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Festival-goers who booked high-end “glamping” packages, which included accommodation and hospitality tickets, for this year’s Glastonbury Festival have been left in the lurch after the provider, Yurtel, went into administration. The Corsham, Wiltshire-based company informed customers earlier this month that their bookings, with prices ranging from £10,000 to £16,500, will not be honored due to the company’s financial collapse. Currently, refunds are unavailable, and affected individuals have been told that information regarding the claims process for recovering their money will be shared with creditors once liquidation proceedings formally begin. Glastonbury Festival expressed disappointment for those impacted but clarified that it has no operational involvement with Yurtel and therefore cannot provide replacement tickets. The festival also stated that Yurtel had not secured any tickets for the 2025 event prior to its insolvency. Yurtel was one of a limited number of local campsites near Worthy Farm that, under specific conditions, had access to purchase hospitality tickets for its guests. The festival emphasized that it holds no records of Yurtel’s bookings and cannot assume responsibility for the services or facilities the company offered. “Anyone who has paid Yurtel for a package including Glastonbury 2025 tickets will need to pursue any potential recompense available from them via the liquidation process as outlined in their communication to you. We are not able to incur the cost or responsibility of their loss or replacement.” -Glastonbury Festival To potentially assist affected customers in finding alternative tickets and accommodation, Glastonbury has advised Yurtel customers to contact [email protected] to authorize the sharing of their personal data and booking details with the festival. Glastonbury Festival 2025 This year’s Glastonbury Festival is scheduled to run from Wednesday, June 25th, to Sunday, June 29th. Headline acts include The Prodigy, Charli XCX, and Four Tet. Organizers have also recently unveiled lineups for various electronic music stages such as Silver Hayes, Glade, Block9, and Arcadia, and have released the 2025 site map, which features expanded dance music areas. The post Some Glastonbury Attendees Left Without Tickets As Luxury Tent Company Goes Bankrupt appeared first on EDMTunes.

Singer-songwriter turned producer, Grace Davies, has come a long way since her time on the world-famous singing competition, The X Factor. With four EPs and one on the way, she’s learnt what it takes to work both independently and under major record label Syco, and is now spreading her producer wings with her upcoming album, The Wrong Side of 25, showcasing the first time that Davies has sat in the producing chair for an entire project. Alongside her notable sync work, which has seen her catalogue appear in popular UK TV shows such as Love Island, Britain’s Got Talent, Strictly Come Dancing and more, the producer is focusing more on bringing her releases to life, using plugins and other studio equipment that can help make the visions in her head a reality. READ MORE: Waz-u: “If you want to do something unexpected, be controlled and intentional about it” In this Studio Files interview, Davies sits down with MusicTech to delve into her new role as a producer, how that has changed her relationship with singer-songwriting, and how she can use equipment to help further develop her sonic creativity. What did you learn about yourself as a producer while producing IWPBWT and The Wrong Side of 25? IWPBWT was the first time I’d co-produced a whole project; it was really important for me in understanding the value of trusting my instinct. I would send stems to my producer and say, ‘This probably isn’t very good, but maybe something like this… I’m sure you have a better plugin, though, and he’d be like, ‘Grace, I’m just gonna use yours because there’s nothing wrong with it and it sounds great’. It really gave me a confidence boost and assurance that just because I’m not the ‘named producer’ who is being paid for the job, doesn’t mean I’m not capable of doing it and chipping in. It was also the first time a producer recognised that I’m essentially coming up with all of the production ideas and leading the way a song would sound counted as a production credit — and that was really eye-opening for me. I’ve always said since the beginning of my career that I have a producers head but not an engineers hands — i.e. I’ve always had a strong vision for production and been able to sit next to a producer and guide them, but it sometimes takes someone with zero ego to go “you’re actually doing most of the producing here, I’m just doing what you tell me to do” and give you that recognition. Lockdown in 2020 was actually a great time for me as a songwriter because, with no one else there to do it for me, it forced me into the uncomfortable zone of really honing my craft as an ‘engineer’. I’m grateful for that time and for the producers I worked with during that period who really championed me. Transitioning from a singer-songwriter to a recording artist and now a producer, how has your perspective about making music changed? My love for the creative process has grown so much more. I’ve been on stage since I was three years old, and I viewed songwriting as a necessary chore before — my love was performing. But, being in a studio for 18 months, working things out, problem solving, surrounding myself with incredible musicians and having the time and patience to try out the weirdest, least commercial ideas was the most fun I’ve ever had. I think the tables have very much turned for me, and the studio is now my happy place. What’s your latest gear or plugin purchase? My latest plugin purchase was iZotope RX 11, and let me tell you, it has been worth its weight in gold on this album. My co-producer Paul and I made the very easy mistake of, during the writing process, saying ‘Ah yeah, that’s cool, let’s just sing that in as a rough guide’ whilst making the demos. A very crucial thing to note — I will never be able to sing something with as much emotion or conviction as when I’ve just written it and don’t really know what I’m doing… I’m just never able to capture the same magic! So when you’re ‘roughly’ singing something in with no headphones and speakers blaring and then, later down the line, you end up changing production or releasing acapella’s with that as the final vocal, that becomes a gigantic problem. RX 11 was critical in removing so much noise from the background. You’re really able to zone in and visually pick out sounds you want removing, rather than just sticking something like Waves’ NS1 on it that’ll create quite a dull sound over the main recording. It’s great for removing clicks, pops and saliva noises too. What’s the best free plugin you own? One hundred thousand per cent, it’s the BBC Symphony Orchestra Discover from Spitfire AUdio. For anyone who’s into huge orchestra sounds but doesn’t want to pay thousands of pounds, this is a great free plugin to help you play around. There’s a string interlude on my album, which I used this plugin for before firing MIDI stems over to Paul. It’s genuinely so much fun and sounds great considering it’s £0. Your recent singles, ‘A Wonderful, Boring, Normal Life’, feel like a new era compared to previous releases. How has your creative mind changed in the time since you were on X Factor, having released a lot of music since then? I think I just started making music for my younger self — the one I was before I even knew I wanted to do music. My recent releases and upcoming album are inspired by the songs I grew up listening to in the car: ELO, ABBA, Robbie Williams, The Beautiful South, The Carpenters, etc. So much of that music is made ‘out of the box’ (real, live instruments) — and sure, it’s way more expensive to do that and technology has come on so much that we don’t always need to do it that way anymore, but there’s something so exciting about working with real musicians, being in the studio and hearing a 20 piece orchestra play your songs… It’s magical. That’s a big reason why my sound is so different to how it used to be. I’m finally giving myself the time, room (and budget) to create music that matters to me and not just following charting trends. I feel like I’ll listen to this music in 20/30 years time and it won’t sound dated. Particularly as an independent artist, using live musicians and ‘out of the box’ production is very expensive — but it’s the most fun I’ve ever had. I really don’t feel like you can ever completely emulate the sound of instruments and outboard gear through plugins. They come close but nothing compares to the real thing. What’s a music production myth you think needs debunking? This is more about the process of actually finishing a song, but I really don’t think you always need to mix a song… Hear me out. Of course, there are occasions where you get as far as you can, either by yourself or (as an artist) with a producer, where you’re thinking, ‘all the elements are there, we just need someone else with a fresh pair of ears to take it to the next level’. In my case, this is often unnecessary and the hard-wired process of sending a song to mix before it goes to master can hinder, undo, delay and cause more stress — all because that’s just the way the processes of finishing a record have been laid out for us. I think there’s a charm in naivety and simply not really knowing what you’re doing. I often turn dials on gear or plugins and think ‘that sounds great… No idea what I just did, but I don’t care because it’s wicked.” And I think the same goes for a lot of producers; just because there is a step put in place to send a song to an outside body who ‘knows what they’re doing’ doesn’t mean you have to utilise it. If you’re happy with how something sounds before it goes to mix, just don’t go to mix! Go straight to master! Even the best mixing engineers can overcomplicate, overclean things, take out emotion or vibe or just simply have a different vision from you. Particularly in my experience, I’ve ended up wasting money trying out different mixers and then eventually going back to the original producer who either delivers mixed stems or just delivers the pre-masters themselves. On this album, my co-producer Paul mixed everything because A) he’s a genius, but B) I always tend to give mix notes as we go along — and we’re both perfectionists, so even our demos sound like finished records! It’s obviously case by case,e but I do know a lot of artists who feel the same anxiousness when sending a song to mix. It can really make or break a song. If you don’t feel like it needs it, don’t let anyone tell you that it does. Don’t cause yourself more stress and cost yourself more money. The post “You don’t always need to mix a song — hear me out…”: Grace Davies on DIY production, breaking studio rules, and trusting your ears appeared first on MusicTech. View the full article

YouTube Content ID payouts crossed the $12 billion mark in December 2024, according to a new report. Photo Credit: ilgmyzin After cracking 125 million Music and Premium subscribers, YouTube has reported making a cumulative $12 billion in Content ID payouts as of December 2024. The multibillion-dollar figure emerged in the video platform’s newly released “YouTube Copyright Transparency Report.” As laid out in the concise document, the sum reflects advert “revenue paid to rightsholders as of December 2024 from content claimed and monetized through Content ID.” As a whole, YouTube indicated that these rightsholders (Content ID is said to have “over 7,700 partners”) in 2024 “chose to monetize over 90% of all Content ID claims.” And while the IP owners don’t solely deal in music, it’s safe to say that a significant portion of the monetization stemmed from songs. “Over 99% of Content ID claims made in 2024 were made through automated detection,” YouTube added, “with partners’ usage of manual options being exceedingly rare (fewer than 0.5% of total claims).” Next, looking at “the 3 years prior to January 2024,” YouTube said it’d paid north of $70 billion “to creators, artists, and media companies.” A substantial piece of that payout pie – including both ad revenue and contributions from the aforementioned Music and Premium subs – presumably reached the music world as well. With all that said, on an individual basis as opposed to a top-level view, one needn’t look hard to find compensation criticism of YouTube, which has long faced complaints pertaining to its per-view rates. And specifically in the music arena, the Google-owned platform has grappled with musician-spearheaded litigation centering on Content ID accessibility qualms. (“Smaller, independent creators who do not meet the eligibility criteria for Content ID can still access these features through a number of service providers,” YouTube wrote in the report, perhaps with previous courtroom confrontations in mind.) But the massive payout disclosures are interesting given that plenty of the relevant content wasn’t monetized at all in the not-so-distant past. In the bigger picture, the data underscores that Spotify, despite its reach and comparatively robust subscriber base, certainly isn’t the only music-monetization player in town. Keeping the focus on advertising, YouTube ad revenue growth (10.3% year over year to $8.9 billion) once again outpaced its Spotify counterpart (up about 8% year over year to $475.3 million) during Q1 2025. There are several factors (some adjacent to the music space) at play here – with Spotify’s ongoing video buildout and advertising recalibration worth keeping in mind. Taken as a whole, though, the numbers seemingly attest to YouTube’s inherently advantageous positioning in a video-crazed entertainment landscape. View the full article

Nestled atop the Ravel Hotel in the vibrant neighborhood of Long Island City, Queens, The Summer Club has quickly established itself as a premier destination for those seeking an elevated summer experience in New York City. Offering a unique blend of a chic rooftop pool party, stunning Manhattan skyline views, and a lively atmosphere, The Summer Club provides an escape from the city’s hustle and bustle without ever leaving it. It doesn’t get anymore unique than at this venue compared to all the other venues scattered across the boroughs. This summer, the rooftop club is bringing all the vibes with a stacked lineup of artists featuring Cloonee, Green Velvet, Gorgon City, Sam Feldt, and many more. The Summer Club boasts a meticulously designed 24,000 square foot space that makes use of every corner. Lush greenery, including palm trees and floral archways, creates a visually appealing and inviting environment. The centerpiece is a sparkling four-foot-deep swimming pool, perfect for cooling off on a hot summer day. Surrounding the pool, guests can find comfortable lounge chairs for sunbathing and relaxation. One of the best features about Summer Club, is its breathtaking panoramic views of the Manhattan skyline. Imagine soaking in the pool or sipping a custom cocktail while gazing at iconic landmarks. To enhance the experience, the venue offers cabanas situated along the terrace perimeter, providing a more exclusive and shaded retreat for groups. Additionally, stocked bars are situated around the venue. Not only do you get to listen to your favorite artists in style here, you can enjoy Summer Club’s impressive food and beverage program. Guests can indulge in a variety of delicious poolside food, including options like tuna tartare tacos, grilled chicken skewers, and lobster roll sliders. The bar menu features an array of cocktails, wine, beer, and specialty frozen drinks (a must try is their Don Froze), perfect for beating the summer heat in style. Coming up this Memorial day weekend, Summer Club has an impressive lineup of artists. Friday 5/23 will feature their Night Swim event. Sam Feldt will be bringing his pop infused deep house vibes on Saturday 5/24. On Sunday 5/25, Green Velvet will bring his unique blend of Chicago house, techno, and acid house to center stage, and Monday 5/26 will have Wuki bringing his genre-blending style that incorporates elements of trap, electro, house. Throughout the summer, other artists who will be performing at Summer Club include Deerock, Don Fuego, MK, Claptone, Matoma, Martin Ikin, Stafford Brothers, and more artists to be announced. For the full event calendar and to purchase tickets, visit their official website here. Follow Summer Club on their socials below to stay up to date with everything that will be happening. The post Summer Club NYC is the Place to Be this Summer Feat. Cloonee, Sam Feldt, Green Velvet, Gorgon City, and More appeared first on EDMTunes.

NGHTMRE has released a new track, ‘Up Top’, now available on all streaming platforms through Gud Vibrations/BMG. This is his third drum and bass single, following popular tracks like ‘Another Dose’ from his album DRMVRSE and ‘Angel’, a collaboration with UK DnB artists Dimension and Sub Focus. In ‘Up Top’, he works with UK grime artist Flowdan and bass producer Sully to create a high-energy DnB anthem for clubs and festivals. The track features NGHTMRE’s signature sound, combining trap elements with strong DnB drums. Flowdan adds his distinctive voice and powerful lyrics, while Sully brings an underground feel to the production. Together, they have made a track that grabs attention and makes a strong impact. Click ‘Play’ on the Spotify link below to stream ‘Up Top’ by NGHTMRE, Flowdan, and Sully, a track that brings out outstanding bass with lyricism that empower one to get their day off to a phenomenal start. NGHTMRE shares joy aoubt the collaboration with Flowdan and Sully on ‘Up Top’ “Flowdan has been absolutely crushing, the last few years in particular. When I got the chance to work with one of his vocals I immediately jumped at the opportunity. Using the vocal as a starting point to build around, I made the instrumental idea entirely from scratch. I have been working with Sully on a lot of projects recently.. he is such a talented producer, he was really able to take my initial ideas and bring them to the next level. We’re all extremely excited for the world to hear this one!” The latest track follows up on successes from earlier releases. ‘Up Top’ follows NGHTMRE’s earlier release, ‘Buried A Friend’, which features great vocals and gives a preview of his upcoming album, MINDFULL, coming out later this August. The new album explores deeper themes and combines energetic sounds with thoughtful elements. After ten years of changing the electronic scene, NGHTMRE is entering a new phase, and this track sets the tone. The song made its live debut at the Worldwide stage of Ultra Miami 2025 in front of a full crowd. ‘Up Top’ also appeared at Starbase, the first festival from NGHTMRE’s label partner, SLANDER, in Southern California. NGHTMRE premiered his MINDFULL set at EDC Las Vegas this past weekend on the Cosmic Meadow stage, where ‘Up Top’ was a highlight. The post NGHTMRE Teams Up With Flowdan and Sully on ‘Up Top’ appeared first on EDMTunes.

Fender is changing the game with their new recording app, Fender Studio. Artists now have the ability to create and record on the run. They no longer need to be stuck in a room to create magic. This free app is available on iOS, Android, macOS, Windows, and Linux. Andy Mooney, CEO of Fender, had one mission to accomplish here. And that was, “Anyone should be able to hit a single button on their phone and be able to start recording.” Nothing should slow down an artist, and sometimes, spontaneous moments are their best moments. Whether it’s guitar, vocals, or anything, just one tap and you are immediately recording. When you look at the interface, you’ll be working with one-tap recording, 20 editable jam tracks, and drag-and-drop effects. You have the ability to slow things down, speed them up, solo out the drums, or strip back the bass line. You get to use Fender’s ‘65 Twin Reverb, Rumble 800 v.3, and five FX pedals. For an added bonus, if you choose to register with a free Fender Connect account, Fender will toss in six more amps and effects. It doesn’t matter what you’re working on; the sound quality is top-notch. One major feature we need to mention is Fender’s dropping Link I/O. An audio interface that’s all about speed and tone. Plug in your guitar, open the app, and hit record. “Whether you are new to recording or a seasoned pro, Fender Studio delivers authentic Fender tones and intuitive editing capabilities to record, jam, create, and inspire for free.”, exclaimed Max Gutnik, EVP & GM of several Fender-owned brands. The post This App Turns Your Phone Into A Recording Studio appeared first on EDMTunes.

Just over a week before its official debut, [UNVRS] has released a sweeping cinematic short film capturing a journey through global nightlife, human connection, and cultural expression — all leading to its grand opening on Friday, May 30 in Ibiza. Titled From Tokyo to Rio, the film is a bold and visually striking production that transcends traditional promo content. Directed by Michael Lawrence and produced by Dissidence Production, the project unfolds over 35 days across 8 countries and 16 distinct regions, including Tokyo, Rio de Janeiro, New York, and Bangkok. Rather than focusing on the venue itself, the film highlights the spirit behind the nightlife experience — freedom, celebration, and the power of shared moments. A Story Told Through People, Not Just Places The narrative follows a symbolic asteroid as it travels the globe, not as a destructive force, but as a metaphorical thread connecting raw, unscripted moments. From Brazil’s Carnival and Thailand’s full moon parties to intimate scenes in Colombia and jungle raves in Southeast Asia, the film explores the real people and authentic experiences that fuel nightlife culture worldwide. With executive producers Charles Portier and Antoine Fritsch, the production team prioritized spontaneity, chasing emotion over choreography. They captured everything from fireworks at sea to underground street parties, and even surreal encounters like armed dancers in Rio’s favelas. A Venue Inspired by Global Energy [UNVRS], the new concept venue from Yann Pissenem and The Night League (the team behind Ushuaïa and Hï Ibiza), is set to be a major addition to Ibiza’s cultural and clubbing scene. Built on an unprecedented scale, the venue features a custom L-Acoustics sound system, cutting-edge immersive design, and a mission to explore music and movement in entirely new ways. In tandem with the film, [UNVRS] also launched a street-level activation — bringing the asteroid “character” from the film to life through installations in cities such as Los Angeles and Seville. The campaign further emphasizes the brand’s creative ambition and community-centered approach. The Countdown Begins As Ibiza gears up for the summer season, the [UNVRS] opening on May 30 is one of the island’s most anticipated moments. The venue’s first season promises a dynamic mix of performances, artistic showcases, and experiences that aim to push the boundaries of traditional nightlife. Tickets for the debut season are available now at unvrs.com. The post [UNVRS] Debuts Cinematic Global Film Ahead of Grand Opening in Ibiza appeared first on EDMTunes.

DJ Snake is on a roll as he catapults back into dance music’s centerstage with Reloaded, the second single off his upcoming album Nomad. Premiered at his historic “Final Show” at Stade de France—a night that drew 80,000 fans—Reloaded wasn’t just a debut. It was a war cry. With Space Laces beside him, DJ Snake ignited one of the largest Wall of Deaths in dance history, all while reimagining Marilyn Manson’s infamous 2003 anthem into something entirely his own. What emerged was a genre-warping rave weapon, bending rock, rap, and electronic chaos into a new kind of rebellion. In this moment, Snake didn’t just show range. He issued a challenge to the entire scene. A Shift from Spectacle to Statement As journalist Jon Powell, a respected voice in music journalism and News & Music Editor at REVOLT notes, Snake could’ve coasted on the sheer scale of The Final Show. “Instead, he’s using the moment to reset the rules,” he shares. Alongside the Nomad album announcement, Snake launched a new label spotlighting emerging artists. He also performed EDC Las Vegas’ first-ever hip-hop set and released Paradise with Bipolar Sunshine, a vulnerable, Phil Collins-inspired ballad echoing the emotional tone of their past hit Middle. But DJ Snake didn’t linger in sentiment; Reloaded marked a hard left turn, veering away from softness and straight into impact. “A raw, unrelenting collaboration with Kentucky-born producer Space Laces, this track doesn’t aim to be pretty,” Powell adds. “It aims to flatten everything in its path.” Space Laces x DJ Snake: The Underground’s Sonic Scientist Gets Reloaded Ian Slider, better known as Space Laces, has long held cult status in bass circles. From his early Newgrounds days as cornandbeans, to his Vaultage mix series loaded with unreleased havoc, his sound has been calculated chaos. Powell points out his latest singles like This Way show an artist capable of cinematic control within distortion, offering textured craftsmanship in a genre often mistaken for noise. “He’s just as respected for shaping the sound of underground dubstep from the inside out,” Powell observes. On Reloaded, his hallmark unpredictability and razor-edged design are dialed to eleven. Every stop-start synth, jagged drop, and digital screech feels torn from a boss level that never ends. Engineered for Eruption, Not for Playlists The track opens with horror-movie chords and rallying chants—“Everybody sing along,” “Rebel rebel, party party,” “Are you motherf**ers ready?”*—before Snake drops the first hit. Powell notes that in Reloaded, DJ Snake enters a dubstep-rooted low end that gets pushed into hybrid trap territory, where nothing feels safe or still. Snake controls the structure like a ringleader of chaos, guiding the wildness without taming it. Midway through, the track resets, just long enough to breathe. But the second drop returns twice as brutal, skidding into raw techno territory, suffocating the dancefloor with percussive layers and basslines that punch through concrete. “It’s escalating pressure over a clean arc or tidy resolution, and it’s perfectly engineered for a sound system,” Powell explains. Whether it’s a stadium set or a warehouse rave, Reloaded isn’t just a track—it’s a weapon. “It’s designed for movement, for collective eruption,” the seasoned music and culture journalist, Jon Powell, emphasizes. “A live weapon, not a playlist single.” That ethos defines Nomad. It won’t stick to a single lane, nor should it. If Paradise stretched Snake’s melodic limits, Reloaded stretches the other end—raw, feral, built for the pit. “Reloaded”, A DJ Snake Premiere Meant for Mayhem What stuns us the most about Reloaded is how Snake didn’t use an alias like Outlaw for it. He put his signature brand behind it—and that choice says everything. This isn’t a side quest. It’s the main story. While some fans expected melodic vibes post-Paradise, what we got was first drop dubstep, second drop hard techno. It’s BigBang with Crankdat and SouthSide with Eptic, now reborn in its final form with Space Laces. We didn’t just get a heavy record. We got the clearest sign yet that Nomad will cover sonic terrains without asking permission. After following Snake’s discography from the inside, we see Reloaded not as a detour—but as a declaration. There’s no restricting the Snake anymore. The road ahead won’t be predictable. And if this is only the second single? Buckle up. Jon Powell‘s insights as a respected American music journalist, known for sharp cultural insight and global perspective, is instrumental in this story riding on his reputation highlighting genre-defying artists and shaping conversations across hip-hop, dance, and alternative music. The post “Reloaded” Proves The New DJ Snake Album “Nomad” Won’t Stick to Any One Sound appeared first on EDMNOMAD. View the full article

Zeds Dead reignited their love of sampling on their new album, Return to the Spectrum of Intergalactic Happiness, but the historic production technique brought them face to face with the uncertain process of clearing samples – again. One pre-existing recording on the album that members Zachary Rapp-Rovan and Dylan Mamid doubted they could secure was on A Million Dreams. The chilled-out drum ‘n’ bass track opens with the late piano legend Duke Ellington comparing playing music to dreaming. They grabbed the audio from a YouTube video, and after difficulties connecting with Ellington’s estate, his grandson reached out to Mamid and Rapp-Rovan with his approval. READ MORE: Who is the next Aphex Twin? Meet the producers warping the future of electronic music As two producers who started out making hip-hop, Mamid and Rapp-Rovan have endured the process of clearing samples numerous times over their 15 years of making music together. Many cases didn’t turn out as well as A Million Dreams. “It’s hard to clear samples,” Rapp-Rovan said in a recent interview with MusicTech. “We would get to these places where we’d have something in the track, and then we would have to take it out and replay it, and it wouldn’t sound as good.” The frustration surrounding this process led to them avoiding sampling for a while. Instead, they engaged in the challenge of making music purely from scratch. But when it came time to produce a new album, they went back to their roots. “In the last three years, we’ve been sampling like crazy, and for this album, we just said, ‘Let’s just have fun with it and try to clear it at the end,’” Rapp-Rovan added. Other artists and media they sampled on the album include Ella Fitzgerald providing her sweet vocals on Summertime by George and Ira Gershwin, and Al Pacino’s threatening speech in Scarface. The former is the hook for the electric dubstep tune One Of These Mornings, and the latter is the basis of their dark house track, Bad Guy. Read more about Zeds Dead’s journey with sampling on their new album via MusicTech. The post “It’s hard to clear samples. We’d have something in the track, and then we would have to take it out, and it wouldn’t sound as good”: Zeds Dead’s battle with sample clearance on their new album appeared first on MusicTech. View the full article

Claude VonStroke has bemoaned the necessity of posting to social media as an artist, saying that “it totally fucking sucks”, and suggests that cultivating quality is more important than putting up “a bunch of garbage”. Two decades into his career, the prominent producer and DJ, real name Barclay Crenshaw, is in what he describes as his “life of leisure” phase. In essence, he says, this is an era of complete independence. The former Dirtybird owner isn’t signed to a label; he’s only taking gigs he wants to play, and he’s releasing music at his own pace. READ MORE: Telepathic Instruments’ Orchid, Drop 2: All the details about Tame Impala’s synth and how to order one In previous phases of his career, such as when he shifted from the funky house beats of Claude VonStroke over to the modern bass project he was running under his birth name, Crenshaw engaged with the daily grind of social media. While he did see the benefits, he absolutely hated it. “I was posting [to social media] almost every day,” Crenshaw said in a new interview with MusicTech. “It kind of works, and eventually way more people are looking at your stuff, but it totally fucking sucks. It’s not even making music. It has nothing to do with anything. It’s stupid.” Crenshaw is far from the only artist to decry the ubiquity of social media in modern music. The Guardian reported that pop stars like Charli XCX and Billie Eilish have left social media platforms to preserve their mental health. Sara Quin of Canadian duo Tegan and Sara went on to her frustration with how artists are ostensibly required to be active on social media in order to maintain their careers: “Myspace or Facebook posts used to be an add-on, but now it feels like making music is about making assets for social media.” Continuing his criticism of the demands of the online world, Crenshaw says that striving for a “consistent output” is futile. It’s better to stockpile your best ideas, he says. “People think that the consistent output is better than the good output. Just keep hammering until something catches. You might win over a really long period of time. But it’s just a bunch of garbage. Why would that work? It’s not gonna stick out.” Crenshaw recently sold all of Dirtybird’s entities to the large-scale independent label and distributor, EMPIRE. He is currently in the midst of his Life of Leisure tour throughout Europe and North America, having just released his latest EP, I Was The Wolf. Read more about this new phase of Claude VonStroke’s career on MusicTech. The post “I was posting to social media every day. It totally f**king sucks”: How Claude VonStroke uses social media as a fully independent artist appeared first on MusicTech. View the full article

Kesha has unveiled SMASH, her new platform designed to put artists first. Writers, musicians, producers, and other creators can join the platform to hire each other for rates they set themselves, sign deals that best suit their interests, and keep all the rights to the final project. Other features include community networking, a marketplace, contracting, and a remote collaboration studio. READ MORE: Who is the next Aphex Twin? Meet the producers warping the future of electronic music To celebrate SMASH, Kesha, real name Kesha Rose Sebert, has launched a remix contest for her latest single, BOY CRAZY. Participants can enter by signing up for the SMASH email list. Those who sign up will receive the stems. The winner will be selected by Kesha and given a release on her own Kesha Records this summer. “My goal is to shift the power structure of the music-making business in favour of the creators,” says Sebert in a press release. “I signed a predatory deal when I was 18 and then spent more than a decade fighting to regain rights to my voice and image. When I finally gained my freedom, I realised the fight wasn’t over. I want to make sure what happened to me never happens to anyone else again.” The deal to which she is referring is her infamous contract with producer Dr Luke and Kemosabe Records, a subsidiary of Sony. Sebert was obligated to record multiple albums for the label, but in 2014, before she completed her contract, she sued Dr Luke, real name Łukasz Sebastian Gottwald, for emotional distress, sex-based hate crimes, and employment discrimination. She claimed he had abused her for years prior to filing in addition to drugging and raping her. Gottwald denied the claims and counter-sued Sebert for defamation and breach of contract. The ensuing legal battle finally ended in 2023 with a confidential settlement. The release of her album Gag Order that same year completed her contract with Kemosabe as well. Speaking to Wired, Kesha spoke further about the app and its goals. “I really want this to feel like artists can come to artists,” she says. “People can ask about what they’re signing and who they’re signing with. Ask, ‘I love the guitar player on that song of yours, I want to hire him.’ If you want to jam, my fantasy is there’s a place you can jam. I’m trying to figure out really how it’s made for the artist by the artist. As artists, we don’t have a hub, don’t have a spot, we don’t have that LinkedIn-style place. The more people supporting artists, the better. “Do I find it competitive? No. I kind of look at making pop songs in a similar way. If someone makes an incredible pop song, I just listen to it and it inspires me to make the best pop song I can make. But mine is going to be uniquely mine, fueled by my history and my stories. So I think the more the merrier, people supporting artists. Let’s fucking go.” Sign up for updates to SMASH at smashmusic.io. The post “I want to make sure what happened to me never happens to anyone else” Kesha’s SMASH is a new community platform for artists appeared first on MusicTech. View the full article

If your home audio setup doesn’t look like it belongs in a Ridley Scott film, are you even listening in high fidelity? Elac seems to think not. Enter the Concentro M 807, a pair of floor-standing speakers that cost $45,000, look like high-end air purifiers, and may or may not open a wormhole in your living room. Crafted to celebrate the brand’s 99th anniversary, these floorstanders are far from the polite, wood-paneled speakers of yesteryear. With sweeping aluminum contours and a shape that could double as a spaceship exhaust port, they’re engineered not just for acoustics but for awe. READ MORE: HEDD Audio’s A-CORE range of monitors is its “most advanced analogue loudspeakers to date” Elac says they teamed up with a Hamburg-based design studio to sculpt these monoliths in high-gloss black or white, complete with aerodynamic lines that reduce diffraction and boost sound dispersion. Underneath the alien armor is an acoustic arsenal. Each four-way speaker houses Elac’s VXe 6 array, comprising six midrange drivers arranged in a circle around the legendary JET 6 tweeter, known for its “lightning-fast response and wide dynamic range”. There are five radiation patterns for users to choose from as well, letting you adapt your soundstage depending on whether you’re entertaining guests or brooding alone to avant-garde jazz. The M 807 also houses dual 250mm (10”) high-performance aluminum sandwich woofers, carefully positioned for “distortion free bass reproduction” and an “authoritative yet controlled low frequency performance”. In addition, the speaker’s down-firing bass reflex system, ensures a more consistent performance across a wide range of room positions, making it easier to integrate powerful bass into any space. Inside the cabinet lies a bespoke crossover network made from premium film capacitors, air-core coils, and MOX resistors. According to Elac, this ensures precise phase alignment and level integration for a smoother, more natural sound. The cabinets themselves feature non-parallel surfaces and six-axis milled reinforcements that effectively eliminate unwanted resonances. “This advanced construction prevents internal standing waves, ensuring clean, uncoloured sound reproduction with exceptional purity and clarity,” says the brand. At $45,000 per pair, the Concentro M 807s aren’t for casual listeners. But for those who demand sonic perfection and want it housed in something that looks like it fell off a spacecraft, they might just be the future of home audio. Learn more at Elac. The post No, that’s not a high-end air purifier – It’s Elac’s $45,000 floorstanding speaker appeared first on MusicTech. View the full article

‘Niet voor één gat te vangen’ – as the Dutch say, meaning: ‘Not to be caught in one hole’. Thys (Thijs de Vlieger), one of the three founding fathers of the now defunct Noisia, is dead set on defining this new chapter in his career on his own terms. So much so, you might call ‘steering clear from expectations’ his new signature move. Saying he’s chosen the path of least resistance, read: sticking to the old guns – would be far from the truth. The transition into a whole new chapter of the creative journey is rather expansive. Recently he’s been teasing with singles from his upcoming French house EP Le Thys on Fool’s Gold Records that will hit the (digital) shelves on 30 May, featuring a collaboration with none other than UK garage legend Daniel Bedingfield, called Get Some. As for the next ongoing collaborative works: VIER (Machinedrum x Thys x Holly x Salvador Breed) is poised on rewriting the rule book on mind-melting sound design in the realms of bass music. And before you might ‘catch’ him at Glastonbury this summer, in the weekend of 24 May there are concerts planned in Groningen, where Thys will be playing a church organ live – which promises ‘a meditative experience’, according to Thys, one he’s been working towards for quite a while. So what also to look forward to in this longread interview? Heartfelt anecdotes from a veteran who has seen it all and returned, but with a transformed view and approach. Plenty of comparisons on the good and bad, so to speak, with meticulous weighing of the nuances, while touching on the past, present and future. And yes, Thys neither is shying away from sharing practical wisdom for upcoming artists who want to expand their perspective. So without further ado, enjoy. Looking back, what was the first piece of music you worked on after the Noisia farewell tour? What was that process like? The year 2022 was a period of immense personal upheaval. I lost my father, we undertook the Noisia farewell tour, a five-year relationship ended, and our manager announced his departure from artist management altogether. It was, to put it mildly, a huge mess. I remained productive musically, but focus was elusive. My approach was simply to live through it, to feel everything, without excessive planning. The priority was navigating the intense emotional rollercoaster of that year and simply making it through. So being able to channel that turmoil creatively, was it part of the healing process in a sense? Yes, definitely. In 2023, I released “Shoulder to Shoulder” on Vision. That album incorporates work made before, during, and after that tumultuous period. That release also marked a point where, after a few months post the final Noisia shows, I truly realized my willingness to put in the necessary work to continue DJing. The COVID lockdowns had been particularly difficult; not being able to DJ led to a genuine depression. I was acutely missing the highs of performing, the feeling of doing something that mattered to others and therefore to me, and the vital social and energetic stimulus the shows provided. The farewell tour solidified this: I needed to keep DJing for my own sanity. My adult life, my emotional equilibrium, had been built around a balance of stimuli and emotional states, including the adrenaline and endorphins of doing shows. The nervousness before a performance, while unpleasant, becomes almost addictive, because it underscores the significance of what you’re doing. This realization propelled me to create a club EP. I felt done with predominantly releasing experimental or unexpected music for a bass artist. My focus shifted to making club music that would get me booked in clubs. However, I was also clear that I didn’t want to be confined to the drum and bass stage anymore. I needed a few years of clearly signaling that I wasn’t interested in merely retracing Noisia’s steps. While I’ve started making 172 BPM tracks again – still love the tempo – I want to avoid being automatically pigeonholed back into a space I had to leave. Playing a purely drum and bass set on a festival stage now would feel limiting, almost like dumbing myself down taste-wise. This is why I initially focused on 130-140 BPM tracks. Even before the Noisia farewell, during COVID, I released the 160 BPM “Brand New Drop” remix (for Addison Groove), which was an early indication of my desire to make club music as Thys. After the tour, I intensified my production of club music, taking it much more seriously and initiating collaborations with artists I admired, like Nikki Nair. Most of that work is now out, and I believe the musical statement I intended to make is quite clear. How would you define the identity you’re carving out for yourself as Thys? When I talk to professional marketing people, I often express my struggle with clear self-identification, mainly because a fixed identity is precisely what I wish to avoid. My goal is to be “hard to market,” to have the freedom to pursue completely unrelated musical projects. They are all music, of course. For instance, I’m currently involved with a new bass music collective reminiscent of Noisia, but simultaneously, I’m crafting a French House EP, composing for a church organ, and composing music for a film. These wide interests have always been a part of me. Noisia provided an outlet for some, but its strong momentum in one specific direction often meant that personal explorations, perhaps not fully shared by the other members, couldn’t always be integrated. So, if I had to define myself, it would be with a touch of cheeky laziness: undefinable. I see myself as constantly changing, transient, always in between states, with curiosity as my primary guide, leading me to new territories. That’s the essence of what I want “Thys” to represent. However, I’ve recently found myself being more consistent, particularly in acknowledging my profound love for DJing. I feel a strong urge to release a significant amount of club records to clearly signal my commitment to DJing. It’s an aspect of my life I genuinely don’t want to lose. Compositions and more experimental projects can be pursued more independently. If an idea for an ambient record or a church organ piece comes, I can simply act on it. But DJ shows are different; they require a distinct profile – an awareness in the scene that this is something you actively do. Is that also about really having that connection with the audience? Absolutely. When I release a song on Spotify, a connection with the audience technically exists, but it doesn’t evoke any real feeling in me. Spotify statistics tend to be a source of negativity for me. High play counts are good, but I don’t feel them. Low play counts, conversely, bring a sense of “shit, it’s not working.” DJing is entirely different. Even with a small audience, if the atmosphere is right, I can look into people’s eyes, hear their reactions; sense their presence in a more visceral way. Most importantly: I witness their joy, the direct impact of years, even decades, of my effort, culminating in their experience on that specific night. That immediate feedback, that shared joy and the profound sense of purpose it instils – the feeling of doing something that truly matters to others – is incredibly difficult to replace in any other aspect of life. As for your motivation in the studio today. Is having the full freedom to explore now what motivates you? The interesting thing is, I had that freedom within Noisia too, but it always felt secondary, like a side-quest that was hard to take with complete seriousness. Psychologically, it felt dwarfed by the sheer scale of Noisia. This made it challenging to dedicate myself fully to other personal projects when Noisia was so all-encompassing – it was the primary income source, we had a large team to support, and immense responsibilities to ourselves, Nik, Martijn, and even our families. The weight of Noisia then was far greater than ‘Thys’ now. So, with the dissolution of Noisia, it wasn’t just the falling away of that immense responsibility, but also the shedding of the internal feeling that Noisia was, by default, creatively and artistically more important than any fleeting curiosity or excitement I might have had for a solo exploration. I simply couldn’t manage to give my personal artistic explorations the serious attention they deserved back then. Now, as a solo artist, I’ve been compelled to take myself, and my work, much more seriously. That shift was essential for me to arrive where I am today. Is continuous reinvention a necessary thing for long-term artistic survival and satisfaction, or a personal choice, especially having been on the bleeding edge for quite a time? For me, it’s unequivocally a personal necessity. From a career perspective, it would likely be far easier if I could remain passionately excited by a single genre or style for years on end. That consistency would simplify many things. But my nature thrives on variety. Curiosity is my core driving force, and curiosity, by its very definition, demands change and new experiences. Some individuals can maintain a deep curiosity within the same subject for extended periods. I do find myself revisiting areas I’ve explored; I don’t just touch on something once and abandon it. I might do another EP in a genre or another project within a certain style, but only after my curiosity has first led me to something new that I feel compelled to actively explore and create with. I’ve learned to go with this flow, all the groundwork – the studying, exploring, and understanding of my preferences within that context – is then readily available. I can then pick up right where I left off, often with a fresh perspective. What’s the biggest psychological barrier to overcome when you consciously decide to shift your artistic direction? The primary psychological hurdle is knowing you’re likely to disappoint some people. Fans often want what they already know and love from you. When you offer them something different, you’re essentially seeking out those within your existing audience who will embrace the new, while accepting that many will express a preference for your older work. Disregarding some of your audience’s explicit desires is challenging. It’s perhaps easier for me than for some other artists I know, but it’s by no means easy. Deliberately disappointing people, even in pursuit of your own artistic path, is a difficult thing to do. However, I am acutely aware of the alternative. Because if I don’t follow my artistic curiosity, and force myself to stick to one thing purely for career stability or financial reasons, I know I wouldn’t be happy, and eventually, I would quit making music altogether. That’s a certainty for me. So, faced with that choice, pursuing my work in the way that I believe, will allow me to continue sustainably. If there’s an audience interested in an artist like me – someone who is constantly evolving – and while I can make a living by being authentically myself, not someone who others want me to be, then I can keep going. If I were to constrain myself to fit others’ expectations, I might be playing more shows and earning more money in the short term, but I’d inevitably reach a point where I say: “This isn’t what I want,” and would quit. Ultimately you risk becoming a product with a shelf life. Does this relate to balancing commercial reality and staying true to your vision? Yes, it does. I am, of course, in a very privileged position due to a combination of luck, the rewards of past hard work, talent, and circumstance. I’ve worked diligently to get where I am. This privilege allows me certain freedom. Observing the current struggles within the music industry, I recognize that things aren’t easy, even for me. I’d love to play more shows, but booking international DJs, especially those not heavily active on Instagram, has become very expensive. It’s a significant risk for promoters to invest in an artist based purely on their music if they don’t also have a strong social media influencer profile to aid ticket sales. The old ways of promoting; a poster, a flyer, word of mouth about how incredible an artist’s music is; they no longer have the same impact. There was a statistic recently about a majority of artists believing it’s more important to be a social media presence than the actual music itself. That is the unfortunate reality we’re in. My privilege allows me to continue making music my way, despite this. However, for long-term financial sustainability over the next 10–20 years, I will need more shows, or better-paying ones. The overall state of the music industry is genuinely tough. Many artists are forced to accept unfair payment terms or work that doesn’t provide a sustainable living, a stark contrast to a decade ago. Numerous clubs are closing because the financial risks outweigh the diminished rewards, largely due to inflation. Most people feel financially strained, with less disposable income for things like club nights and festivals. The statistic about 60% of Coachella tickets being bought on credit, with payment plans and interest, is a telling sign. The economy has shifted, making a career in DJing increasingly a luxury. However, I believe the core need for what DJing and club culture provide – community, a shared experience, the collective journey of a good DJ set – is primal and enduring. Humans have engaged in communal music and dance for millennia. This fundamental need won’t disappear. So, while I don’t think DJing itself will die, “career DJing” might become an even more privileged position, not accessible to everyone. I do worry about my future income from this perspective, but again, my past success affords me the ability to invest in myself and manage a period of breaking even. My deeper concern is for the health of the industry when young, emerging artists cannot afford to take the kinds of risks we could 20 years ago. What advice would you give to young artists struggling with the current state of affairs? My primary advice would be to focus intently on the joy of creation itself. Cherish the process of making music, and also the satisfaction of having a finished piece, a song you can share. Crucially, cultivate your community. And, in the current climate, don’t be too quick to quit your day job. If young individuals are choosing between a formal DJ/producer education and another field of interest, I would currently advise against banking solely on a music career, unless they also possess a genuine passion and talent for building a social media presence. If you can master that aspect, a good career is still possible. However, many truly gifted musicians are not naturally adept at social media; the required skill sets and personality traits often seem almost mutually exclusive. The most talented producers are not necessarily going to be the best influencers, and vice versa. This is a sad state of affairs because a lot of incredible talent may be lost or go unrecognized simply because these artists are uncomfortable with or unskilled at self-marketing. How important do you think it is for safeguarding creativity by having that peace of mind through a stable job? Having a day job or unrelated studies undeniably consumes energy that could otherwise be directed towards music. However, the alternative – trying to make a living solely from music in the current difficult climate without an established financial cushion – can be far more detrimental to creativity. The stress of financial insecurity, the pressure of potential debt, can force you into taking on undesirable commissioned work, unfulfilling teaching roles, or churning out sample packs just to make ends meet. It shifts your focus from long-term artistic vision and development to short-term wins. You might find yourself saying yes to small opportunities that don’t align with your larger goals, simply out of financial desperation. This pressure makes it incredibly hard to think strategically about your artistic trajectory. For these reasons, maintaining a day job, or pursuing an education outside of music, while dedicating free time to musical development and self-education, can be a more sustainable path. It requires careful energy management, but it can provide the stability needed for genuine, long-term creative growth. When I started, my ambition was to create art – not tools. Now, at 42, I’m beginning to feel a genuine internal urge to teach and mentor, but for young artists, the focus should ideally be on their own creative output, perhaps seeking mentorship, rather than becoming a teacher prematurely just for income. So how important is it to really create your vision for the future early and think ahead? I’m not the best at explicitly formulating long-term goals, and operate more as an intuitive improviser. I believe I have an internalized long-term goal that subtly influences all my decisions, but it’s not something I’ve ever clearly articulated, even to myself, let alone to others. While explicitly defining such a vision could be very helpful for many, and probably for me too, my path to a long-term perspective has often been shaped more by a “feeling” or “vibe” that resonates, an accumulation of experiences over two decades – learning what doesn’t work through trial and error. This is what directs me to prefer creative freedom over bigger (financial) success at this point in my life. What is success actually, then? Ultimately, I believe the focus must always be on the long term. The idea that short-term gains, which don’t contribute to long-term fulfilment, are a poor trade-off is almost self-evidently true, yet many people still make this mistake. This often happens because they haven’t clearly defined what they truly want in the long run. Lacking that clarity, or the wisdom that comes from making mistakes (like I have, by sometimes not prioritizing my diverse expressive needs sufficiently), they seize upon immediate opportunities, without considering their long-term implications. I would strongly advise anyone starting out to sit down, perhaps with a mentor or someone skilled in such discussions, and honestly explore their motivations: “Why am I doing this? What do I truly want to achieve? And how does money fit into that picture?” What are some key insights you’ve gained about the highly individual nature of the creative process and the potential harm of prescriptive “one-size-fits-all” guidance in music production? Individual creative processes vary enormously. Take Nik (Sleepnet) and me: we share a great deal of stylistic common ground and artistic compatibility, yet our methods are vastly different. Nik thrives on the struggle, often improving his work by relentlessly returning to it, sometimes creating 60 or more versions of a single song. He finds joy in that iterative process. I might explore six main versions, perhaps up to 24 during the mixing stage, but those later iterations are usually subtle refinements, not radical creative departures. Nik, on the other hand, might work on a song for months and then completely discard a core element like a drop to try something entirely new. Because of such fundamental differences, I can’t offer universal advice. The best, albeit somewhat cliché, advice is to figure out what truly works for you. I often get a bit frustrated by generic production advice I see online. It’s usually presented with great confidence, as if it’s a universal truth. But what works for one person, with their unique brain and working style, might actually hinder another’s progress by leading them away from discovering their own optimal process. The online sphere often demands short, confident statements, but the reality of creative work is incredibly complex. When someone presents their personal method as a panacea – “This works for me, so it will work for you too!” – they’re often, unintentionally, doing a disservice to a large portion of their audience for whom that specific advice is ill-suited. This is particularly true for advice on mindset and psychological approaches to creativity, which are deeply personal. I don’t see this complexity acknowledged nearly enough in the common discourse around production techniques. It’s funny you say this, because basically a lot of institutionalised learning is like that, one language of learning to be used as the message Precisely. When it comes to purely technical procedures, there might indeed be a single best way, or at least a standard way, to do something. But for psychological or mindset advice, making sweeping, confident pronouncements as if you’re a guru – and here I might gently poke at someone like Rick Rubin – can be misleading. A particular method might have worked wonders for that individual, and for others like them, but it won’t work for everyone. By presenting it so definitively, you risk setting some people on a path that isn’t their own, potentially delaying their discovery of what genuinely works for them. About your church organ concerts in northeast Groningen – how did this idea come about? This project was born during the COVID lockdown, a time when I, like many, found myself excessively online, doom-scrolling, trying to distract myself from the overwhelming reality of how drastically and suddenly the world had changed. I believe many of us are still carrying unprocessed trauma from that period. It was a profoundly destabilizing event, the impact of which we are likely still underestimating. In that context, I felt a desire to create something extremely slow, something that could serve as a tool for relaxation or focus – music to accompany studying or meditation. I envisioned a sound and texture that was inherently beautiful, offering enough musical information (in terms of notes and harmony) to be engaging if listened to attentively, yet subtle enough to be easily in the background without demanding constant attention. The core idea was to harness the glorious texture of the church organ, complemented by cello and viola – three instruments I adore. The challenge was to set up the recording in such a way that the pure sound quality was so captivating that one could choose to immerse oneself fully in it, even though the music itself changes very little over its duration. Mindset-wise, in preparation for these organ concerts, what really stands out for you compared to preparing for a DJ set? The live organ performances are structured as three 45-minute sets per day, over two days. In a DJ set, if I make a mistake – and it happens constantly – I’ve learned to move past it, though I used to get quite upset. This organ piece, however, feels much more fragile, more vulnerable. If I hit a wrong note, I fear it could shatter the intended atmosphere, break the continuity of the trance-like state I hope to induce in the audience. These live organ concerts represent the most significant musical challenge of my life – performing live on an instrument, where even if the notes themselves aren’t technically fiendish, the sustained concentration and memory required for 45 minutes, three times a day, is immense. I said yes, and I’m hoping to navigate it without too many self-recriminations! Beyond the mental focus, there’s a significant physical component. Playing a keyboard for that length of time, with that level of precision, engages back, core, arm, wrist, and finger muscles in a way that DJing doesn’t. It’s a physical challenge as much as a mental one. I’ll be incorporating more physical exercise – stretching, core work on my rowing machine, planking – to ensure I’m physically capable of delivering these six demanding performances. Let’s talk about your French House ‘Le Thys’ EP Yes, this EP is something I’ve worked on with great dedication. I pitched the initial idea to A-Trak about nine months ago, following a previous EP I did with his label. I specifically wanted to do a French House collaboration with him, but make it faster, around 140 BPM, so it fits more easily into my current DJ sets where audiences often crave higher energy. It’s not about trying to improve upon the classic 90s/early 2000s French House sound – that era is sacred to me. Instead, it’s about recontextualising it, seeing if that vibe can work at a higher tempo, which I feel gives it a fresh twist. One track, “The Importance of Carrots,” is actually at 160 BPM. I wrote it in a mountain house in Italy, and the track even samples an Instagram video I made there, while working on it – you can hear me eating a carrot, and the sound of the laptop speaker moving, creating a natural flanger effect, is layered into the song. It’s these little personal, almost accidental, details that I love. The EP also features two vocal tracks. The second single, “Get Some,” is a collaboration with Daniel Bedingfield, a legend from the UK garage scene whom I met at Coachella in 2012. We’d always talked about working together. He happened to be in Groningen, I played him my demos, he was instantly enthusiastic, and we created this track, which is very sex-positive, kinky, and BDSM-inspired. Then there’s a track like “Call Me,” which is quintessential French House in its simplicity: just a killer sampled loop with a driving kick drum, no unnecessary frills. My love for French House goes back to the 90s, when I had Daft Punk’s Discovery on MiniDisc – it’s probably the album I’ve listened to most in my entire life. Artists like Alan Braxe, Cassius, and labels like Crydamoure and Roulé were huge influences. Even within Noisia, tracks like “Red Heat” from our first album were heavily inspired by this sound. That was often me channelling my French House obsession within the Noisia framework. So, to finally release a dedicated project that is purely an homage to this sound, feels like a significant and proud moment, coming full circle. You also mentioned VIER, your new ‘band’, tell us more please VIER is a massive new chapter for me. We’ve released two songs, the next single is already lined up, and I genuinely feel this project is going to shift things for me again. Working with the other three members is incredibly intuitive, fun, and astonishingly productive. The band consists of myself, Machinedrum, Holly, and Salvador Breed. Machinedrum and Holly had collaborated previously. They were in Groningen for an interview related to their Vision Recordings release, and the label suggested they stay a few extra days for a session with me. We then invited Salvador, a mutual friend, who creates music and sound design for Iris van Herpen’s fashion shows (Machinedrum had also composed for one of her Paris Fashion Week shows, so they knew each other). That initial session was the genesis of VIER. We initially joked about being “the boy band” and struggled for weeks to find a name. Eventually, I thought of “VIER,” the Dutch and German word for “four”, and it just clicked. We have an EP scheduled for release on Vision in October, and we already have enough material for at least two EPs – our productivity is almost outpacing our ability to release the music! We keep tweaking the EP track list, because we’re constantly creating new favourites. We had our debut performance as VIER (though only with three of us, as Machinedrum couldn’t make it) at the Vision King’s Night party in Groningen. Going forward, we’d prefer to play shows only when all four of us are available, unless it’s an absolutely unmissable opportunity. Our main focus for now, though, is to continue producing a wealth of music, hoping other DJs will play it, and we’re planning a small tour around the October EP release. And that’s a wrap. Big thanks to Thys for making the time for this longread interview. May it provide value to those who want to become more aware of their own artistic identity and creative process. Be sure to show some love by following, sharing, supporting his music and visiting upcoming shows. Follow Thys: Instagram / Bandcamp

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 PicksOppidan, Strategy - mintWax Motif, Kyle Watson feat. Scrufizzer - "Push Up"ATRIP - ORBMont Duamel - AaltoMild Minds - EMPTY SPACEAlex Baker - Awakenacloudyskye - MythUndehfined - Hot Dropmölly, Kazmyn - Here AgainLeaving Laurel - the family we find

There's something beautiful about the internet's ability to turn a random Wednesday into someone's biggest career moment. Chicago-born DJ and producer Proppa probably didn't wake up on August 14th, 2024 thinking his unofficial house remix of Waka Flocka Flame's "Grove St. Party" would become the kind of dancefloor destroyer that makes festival crowds lose their collective minds. Yet here we are, over nine months later, watching Warner Records clear the sample and transform what started as a humble SoundCloud upload into an official collaboration with a rap icon. The trajectory feels apropos for the prolific Proppa, who has been cutting his teeth in the birthplace of house for a decade. Countless major DJs have rinsed his tracks in that time, but none more than his blistering rework of "Grove St. Party," which has received support from house music superstars John Summit, Dom Dolla and Mau P, among others. The official release encapsulates the magic of SoundCloud, which has long served as a barometer for global dancefloor trends. Clearing samples with major labels, however, has always been a hurdle, but in 2025 it seems the democratization of remix culture is finally catching up to the legal apparatus that usually strangles it. In other Proppa news, his hit remix of A$AP Ferg's "Work" alongside Rich DietZ and Smith & Sorren continues to surge as one of house music's biggest sleeper hits in 2025. The track has received support from Swedish House Mafia, Tiësto, Alesso, Kaskade and many more. You can listen to the new version of "Grove St. Party" below. Follow Proppa:Instagram: instagram.com/itsproppa TikTok: tiktok.com/@itsproppa X: x.com/itsproppa Facebook: facebook.com/itsproppa Spotify: tinyurl.com/y5acxjxk Follow Waka Flocka Flame:Instagram: instagram.com/wakaflocka TikTok: tiktok.com/@wakaflocka X: x.com/wakaflocka Facebook: facebook.com/wakaflocka Spotify: tinyurl.com/2zhdnnhp

Berlin-based dance music breakout Marlon Hoffstadt has signed to Capitol Records. The Club Heart Broken label founder, fans of whom affectionately refer to as DJ Daddy Trance, characterized the record deal as the biggest achievement of his career thus far. "It took me years to find my own sound and to find confidence, and it took me even longer to find the perfect label deal for myself," Hoffstadt said in a press release. "Partnering up with the amazing team of Capitol, Goodlife Management, MC3 and my beloved management Invisible Hand, we found a setup that makes me feel extremely excited, confident and thankful to be a part of. This definitely is the biggest achievement of my career and I‘m so damn ready for it." The move follows a streak of global buzz and sold-out shows, signaling Hoffstadt's rapid rise from underground hero to festival staple. Fresh off his U.S. live debut closing the mainstage at North America's largest EDM festival, EDC Las Vegas, he is now poised for a sold-out, 20,000-person show in Belgium this August alongside techno phenom KI/KI. View the original article to see embedded media. Hoffstadt's Capitol deal was inked in collaboration with Goodlife Management and MC3. The DJ will continue to be managed by his longtime agency, Invisible Hand. "Marlon and his team have been building something incredibly special; he has risen to become one of the most exciting artists in dance music," added Tom March, Chairman and CEO at Capitol Music Group. "We’re thrilled to become part of the team and help amplify his global presence." Celebrating the signing, Hoffstadt has dropped a new double-single, "Supersonic / Hands Up In The Sky." The former is a breakneck rave anthem featuring Swedish vocalist Emma Skøien while the latter leans into pure euphoria with its soaring production. You can listen to Hoffstadt's new double-single below and find the release on streaming platforms here. Follow Marlon Hoffstadt:X: x.com/marlonhoffstadt Instagram: instagram.com/marlonhoffstadt TikTok: tiktok.com/@marlonhoffstadt Spotify: tinyurl.com/57ndjdkb

Avant Gardner, the parent company of Brooklyn Mirage, has parted ways with CEO Josh Wyatt amid ongoing delays in the venue's long-awaited reopening, Billboard reports. Gary Richards, the company’s non-executive chairman, will oversee daily operations effective immediately. Wyatt, the former CEO of collaborative workspace giant NeueHouse, joined Avant Gardner as CEO in October 2024. Richards, the founder of the beloved HARD Events brand who also tours as the renowned DJ and producer Destructo, brings decades of industry experience to the interim role. The leadership change comes after a turbulent period for Wyatt and the beleaguered East Williamsburg venue, a cornerstone of New York’s EDM scene. Following an ambitious renovation project, it was slated to reopen May 1st with a performance by techno superstar Sara Landry. The venue, however, reportedly failed to secure necessary permits and final compliance from building inspectors before ultimately shelving all subsequent shows and postponing the relaunch indefinitely. Wyatt had vowed to address head-on the Mirage's oft-maligned pain points, like overcrowding and safety concerns, among others. "Trust, transparency and accountability are the three key words in my moral compass," Wyatt told EDM.com in a February interview. "I have pushed those three words down into the fiber of the company to ensure that employees understand that these are key expectations I have as CEO." Avant Gardner has not publicly commented on the leadership transition or the venue’s reopening timeline at press time.

Photo Credit: Kid Cudi by Sellahremy / CC by 3.0 Kid Cudi was called to testify at Diddy’s federal trial over an attack in which his Porsche was allegedly blown up by the disgraced music mogul. Scott Mescudi, better known as Kid Cudi, was called as a witness to testify during day nine of Sean “Diddy” Combs’ federal sex trafficking and racketeering trial. Cudi described his reaction when a Molotov cocktail blew up his Porsche convertible, which prosecutors say was at the direction of Combs. “What the f—,” the rapper recalled, after he received a call from his dog-sitter in 2012. “She told me my car was on fire,” he said. “I immediately went to my house.” Cudi said that while on his way home, he received a text from his friend with a picture of the damaged Porsche. “The top of my Porsche was cut open, and that’s where they inserted the Molotov cocktail,” he said, explaining that the car was beyond repair. Cassie Ventura, the trial’s star witness and Combs’ ex-girlfriend, was dating Mescudi at the time the rapper’s car was destroyed. She previously testified that Combs became jealous and allegedly threatened to have the car blown up. Mescudi did not mention Combs in connection with the car’s destruction during his testimony. Ventura’s troubled on-again, off-again relationship with Combs was at the heart of Mescudi’s testimony. He also recalled an incident in which he received a phone call from a “scared” Ventura in the early hours of the morning in December 2011. She asked Mescudi to pick her up, and that Combs had found out about their relationship. Combs had allegedly obtained Mescudi’s home address, and she was afraid he would show up or send someone to cause problems at her new boyfriend’s house. Mescudi said he was confused, because he believed Combs was no longer a part of Ventura’s life. Nevertheless, he said he picked her up as requested and took her to a hotel. At the hotel, Mescudi received a phone call from Combs’ employee and Ventura’s friend, Capricorn Clark. Clark told him Combs and an associate physically forced her into a car and drove to Mescudi’s home. Allegedly, Clark said she was calling from the car, while Combs was actively inside his house. Mescudi said he rushed home and called Combs on the way. Combs allegedly said they needed to talk, and that he would be waiting for Mescudi when he arrived. But when he got home, Mescudi said no one was there. Mescudi then told the court during cross-examination that he left his front door unlocked and there were no signs of forced entry, nor any damages to his property. The only signs someone had been there were Mescudi’s dog locked in the bathroom and unwrapped Christmas presents on the kitchen counter. The rapper said he filed a police report about the break-in. He told the court he spent the holiday with Ventura’s family, and Combs tried to contact him several times. Mescudi said he would not take Combs’ calls, simply telling him, “You broke into my house. You messed with my dog. I don’t want to talk to you.” Mescudi’s relationship with Ventura ended shortly after the holidays in 2011, mostly because he said he was concerned for his safety. Then, in January 2012, he received the phone call from his dog-sitter about his Porsche being on fire. Although DNA was taken from the scene, no one was ever charged with setting the car on fire. Nevertheless, Mescudi told the court he believed Combs was involved. Combs and Mescudi eventually met to discuss their differences at SoHo House in Los Angeles, where the latter says the former maintained a calm demeanor. Mescudi said Combs denied knowing anything about the car, but that he didn’t believe him. Combs is charged with sex trafficking, racketeering, and transportation to engage in prostitution. He has pleaded not guilty, and his federal trial continues. View the full article

Photo Credit: 7digital/Songtradr When it’s not Spotify, Apple Music, or YouTube playing your music, chances are it’s powered by someone else — and often, that someone is 7digital. While the biggest platforms dominate headlines, a vast ecosystem of music services is thriving behind the scenes, many of them built on 7digital’s infrastructure. The following comes from Samantha Sawyer, the General Manager of Licensing and Technology Solutions at 7digital parent Songtradr, a company DMN is thrilled to be partnering with. As the industry shifts its focus from scale to superfans, 7digital’s multi-product, cross-category, and global expertise positions it to help fuel the next phase of higher-value, higher-engagement music experiences. With streaming growth plateauing and casual listening on autopilot, the push toward deeper fan relationships is gaining urgency. So what does Superfan 2.0 actually look like, and how can platforms get there faster? Suddenly, the music industry is rethinking the one-size-fits-all streaming model, shifting its focus to deeper, more meaningful engagement with devoted fans. The momentum is real: Universal Music Group is already channeling hundreds of millions into superfan-first platforms and experiences. But despite the headlines, this movement is still in its early days. So where will the next wave of superfan growth come from? It’s likely to emerge through bold experimentation, and 7digital is well-positioned to help lead the charge. As the engine behind a diverse array of music experiences across categories and markets, 7digital has the flexibility, global reach, and product depth to support the emerging needs of a superfan-driven economy. If you’re unfamiliar with 7digital, there’s a reason for that. The company has been powering a wide range of music platforms and experiences for years, but remains a behind-the-scenes player, and that’s by design. Now operating under parent company Songtradr, 7digital continues to expand its B2B footprint. We’ve spent over two decades helping businesses navigate the complexities associated with music technology infrastructure and music licensing, ensuring they can deliver incredible music experiences while staying fully compliant. Throughout these implementations, grabbing the spotlight has never been our focus. Instead, 7digital’s role has always been clear: to provide the critical, often invisible infrastructure that powers music platforms at scale, helping them innovate, grow, and connect more deeply with their audiences. As the engine behind many of today’s music experiences, 7digital provides fully licensed commercial music while navigating the complexities of rights management and ensuring proper compensation for rightsholders. It’s a notoriously tangled space, one that demands a backend partner with deep technical and legal expertise. Once integrated, 7digital’s infrastructure supports a wide range of front-end experiences: from streaming and downloads to gaming integrations, background music, user-generated content, and more. It’s also built to flex — enabling platforms designed for niche communities, power users, and high-ARPU audiences alike. The list of quietly-powered clients includes platforms like Canva and Connyct, fitness apps such as ApexRides, and wellness platforms including Grandpad, MedRhythms, and Resparke. Other platforms, like Triller and Pinterest, previously tapped 7digital’s backend to get their music offerings going. Beyond that, 7digital also powers background music services for global retail and hospitality brands such as Moodmedia, Nightlife, Audalize, Qsic, and services offering in-flight entertainment to global airlines. At the heart of these relationships is a robust network of content licensing partnerships that spans major labels, independent music rights holders (including Merlin members), and music publishing licensors. With a catalog of around 150 million tracks, 7digital ingests an impressive 750,000 tracks per week, with three new independent suppliers joining monthly. This expansive catalog is a key asset in attracting clients who need access to comprehensive independent collections or those focused on specific genre niches. As the industry continues its shift towards superfan-driven models, 7digital’s catalog depth could play a pivotal role in supporting the experimentation and innovation required to build this new landscape. Universal Music Group, for example, is already pouring significant resources into artist web pages designed to foster direct fan engagement and monetization. Meanwhile, Warner Music Group is experimenting with a Weverse-style fan platform, with Ed Sheeran at the helm. 7digital has already begun to support some fan-focused initiatives with its client Stationhead, a service which allows for collective licensing and engagement around album launches and artist-hosted, artist-led livestreams, with 7digital serving chart eligible download sales of the featured artist recordings. And what about social media platforms? As the industry evolves, many are now viewing platforms like TikTok through a different lens; not as opportunities to engage superfans, but as lower-ARPU challenges, fraught with licensing hurdles. This shift has led to a noticeable trend: a growing demand for compliant music solutions in user-generated content (UGC) platforms and emerging digital spaces. The risks are real. The number of companies facing lawsuits for unlicensed social media content is on the rise, with major brands like Chili’s, Crumbl, Johnson & Johnson, and even the University of Southern California (USC) embroiled in legal battles over alleged licensing violations. Navigating this complex landscape requires expertise, and for the unprepared, the consequences can be severe, and they’re only escalating. As platforms continue to integrate music into their offerings, the complexities of licensing and rights management have escalated significantly. This is where 7digital’s expertise in legal compliance and infrastructure shines. Many companies underestimate the intricacies of music licensing and the legal risks associated with using music without proper clearance. 7digital’s solutions provide platforms with a way to navigate those challenges by offering fully licensed music catalogs and handling the often-overlooked reporting obligations that ensure compliance with copyright laws. While these solutions are essential for the general music ecosystem, they’re especially critical for platforms that aren’t necessarily focused on superfan engagement. For platforms experimenting with niche audiences and higher-ARPU opportunities, 7digital’s flexible infrastructure and expertise in music licensing create a foundation for rapid experimentation and innovation. That said, Superfan 2.0 presents its own set of complexities. While 7digital doesn’t hold the rights to every artist drawing a cult following, its capabilities can still support platforms built around superfans, particularly those already focused on fan-first models. Take Bandcamp, for instance. Now part of the broader Songtradr ecosystem, it stands as a compelling example of where 7digital’s licensing and technology could amplify an already superfan-centric approach. As the industry shifts and grows, the need for seamless, compliant solutions will only intensify. The way companies integrate music is evolving rapidly, and the demand for scalable, compliant solutions to power the next generation of music-driven platforms and superfan engagement has never been greater. In the evolving landscape of music engagement, 7digital is quietly leading the charge; supporting the infrastructure that enables more meaningful, innovative, and legally sound music experiences. View the full article

Photo Credit: Myriam Zilles Senator Maggie Hassan is seeking more information from Spotify into the handling of recently discovered fake podcasts peddling real drugs on the platform. Spotify removed dozens of podcasts earlier this week that blatantly promoted online illegal pharmacies selling drugs like Adderall and Oxycontin without a prescription. More than 200 podcasts were removed from the platform, but only after a media frenzy highlighting just how prolific the practice of drug-peddling had become. Spotify says the podcasts violated its rules and threatened to direct users to spammy and potentially illegal websites. U.S. law prohibits the selling of controlled substances online without a prescription. Hassan (D-NH) is a ranking member of the Joint Economic Committee and is seeking information about how these fake podcasts were able to proliferate on Spotify to the point that several dozen were removed in the action. She is also seeking more information about how Spotify plans to stop fraudsters from continuing to upload podcasts advertising drugs to young people. “Far too many parents have experienced the unimaginable pain of losing their child to an accidental overdose,” Hassan said in a statement to CNN. “These tragedies can often occur when a teen buys online a counterfeit pill—like Xanax or Adderall—that is actually laced with fentanyl, leading to devastating consequences. Spotify has a responsibility to significantly ramp up its efforts to stop criminals from using the platform to facilitate deadly drug sales to anyone—especially teens.” Hassan’s letter to the media giant seeks more information about the content that it has taken down, how many users interacted with Spotify’s drug podcasts before their removal, and whether the company earned revenue from these podcasts appearing on the digital service provider (DSP). It also seeks more information about Spotify’s moderation tools and practices to identify drug-related content and whether it will make any updates to these practices following reports of the illicit content. Spotify must respond by June 12. “We are constantly working to detect and remove violating content across our service,” a Spotify spokesperson said last week after media reports. View the full article

Photo Credit: Daniel Williams’ Instagram Dave Shapiro, agent for bands like Sum 41, and former Devil Wears Prada drummer Daniel Williams, were killed in a plane crash in San Diego on Thursday. Dave Shapiro, 42, and Daniel Williams, 39, were among those killed in a plane crash in San Diego on Thursday morning. Shapiro was the co-founder of Sound Talent Group (STG), whose clients include Sum 41, Story of the Year, and Parkway Drive. Daniel Williams was the former drummer of The Devil Wears Prada. At least two other STG employees also died in the crash. “We are devastated by the loss of our co-founder, colleagues, and friends,” STG shared in a statement. “Thank you so much for respecting their privacy at this time.” The private jet, flying from Teterboro, New Jersey, crashed into a San Diego neighborhood housing military families as they slept at around 4 AM on Thursday. Eight people in the neighborhood have been confirmed to be injured, and no one aboard the plane is believed to have survived. Shortly before the flight took off, Williams posted to his Instagram Stories photos from inside the plane, and seemed excited to be sitting in the co-pilot seat. The Devil Wears Prada, his former band, posted old photos on Instagram and wrote of his passing, “No words. We owe you everything. Love you forever.” In addition to his music career, Shapiro was an avid pilot and certified flying instructor who had over 15 years of experience. The plane, a Cessna 550, had a capacity of up to 10 people; the FAA confirmed that six people were on board. The cause of the crash has not yet been established—but it occurred during intense morning fog near the Montgomery-Gibbs Executive Airport. Dave Shapiro was a pillar in launching the careers of numerous artists through his work as an agent and advocate for independent touring. “Dave was a visionary in the music industry,” reads a statement from the National Independent Talent Organization (NITO), of which Shapiro is a founding member. “His passion, dedication, and unwavering support for artists shaped the careers of countless musicians.” Daniel Williams played with The Devil Wears Prada through their biggest successes on the charts and from their early days in Dayton, Ohio. During his time with them, the band had two Top 10 albums on the Billboard 200 and were instrumental in shaping the sound of 2010s metalcore. He left the group in 2016. View the full article

Some collaborations happen by design, others by beautiful accident. Isabella&Sebastian falls squarely in the latter category. A Memphis-born partnership between 19-year-old vocalist Isabella DeFir and 13-year-old multi-instrumentalist Sebastian Stephens is proving age gaps mean nothing when the sonic chemistry is right. Their track “Helium” started as exactly what it sounds like – a lightweight side project between two genuinely gifted artists. Isabella brings that rare combination of technical skill and emotional depth that makes industry vets take notice, while Sebastian (yes, the kid from Wes Anderson’s “Asteroid City” and “School of Rock, The Musical”) approaches composition with the kind of fearlessness that only young talent could achieve. The original was a hit in its own right… but then came the remix contest. The response was staggering with over 2,000 submissions from 58 countries. Each track was reviewed blind by Isabella, Sebastian, and their production team. No names, no follower counts, just a focus on craft. The result, dropping May 22nd as “Isabella&Sebastian and Friends: Helium Remix Edition,” showcases ten wildly different interpretations from Visuality’s dreamy Italian take to ØBANAXX’s club-ready LA grooves. With Grammy-winning engineer Brad Blackwood handling final mastering, each remix got the professional treatment while maintaining its unique voice. It’s a genius approach that turns one song into a showcase for emerging talent across multiple continents and genres. “Helium” may have started as a side project, but this remix package proves sometimes the best discoveries happen when you cast the widest possible net. The post Isabella&Sebastian release ‘Helium’ remix package appeared first on Dancing Astronaut.

This year's Electronic Dance Music Awards brought the heat March 28th at the Eden Roc Hotel, inviting fans to celebrate wins by Zedd, Martin Garrix and more in Miami. First came open-air DJ sets from Hardwell, Armin van Buuren, Alok, BONNIE X CLYDE and a collaborative performance by Aluna and Coco & Breezy, all of whom threw down sun-kissed DJ sets by the pool. Then, due to noise ordinances, the EDMAs took over the lobby of the storied Magic City hotel for an electrifying, impromptu pop-up event. A slew of electronic music stars showed up and showed out, including Joel Corry, HAYLA, MEDUZA, Becky Hill, HUGEL, Laidback Luke, Sickick, Markus Schulz, Vinny Vibe and Tim Clark. EDM.com Class of 2025 artist Linney also delivered a surprise cameo. The audio, originally designed for open-air dispersal, concentrated its power indoors with crystalline vocals and palpitating bass you could feel in your molars. The walls of Eden Roc contained what the Miami sky couldn't, and the last-minute pivot mirrored EDM's own origins: adapting existing spaces, working within constraints and finding beauty in the unexpected. Driven by its fan-based voting system, the MTV-style EDMA ceremony annually dishes out unique trophies that resemble DJ decks, including a functional jog-wheel. This year's winners include superstar DJs like Zedd, Martin Garrix, Dom Dolla, Amelie Lens, FISHER and Hardwell. Check out a gallery of images from the 2025 EDMAs below. Nickolas Wolf View the 21 images of this gallery on the original article

Insomniac has unveiled the full run of official afterparties for this year’s edition of Beyond Wonderland Chicago. After a wet but successful debut last year, the festival giant’s long-running mad-tea-party-themed rave will return to Huntington Bank Pavilion at Northerly Island on June 7-8. After the party ends on the shores of Lake Michigan, Insomniac will again team up with festival partner Auris Presents to keep the magic going at famous clubs across the city. Before Beyond Wonderland Chicago even begins, fan-favorite melodic bass duo ARMNHMR will present their “Passport” show at Cermak Hall on Friday, June 6. Once the festival is fully underway, Beyond Wonderland’s nightly afterparties heat up on Saturday, June 7 with an anticipated B2B at Radius from tearout dubstep titans Wooli and Crankdat, a techno session with SLANDER’s “Before Dawn” in the adjoining Cermak Hall, and performances from house and techno standouts James Hype, Danny Avila, Odd Mob, and D.O.D. at PRYSM, Concord Music Hall, Spy Bar, and Smoke & Mirrors, respectively. When the festival’s Windy City edition comes to a close on Sunday, June 8, ravers can revel in the afterglow with ILLENIUM’s emotional hits at Radius, catch Yellow Claw’s hard-edged €URO TRA$H project at Smoke & Mirrors, or groove the night away with MEDUZA at PRYSM, Matroda at Cermak Hall, and Walker & Royce at Spybar. All Beyond Wonderland Chicago afterparties are exclusive to festival ticketholders. Afterparty passes will go on sale tomorrow, Friday, May 23 at 12PM CT. Current ticketholders will receive access to the sale via email. For more information, visit chicago.beyondwonderland.com. Featured image courtesy: Insomniac Events. The post Beyond Wonderland Chicago Drops Full Run Of 2025 Festival Afterparties appeared first on EDM Maniac. View the full article

Insomniac has unveiled the full run of official afterparties for this year’s edition of Beyond Wonderland Chicago. After a wet but successful debut last year, the festival giant’s long-running mad-tea-party-themed rave will return to Huntington Bank Pavilion at Northerly Island on June 7-8. After the party ends on the shores of Lake Michigan, Insomniac will again team up with festival partner Auris Presents to keep the magic going at famous clubs across the city. Before Beyond Wonderland Chicago even begins, fan-favorite melodic bass duo ARMNHMR will present their “Passport” show at Cermak Hall on Friday, June 6. Once the festival is fully underway, Beyond Wonderland’s nightly afterparties heat up on Saturday, June 7 with an anticipated B2B at Radius from tearout dubstep titans Wooli and Crankdat, a techno session with SLANDER’s “Before Dawn” in the adjoining Cermak Hall, and performances from house and techno standouts James Hype, Danny Avila, Odd Mob, and D.O.D. at PRYSM, Concord Music Hall, Spy Bar, and Smoke & Mirrors, respectively. When the festival’s Windy City edition comes to a close on Sunday, June 8, ravers can revel in the afterglow with ILLENIUM’s emotional hits at Radius, catch Yellow Claw’s hard-edged €URO TRA$H project at Smoke & Mirrors, or groove the night away with MEDUZA at PRYSM, Matroda at Cermak Hall, and Walker & Royce at Spybar. All Beyond Wonderland Chicago afterparties are exclusive to festival ticketholders. Afterparty passes will go on sale tomorrow, Friday, May 23 at 12PM CT. Current ticketholders will receive access to the sale via email. For more information, visit chicago.beyondwonderland.com. Featured image courtesy: Insomniac Events. The post Beyond Wonderland Chicago Drops Full Run Of 2025 Festival Afterparties appeared first on EDM Maniac. View the full article