re probably too young to remember the ostentatious days of MIDEM in France, though these days, look no further than SXSW for shifts in the modern-day music conference landscape. Suddenly, South-by — once an obligatory time- and budget-drainer — looks to be shedding attendees. Ahead of the controversial 2026 programming changes, DMN’s on-the-ground team noticed something funny this year: the crowds were distinctively thinner in Austin. Blame it on mass label layoffs, more profit-conscious companies, a shift away from low-productivity debauchery — or heck, the rain — but SXSW doesn’t look like it’s heading north in terms of its 2026 attendance. Those favoring the kvetch note that the days of a music-focused, expertly-curated SXSW are over. The showcases have simply declined, according to one disaffected A&R exec, with another lamenting the long flight for an overly-diluted tech/film/eco/music/whatever blob of a party — I mean, ‘conference’. For those looking for something a bit more serious, that would theoretically play into the hands of Music Biz. But was a Nashville uproot to Atlanta a good call? That’s a question we’ll have an answer for in a few weeks. But why did Music Biz switch cities from the tried-and-true Nashville? DMN been told that Music Biz has always intended to switch cities every year, but COVID planted the event in Nashville for a string of years. But given the growing momentum of Music Biz and its association with the Music City, was shifting to Atlanta the wise play? Aside from logistical arguments, there’s also a pressing political reason for keeping the action in Nashville. While we loathe to wade into politics, the industry is now facing some distinct challenges trying to get the Trump Administration to care about urgent issues like AI and copyright. Time couldn’t be more critical, though insiders lament that Hollywood is getting nowhere on critically-important AI and IP-related concerns, for obvious reasons. But maybe there’s a strategic answer to this riddle. The logic goes something like this: Hollywood is certainly a relatd industry, but music isn’t as fixed geographically —or politically. Trump was flanked by country superstars when he ratified the Music Modernization Act (MMA) during his first term. Given that success, is Tennessee the perfect base for lobbying this administration given the shutdown being experienced by Hollywood and others on the wrong side of this political aisle? Meanwhile, speaking of Capitol Hill fixers: the National Music Publishers’ Association (NMPA) topper David Israelite could be building the industry’s next ‘IT’ conference. Israelite’s Music Investor Conference (MIC) is now in its third year, kicking off this June in Manhattan. But this event has a totally different game plan, with limited capacity and an invite-only, serious dealmaking approach. That’s generating some surprisingly nice pre-event buzz, with New York offering a more serious backdrop for industry. Are we looking at a budding Davos for music? So far, we’re hearing that MIC isn’t yet getting the ‘heavy heavies’ like UMG titan Lucian Grainge — at least en masse — though a fairly influential cast of folks are expected to attend again this year (at least based on the 2024 list). Meanwhile, it’s tricky to get a read on future industry crowds given a tough year for layoffs. For obvious reasons, labels and tech bros like to keep layoffs on the hush, though heavy downsizing at mega-companies like Spotify and WMG could be trimming crowds at future industry conferences. Was SXSW just a preview of what a leaner business looks like? On the flip side, a lot of money has been pouring into this industry. As of mid-April alone, north of $2 billion worth of investments in 2025 alone according to DMN Pro’s latest tallies. Will that tailwind mark the start of a surprisingly bullish 2025 for the music business despite the economic turbulence of late? That topic and more coming to a conference panel near you. View the full article

Per a new estimate, the controversial Spotify stream minimum cost emerging artists big, to the tune of $47 million in would-be royalties, during 2024. Photo Credit: Towfiqu Barbhuiya By one industry exec’s estimate, Spotify’s 1,000-play monetization minimum cost emerging talent close to $50 million during 2024. Now, the platform is defending its controversial royalties approach. As many know, that approach sees Spotify pay recording royalties only for tracks with at least 1,000 annual streams. Implemented (along with other changes) at the behest of the majors, the revamped model is effectively preventing the vast majority of uploaded recordings from generating payments. We know as much in part because of Luminate’s latest year-end report, which found that just 26.7 million works (not necessarily proper songs) had topped 1,000 global on-demand streams last year. In light of the 202 million ISRCs identified in the same breakdown, this means some 87% of tracks failed to hit Spotify’s 1,000-stream minimum. Technically, these plays were divided across all DSPs; the percentage of recording-royalty-accruing works on Spotify might actually be lower than 13%. And when it comes to the monetized pile of Spotify uploads, it’s also unclear how many of the works are human-made songs. Logic and a bit of evidence suggest AI “music” generations are (presumably thanks to the efforts of their uploaders) having no problem hitting 1,000 streams apiece each year. But that multifaceted topic is best saved for another time. More immediately, Disc Makers CEO Tony van Veen crunched the streaming numbers to arrive at the initially mentioned estimate. “I’m going to answer this question: How much in royalties earned by independent artists in 2024 did Spotify not pay out to you, the independent-artist community?” van Veen asked in a YouTube video. Building on Luminate’s 2024 stream-volume pyramid, which groups tracks by play range (93.2 million works had between zero and 10 streams, for instance), van Veen attached “conservative” estimates to each category. For the bucket of uploads with 10 or fewer streams, that refers to an average of two streams per track, against an average of 350 apiece for those with between 101 and 999 plays on the year. The exec then used the figures to approximate total non-monetized streams, brought an average per-stream royalty rate of $0.0033 into the fold, and multiplied to arrive at an estimate of the would-be royalties. All told, emerging artists missed out on $46.87 million in recording royalties during 2024, van Veen found. While it probably doesn’t need saying, the situation is inherently beneficial for well-established acts and the major labels. Factoring also for the majors’ advantageous DSP agreements and the ongoing tidal wave of AI tracks (commercially prominent artists needn’t worry about ending up at the bottom of the pile), it’s apparent that the indie community is receiving an increasingly raw streaming deal. Like with AI audio’s precise streaming-service reach, this topic is best left for a different occasion. As things stand, Spotify, as highlighted, is firing back against criticism of its 1,000-stream minimum. “99.5% of all streams are of tracks that have at least 1,000 annual streams,” a Spotify spokesperson retorted in part, “and each of those tracks earn more under our policy. This policy targets the population of tens of millions of tracks on Spotify that generate only $0.02 per month on average. “In the aggregate, these tracks with under 1,000 annual streams represent ~0.5% of total streams (and therefore 0.5% of the total royalty pool). Now that Spotify’s royalty pool has become so large — $10B+ in 2024 alone — 0.5% is a material amount,” the rep proceeded. View the full article

The minds behind Miami's III Points are hoping to save even more lives in 2025. Between the music, comedy and easter egg hunts at this weekend's III Joints event—III Points' one-day offshoot to celebrate cannabis culture—there will be a bone marrow donor registration drive. The beloved festival brand shared an informational post on social media explaining their public health initiative. While the donation process involves a surgical procedure, the requirement to be added to the donation is a harmless cheek swab. The information gathered is then added to a database where donors can be matched with those in need of a life-saving bone marrow donation. Gift of Life collected 200 registrations at III Points and III Joints last year, and two of those attendees went through with the procedure to save two lives. The cause is close to organizers' hearts. After being diagnosed with cancer in high school and spending five months in isolation at a Durham children’s hospital, III Points founder David Sinopoli recovered thanks to a bone marrow transplant from his brother. He later rose through South Florida’s nightlife scene and ultimately co-founded III Points in 2013. III Joints Festival will take over Factory Town in Miami on April 19th, 2025. You can learn more here. Follow III Points:X: x.com/iiipoints Instagram: instagram.com/iiipoints TikTok: tiktok.com/@iiipoints Facebook: facebook.com/iiipoints

The Los Angeles headquarters of Ares Management Corporation, which has backed GoldState Music in a $500 million round. Photo Credit: Hathaway Dinwiddie About five months after acquiring a reported $200 million worth of catalogs, GoldState Music has announced a $500 million strategic-capital raise. West Palm Beach-based GoldState disclosed that half-billion-dollar round in a formal release today. The Charles Goldstuck-founded company attributed part of the sizable sum to a “structured capital facility” co-led by Northleaf Capital Partners and Ares Management (NYSE: ARES). (Hardly a stranger to music IP, Northleaf in October 2021 led a $500 million raise for Spirit Music parent Lyric Capital, which went on to reveal an $800 million catalog fund in February 2023.) Meanwhile, three-year-old GoldState also attributed a portion of the massive tranche to “separately raised leverage” – albeit without diving into the fundraising particulars at hand. In any event, Goldstuck emphasized plans to bankroll additional IP deals yet with the newly obtained funding. Though that might appear obvious, GoldState clarified that the music space and catalogs are its “primary” – not sole – focus. As spelled out by the business, it’s open to backing “enterprises in need of growth and expansion capital, as well as emerging music technology.” “Our new relationship with Northleaf and Ares marks the next step in the evolution of our music investing strategy,” said the Hitco Entertainment founder Goldstuck. “This additional capital will enable us to further accelerate our ability to capitalize on increasing demand for music and build a diversified portfolio of music assets across artists and genres. “As leading institutional investors, Northleaf and Ares bring critical experience that will support GoldState’s continued growth and differentiation to the benefit of our artists, investors and other stakeholders,” the former BMG exec finished. Bigger picture, despite the ongoing streaming-growth slowdown and the many already-wrapped catalog deals, it’s safe to say investors remain interested in music IP. To be sure, Pophouse Entertainment announced a $1.3 billion fund of its own to close out March, which also delivered a $250 million song-rights JV (Raven Music Partners) from Aquarian and Raven Capital as well as $200 million in debt funding for Duetti. On the transactions side, DMN Pro’s Music IP Acquisition Tracker registered March investments from Primary Wave (which reportedly took a stake in the Notorious B.I.G. catalog at a $200 million overall valuation), Create Music Group (which is said to have spent $55 million on Deadmau5’s body of work), and more. (Incidentally, GoldState/Goldstuck participated in Create’s $165 million Flexpoint Ford-led round back in June 2024.) Especially because the majors, BMG, Reservoir, and other well-entrenched parties are likewise on the hunt for song rights, it’s safe to say the coming months (and probably years) will bring a steady stream of deals. View the full article

Photo Credit: Marvin Meyer Online video and podcast revenue surged in 2024 with the strongest gains since 2021. But for ad-supported streaming music, the future isn’t as bright. Ad revenue online showed strong revenue growth overall in 2024, increasing 14.9% year-over-year. The IAB/PwC Internet Advertising Revenue Report found internet advertising revenue hit $258.6 billion in 2024, its highest since 2021. “The US digital ad industry showed remarkable strength in 2024. Despite the volatility from geopolitical shifts, interest rate changes, and economic uncertainty, major events like the Presidential Election and Olympics provided meaningful tailwinds,” said Daven Cohen, CEO, IAB. “As we look ahead this year, there is no doubt that we will see an even more dynamic market driven by geopolitical and economic factors. There is absolutely growth to be had for those that embrace the volatility and innovate. Now is the time to future-proof your business by exploring new solutions that leverage the latest advancements in technology while ensuring that consumer privacy stays at the forefront.” Digital video has remained the fastest-growing format, now accounting for nearly a quarter of total ad revenue. Podcast advertising is also back in strong growth, with a significant increase compared to 2023 at over 26% vs. 5%, respectively. Social media also shows renewed confidence among advertisers due to increased investments in user-generated content and creator-driven partnerships. The digital ecosystem grew overall, but “mid-tier” media companies saw the largest share. Market share among the top 11-25 companies reached 11% in 2024. That’s an increase of 3.1% since 2023, and highlights the rising influence of emerging digital platforms. Despite widespread gains throughout the digital arena, ad-supported music streaming fell in 2024, down 1.8% year-over-year, with the RIAA attributing $1.83 billion to ad-supported on-demand streaming. That number includes audio+video streaming, indicating more pull toward user-generated content in video as opposed to produced music-oriented content. But as both video and podcasting see an increase, that begs the question of Spotify’s plan for continued escalation into podcasts, audio books, and a major advertising expansion: Will this result in ads being pushed to Spotify’s Premium tiers? The company has denied this rumor, but the speculation comes at a decidedly lucrative time for the Stockholm-based streamer as it expands its video offerings in an ad-positive landscape. View the full article

[UNVRS] Ibiza just landed one of its most anticipated residencies of the summer: Anyma is officially taking over Tuesdays on the island’s revolutionary new venue, for eight unmissable nights of cutting-edge sound and storytelling. From July 8 through August 26, the multidisciplinary mastermind will curate a weekly series that promises to reshape the way we experience club music—again. Fresh off the heels of his record-breaking “The End Of Genesys” residency at Las Vegas’ Sphere, Anyma (aka Matteo Milleri of Tale Of Us) continues to expand his creative universe. Known for blending emotive techno with surreal, hyper-digital visuals, he’s not just producing music—he’s crafting futuristic worlds where the real and the unreal merge into one. [UNVRS], purpose-built for next-level audiovisual experiences, is the perfect playground for his latest evolution. “Ibiza has always been a beacon for electronic music, but this is something different,” says Anyma. “Perception fractures, the real blurs with the unreal, and a transformative universe begins to take shape. A quantum odyssey at the intersection of music, art, and technology.” A Residency That Redefines Lineups The lineup supporting Anyma’s vision is just as colossal as the concept itself. Every Tuesday, some of the most in-demand names in electronic music will join him on stage, including: Adriatique, Amelie Lens, Argy, Cassian, Colyn, Dom Dolla, Innellea, John Summit, Kevin de Vries, Layla Benitez, Mind Against, Notre Dame, Paul Kalkbrenner (Live), Rebūke, Recondite (Live), Script, Solomun, and Son of Son—among others. It’s a sonic multiverse set to unfold across eight nights, with each evening promising to be a deeply immersive experience where sound, light, and emotion collide in real time. The Venue Changing Ibiza Nightlife The opening of [UNVRS] marks a seismic shift for club culture on the island. Created by The Night League and Ushuaïa Entertainment, the venue opens its doors on May 30 with a massive launch party featuring Carl Cox, Jamie Jones, Michael Bibi, The Martinez Brothers, and more. But beyond the names, it’s the venue’s design and ambition that set it apart—an arena-level production space brought into an intimate, club-sized environment. Yann Pissenem, CEO and Founder of The Night League, reflects on the collaboration: “It’s an honour to welcome Anyma to [UNVRS] — a truly meaningful moment. His artistic vision is perfectly in tune with the spirit of this venue, which was created to host and elevate the most forward-thinking creators of our time.” Tickets for Anyma at [UNVRS] are on sale now at unvrs.com The post Anyma Brings His Immersive World to Ibiza With New [UNVRS] Residency appeared first on EDMTunes.

The Summer kicks off with the latest from Sultan + Shepard, the renowned melodic and progressive house duo. With their new singles, Mio and Mainline, the duo continues to evolve their sound, bringing fresh energy to their fans. Known for their intricate blends of house and melodic journies, Sultan + Shepard has maintained a reputation for crafting tracks that bridge the euphoric highs and atmospheric lows. Together, they offer an immersive experience that resonates with their dedicated listeners worldwide. Mio + Mainline Mio opens with a relaxing drum beat, paired with a beautiful melodic synth that seamlessly bounces through the mix, creating a tension-and-release effect that builds to a euphoric peak. After mio reaches its climax, it breaks down into a peaceful breakdown. In this moment, ethereal pads join the fun and help create an atmospheric vibe. This section captures the true essence of Sultan + Shepard’s style, where energy and serenity coexist. The track then builds up again, bringing listeners back to the peak and leading into a drop that invites everyone to move. In contrast, the Mainland takes us back to the early days of Sultan + Shepard. It brings a more old-school synth paired with a groovy, rhythmic drum kit. The stuttered pad in the background enhances the groove, creating a playful tension that slowly builds. The end of the track features a fakeout drop, focusing on the ear-catching synth and keeping the energy flowing. Read more about their previous release ‘Before The Storm’ here. About Sultan + Shepard Sultan + Sheppard, the dynamic Canadian duo consisting of Ossama Al Sarraf (Sultan) and Ned Shepard (Shepard), have been a staple in the progressive house scene since their formation in 2002. Their collaborations with Dillon Francis, Tiësto, and Coldplay helped make their mark alongside their original tracks. Over the years, they’ve earned accolades such as Grammy nominations and Juno Award nods. Touring extensively at major festivals like Tomorrowland, Ultra, and EDC, they’ve solidified themselves as pioneers of their genres. Upcoming 2025 Shows Sultan + Shepard is set to reside in the United States as of right now with their performances at Lightning In A Bottle in Bakersfield, CA and Hulaween in Live Oak, FL. In summary, this is after an already super busy 2025 festival season topped with EDC, Ultra, and Tomorrowland. Stay tuned to EDMTunes and their home website for tour date announcements. New music usually means more shows. 🙂 Sultan + Shepard Tour Dates The post Sultan + Shepard Drop New Tracks ‘Mio’ and ‘Mainline’ appeared first on EDMTunes.