Ravebot

Decoded Magazine · Decoded Magazine Presents – GHEIST Regulars at one of Berlin’s landmark venues, Watergate, where they kickstarted their project, and since have experienced a meteoric rise, playing audiences across the globe with their rich and emotive sound. Fusing progressive with house and techno textures, the German natives have forged a deep, melodic sound of their own, which is melancholic and euphoric in equal measure. The band, have played a across the world at of clubs and festivals, having built a reputation as a versatile group, alternating between a full-on live performance and a hybrid DJ set. As every good live act, GHEIST’s prowess in the booth stems from their incredible studio productions, which have landed them on various imprints, including Sasha’s seminal Last Night On Earth. We caught up with the duo during our 10th birthday celebrations for a quick chat and an exclusive mix Thank you for being part of Decoded Magazines 10th birthday, it’s been a memorable time for us, but for yourselves, you’ve been conquering some of Berlin’s best dancefloors for the past three years. Can you share some of your most memorable experiences from touring? Happy birthday, and congratulations on 10 years of Decoded! What a great achievement! And thank you very much for having us. We have come around quite a bit in the last few years and had some incredible times. Most memorable to us are the people we meet and the friends we make along the way. We have a lot of respect for the love and dedication some people put into the organization of their events; they literally spare no effort to make a night as smooth and memorable for everyone as anyhow possible. These guys are the backbone of what we are doing, and they deserve all the appreciation. How does performing at landmark venues like Watergate compare to playing at festivals or clubs around the world? For us, everything started at Watergate; we were lucky enough to play our very first show ever at this amazing place. We will forever be grateful for that. But in the last two years, we have been playing a lot less at Watergate as we are touring much more outside of Germany. We usually have a great Festival Season in Europe, but the rest of the year, we are touring in South and North America. To play in Berlin will always be special and unique to us, as we are also home here, but we love the energy of a good festival and the crowd in South America or the feeling when you arrive in New York. How has the Berlin music scene influenced your sound and artistic direction, are there any local artists or venues that have particularly inspired you? Berlin definitely is an amazing place when it comes to the music of any genre or art in general. Being cultivated in a club scene that gives you artists from all over the world is something amazing. We are kind of spoiled that way. Even though Berlin as a city has a strong vibe and a feeling that weighs kind of heavy, when it comes to electronic music, we had the chance to be influenced by mostly international artists, most of them moved to Berlin eventually anyway ;). But at some point, you stop going out in clubs as you are touring on the weekends, and if you’re home, you’re in the studio or meeting your friends, having dinner, or enjoying being by yourself for a moment. Nowadays, we pick up on new artists when we’re on the road. But yes, Berlin had a huge impact on us, clubs with no phones, the way people party and allow themselves to let go is unique and left a big impression of how a rave should feel. Live acts have certainly been emerging and making a point of difference in the industry over the last 10 years. Can you describe your live setup and the key elements that make it unique? Our live setup is less technical as it is a state of mind. We use Ableton as a DAW; we bring several MIDI controllers, an SP-16 drum machine, an electric guitar, and live vocals. What makes every live performance unique is the approach and the idea behind it. When we play a live set, it becomes more of a concert to us than a rave. Everything gets more intimate and personal. At the same time, we want everyone to experience a party and dance. What are the main differences and challenges you face when performing a live set compared to a DJ set? When it comes to curating a live show, you will always face the problem of selecting songs. Especially in the beginning, when you only have a small repertoire to choose from, it can get really difficult to create a storyline that fits and works in the club. One of the biggest issues is the sound; on one hand, you need very good monitoring to be in control of your sounds, and on the other hand, it is tough to compete with a DJ sonically. Obviously, the qualities of a Live set are different from those of a DJ set, and in a perfect world, there is no need to compare them to each other, so we can simply enjoy the variety of different feels and musical identities. Something we love to do quite a lot is play a hybrid of both worlds. We basically use a DJ set-up and add life elements to it. This way, we can choose from basically all the tracks out there, create edits, and make them our own, and we’re still able to create the feel of a concert whenever we intend to. This gives us a lot of freedom and countless possibilities. How has the music industry changed since you first formed GHEIST? What are some of the biggest challenges and opportunities you’ve encountered in the industry over the years? The biggest shift of values goes hand in hand with the presence of social media. There are still artists out there who benefit from the time they started their career, a time when it was more about your community and music than about the number of followers. But nowadays, there is no way around social media; it has become a reference for your value, which also leads to a rising number of “DJs” who are, in actuality, “influencers”. So, in reality, you also have to be a content creator on social media to be able to succeed as a musician. Another thing is streaming platforms, which clearly underpay artists, which also leads to less money on the label side, especially for smaller labels. This means less money to spend on new artists and their music. It has become so normal for everyone that music is just accessible at any time for nearly nothing, which leaves upcoming artists with only one choice to survive: you have to tour as much as possible. At the moment, as there are so many artists out there, we have the feeling that your productions and the quality of your music become key again, which is actually very nice. It’s always been a tough business, and it always will be, but it’s also very rewarding to create and express yourself. Everything is constantly in motion anyway, and there is always a way. With technology changing rapidly and more affordable to the average user, how has advancements in music technology influenced your production process and live performances? To be honest, it’s great that we’ve been given all these wonderful tools. They allow you to create so quickly and effortlessly, especially in the initial moment of an idea, which is amazing. But it’s just a different way, and you still have to do the work and have a great idea. When it comes to our live shows, it allows us to travel quite light and still bring endless possibilities, and we are grateful for that. Much has been written and said about the demise of the artist and album. What do you think it takes to produce and release an album in today’s music landscape? Producing and releasing an album has never been easier. You don’t need a lot of equipment, you can basically do everything at home on your laptop, and you don’t need a label to put your record out. You can do it all by yourself, which is great, but there is a big chance no one will even know that you just released an album. The amount of music being released every single day is insane. So before you think of an album that also has to be really good, you must create awareness of your act. To do that, you have to put in a lot of work that is not just related to making music. It’s simply tough to stand out when there is so much going on, but it’s possible. Since launching Radau Records in 2018, how has managing your own label influenced your artistic vision? Are there any key learnings and milestones you’ve achieved? The idea behind Radau Records was to give us the freedom to release whenever and whatever we want, without any restrictions or guidelines to follow. Since we started Radau, we not only achieved that, but we also learned what it means to release music and what’s possible when you put some love and effort into the process. This helps a lot when it comes to releases on other labels. We can articulate better what our needs and goals are, and we can see quite quickly if someone is doing a good job. Radau is our little island on which we can rely at any time we see fit. What advice would you give to emerging artists looking to break into the electronic music scene? How important is it for new artists to have a unique sound or identity in today’s music industry? First of all, just do your thing; that’s by far the most important. Don’t get discouraged by setbacks; building your path in this industry will take a while. If you’re in the position to do so, build a community, a musical home where you can support each other; this will help you along the way. If you are not lucky that way, you just have to be stronger and fight a little harder. It all begins with your music, do what comes naturally to you and be aware of your strengths; everything else follows. Don’t try to copy your favourite acts, but you can learn a lot from them. And most of all, enjoy what you are doing, and it will reflect on your feedback; nothing is more infectious than passionate people who love what they are doing. With exciting releases on the horizon, can you give us a sneak peek into what’s next for GHEIST? We‘re constantly working on new music, that‘s for sure. We have some exciting collaborations coming up, which we can’t wait to share with you. Our next release will be on Anjuna in October. As you might have noticed, we‘ve been giving away our remixes of „You and Me“ and „Numb“ to our fans on our social media. There are some more remixes like that coming up, which we are playing in our live shows. We‘ll keep on touring; at the moment, we‘re finishing the festival season in Europe, but in October, we‘ll be back in the States. We‘re looking very much forward to seeing you all on tour up till then stay safe and happy :) Gheist x Decoded Mix Tracklist 1: Night Flight I GHEIST Edit. 2: Hans Zimmer- Interstellar I GHEIST Remix 3: GHEIST – Marimba I Robag Whrume Rmx. 4: GHEIST – Frequent Tendencies 2024 edit. 5: Disclosure – You & Me I GHEIST remix 6: DJ Seinfeld – If U Like Me 7: GHEIST – ID 8: GHEIST – Sysygy 2024 Edit. 9: Christoph, Franky Wah – The World You See 10: GHEIST – Auditorial (Stream / Download here) The post Exclusive Mix & Interview – GHEIST appeared first on Decoded Magazine.

Get ready for an exhilarating day in the Rock music scene! Linkin Park is making a spectacular comeback with new music after seven years. There are several exciting changes in store as Linkin Park welcomes their new vocalist, Emily Armstrong, and introduces a new drummer, Colin Brittain. To top it all off, the band has announced six upcoming arena shows. Be sure to check out their new single, ‘The Emptiness Machines’, and share just how much you’ve missed this iconic band! Linkin Park’s Comeback, Origins of FROM ZERO Isn’t it incredible how Linkin Park brings back so many memories? Time flies – it’s been 7 years since the passing of their beloved singer, Chester Bennington. As time passes, we are thrilled to welcome back one of Rock music’s greatest bands with new faces. The band’s new lineup features Emily Armstrong as the co-vocalist and Colin Brittain as the new drummer. Armstrong, the former lead singer of Dead Sara, brings a powerful and energetic vocal presence that complements Mike Shinoda’s voice, helping to redefine the band’s sound for this new era. Colin, replacing founding drummer Rob Bourdon, is a well-known figure in the EDM world. He is a renowned songwriter/producer for Illenium and has also collaborated with G-Flip and One OK Rock. What an amazing day, where EDM meets Rock! Linkin Park with new members Emily Armstrong and Colin Brittain. Credit: James Minchin III In recent years, Shinoda, Delson, Farrell, and Hahn have quietly reconnected. They were driven by a desire to spend more time together and rediscover the creativity that has always defined their friendship. They welcomed various friends and collaborators into the studio, ultimately forming a strong bond with Armstrong and Brittain. As they invested more time in the studio, a natural chemistry emerged. Reflecting the uncontainable energy of a new beginning for this group of lifelong musicians. This season of reconnection and creativity led to the birth of FROM ZERO. Shinoda stated, about their new era: Before LINKIN PARK, our first band name was Xero. This album title refers to both this humble beginning and the journey we’re currently undertaking. Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life. It was made with a deep appreciation for our new and longtime bandmates, our friends, our family, and our fans. We are proud of what LINKIN PARK has become over the years, and excited about the journey ahead. ‘The Emptiness Machines’ ‘The Emptiness Machines’ is a track from their upcoming album, From Zero, set to be released on November 15, 2024. The album title aptly mirrors the band’s heritage and their present artistic exploration, seamlessly fusing their classic sound with innovative elements. Emily Armstrong and Colin Brittain have artfully infused the band’s evolving sound with fresh elements. Notably, Armstrong’s vocals command attention as a notable enhancement. Her raw, powerful voice introduces a new dimension. It creates a compelling contrast to Mike Shinoda’s, particularly as she delivers an intense scream leading into the chorus. This fusion of vocal styles breathes new vigor and emotional depth into the track. It feels both familiar and distinctly divergent from the band’s previous work. Colin Brittain’s drumming brings a modern and dynamic rhythm to the track. As a producer and songwriter, his influence is evident in the updated soundscape, blending Linkin Park’s classic vibe with contemporary Rock elements. Brittain’s drumming enhances Armstrong’s vocal performance, infusing the track with a revitalized, aggressive, and polished feel. The iconic band shared a deluge of treats for fans: with a global livestream performance (below, available only for 24 hours). They are launching 6 upcoming arena shows in Los Angeles, New York, Hamburg, London, Seoul, and Bogota as part of the From Zero World Tour. LP Underground fan club exclusive pre-sales start September 6 and general on-sales September 7. Go to LinkinPark.com for more info. Pre-order/Pre-save From Zero here. The group joins long-time friend and Apple Music host Zane Lowe for an in-depth candid conversation about the incredible legacy of Linkin Park. Stay tuned to EDMTunes for all your latest music updates! The post Linkin Park Is Back — And There’s A Connection To Illenium appeared first on EDMTunes.

Hardwell and Armin van Buuren are showing us the way to dance music nirvana through their much-anticipated collaboration, "Follow The Light." A fitting blend of the superstars' iconic sounds, the powerhouse collaboration is out now after building a steady momentum in the live performance arena throughout 2024. Since its debut spin in January, "Follow The Light" has become a staple in the respective DJ sets of both Hardwell and van Buuren, leaving fans eager for an official release. The demand reached a new level when they shared the stage six months ago at the 2024 A State of Trance festival in Rotterdam, dropping the track in a highlight moment from the weekend before doing so again together at Miami's Ultra Music Festival. "Follow The Light" is a transcendent trance anthem that elegantly intertwines the driving energy of Hardwell's progressive house roots with the ethereal, uplifting melodies synonymous with van Buuren in a masterful convergence of two worlds. The massive collaboration is out now on the former's influential dance label, Revealed Recordings, which recently celebrated its 1,000th release. Check out "Follow The Light" below and find the new collaboration on streaming platforms here. Follow Armin van Buuren:X: x.com/arminvanbuuren Instagram: instagram.com/arminvanbuuren TikTok: tiktok.com/@arminvanbuuren Facebook: facebook.com/arminvanbuuren Spotify: spoti.fi/2WHsl2t Follow Hardwell:X: x.com/hardwell Instagram: instagram.com/hardwell TikTok: tiktok.com/@hardwell Facebook: facebook.com/djhardwell Spotify: spoti.fi/3s1xcJD

The opening party will coincide with the release of his next EP, 'Locomotiva Ibiza 2099 - Part II' Continue reading...

Electronic music producer Fred again.. has released his latest album “ten days.” ten days album is a deeply personal chronicle of love, loss, and emotional transformation. Read our thoughts and review of Fred again.. ten days album. The album, which dropped today, offers listeners an intimate glimpse into ten pivotal days of the artist’s recent life. Sometimes when you make a record by the time you put it out you feel kinda different from how you did when you made it. This is the opposite of that. I feel more intensely about all of these things right now than I did even when I was making it. In a series of candid social media posts, Fred shared insights into the album’s creation and meaning. “These are ten songs about ten days,” he wrote, explaining that the tracks capture “really very small quiet intimate moments” that profoundly shaped him over the past year. The album’s narrative arc traces the trajectory of a whirlwind romance, from the euphoric beginnings of falling in love through darker periods of numbness and regret. Fred describes experiencing “glowy and very lifted up days,” followed by a time when “everything changed and the days were sorta blurry and actually really just mostly numb.“ Notably, Fred draws parallels between his experience of love and the grieving process. He notes that both can be non-linear emotional journeys. This realization seems to have influenced the album’s structure. Basically what happened is I fell in love. And then a lot of glowy and very lifted-up days started to happen. And then some time after everything changed and the days were sorta blurry and just mostly numb. numb is scary I’ve learned. Fred admits to initially questioning his decision to incorporate such personal content into his music. However, he now expresses gratitude for this openness, citing the positive impact his storytelling has had on fans. “I’ve been so moved by people coming up to me and talking about how that story helped them,” he shared. But when I look back on it, I don’t regret being so vulnerable, in fact, I’m happy it was, cos I can make sense of things better, I think? And I guess there’s also the thing of how many times I’ve been so moved by people coming up to me and talking about how that story helped them, that helps me too. We help each other. It’s nice. It’s really nice. The album release wasn’t without its hiccups. Fred alerted fans that the wrong version of the track “glow”, a collaboration with Skrillex, Four Tet, and Duskus was initially uploaded to streaming platforms. He assured that an improved version, featuring a “way better” second half, would be available within 24 hours of the initial release. The album is now available on all major streaming platforms, with the corrected version of “glow” expected to be live tomorrow. The post Fred again.. accidentally uploads wrong version of “glow” to Spotify appeared first on The Groove Cartel.

After wrapping up with Day 1 of Chicago’s ARC Music Festival, ARC After Dark helped me keep the ebb and flow of the rave going with the highly anticipated Cosimea afterparty at SmartBar last Friday, on August 30th, 2024. Headlined by the UK’s genre-defying DJ Salute, Chicago’s hometown favorite Azzecca, the powerful duo X CLUB., and vocalist-turned-DJ Shaun J. Wright, the event was an exhilarating exploration of futuristic, other-worldly club sounds. The night came alive with each artist pushing boundaries in their own way. Salute’s melodic beats warmed up the crowd, blending garage, house, and rave influences. Azzecca, who also curated the night, demonstrated why she’s one of the city’s brightest stars, fusing dark techno and acid house with an infectious energy. X CLUB. kept the dance floor vibrating with their relentless industrial rhythms, while Shaun J. Wright added a layer of soul with his deep, pulsating grooves. SmartBar’s very intimate setting provided the perfect atmosphere for the event. The room, packed with the perfect number of ravers from wall to wall, was idyllically hot and sweaty—a hallmark of a truly immersive dance experience. Despite this intentional heat, the crowd fed off the raw energy of the DJs, ensuring that the night didn’t slow down for a moment. SmartBar’s well-known underground atmosphere coupled with Cosimea’s forward-thinking concept made it a standout of ARC’s afterparties, offering a sensory overload for lovers of experimental club music. Overall, Cosimea absolutely delivered on its promise of bringing “forward-thinking and other-worldly club sounds,” with a night that left no one standing still. The post Cosimea at Smartbar: Unleashing Vibrant Next-Level Futuristic Beats with Azzecca appeared first on EDMTunes.

It’s time to go down memory lane, with a new sound that invites you to look forward simultaneously. To all of those who crave a faster tune today, we’ve got the answer. Berlin-based DJ and producer Macon is celebrating release day today with a brand-new track, ‘Bulletproof,’ released on both the renowned Spinnin’ Records and Crash Your Sound labels. His single comes mere days after he landed an official remix for Tiësto’s ‘Drifting’. A Grammy-nominated producer who has worked with industry giants such as Oliver Heldens, Sander van Doorn, and the very Tiësto, Macon has rapidly risen to prominence in the Dance sphere. As a pioneer of the Hyper-Techno genre, his productions are both clever and skilful. To add to the merit, last year Macon was crowned SoundCloud’s Top Streamed Electronic Artist. ‘Bulletproof’ Macon’s latest, ‘Bulletproof,’ is a revamp of the iconic 2009 La Roux Synth-Pop hit. His signature high-energy sound shines through, blending elements of Eurodance and Hard House, and it truly gives the classic track a new lease of life. ‘Bulletproof’ retains the original piece’s catchy melody while infusing it with modern beats and a club and festival-friendly aura. “How the track came to be, is a perfect example of how labels and artists can work together effectively nowadays“, Macon reflects. “Spinnin’ knew my sound and I totally loved the idea of making a new version of ‘Bulletproof’ that I could play seamlessly in my sets. They gave me that perfect vocal and I just added my stuff to make it a banger for me, ha-ha!”. “Within two versions and just 5 days, the track was ready to go.” -Macon Listen to Macon‘s brand-new single ‘Bulletproof’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Are you a producer and you’d like to see your tracks on our page? Then head over to this link right here, you champ. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry. The post Macon Lands Spinnin’ Records Deal With Creative Flip On Classic ‘Bulletproof’ appeared first on EDMTunes.

The windy city shines away into solace, while giving us one last hurrah for the summer of 2024. We danced all season and went to incredible venues that showcased premier acts in the EDM scene. And now, we have come back to Arc Music Festival in Chicago. This one feels extra inspiring as this weekend marks a year since I’ve been a writer for EDMTunes (Yayyyy!). And, after four fantastic times I have stepped into Union Park, this is the first time I am able to write a review for Arc Music Festival. Labor Day weekend never shies away from a good time. Now we can get intimate and discuss what we loved, what we liked, and what we think the Auris Presents production should consider in changing for the future. Let’s get to it. Credit: Noe Padilla for Arc Music Festival Arc Music Festival The Music We truly can’t honor the birthplace of House music without a top-notch lineup. In this regard, Arc provided us with multiple crazy B2Bs that left our jaws on the floor. From Green Velvet b2b Carl Cox and Green Velvet B2B Mau P at Elrow to sub for MK that couldn’t make it, to Detroit finest’s Carl Craig B2B Moodyman and Golfos (Dennis Cruz B2B Pawsa). We can’t forget incredible headliners such as Charlotte de Witte, Sara Landry, Disclosure, Dom Dolla, Salute, Kaskade Redux, and Nico Moreno. All this energy was transcribed into Arc After Dark. Almost every single headliner had their own afterparties, including exclusive acts that were not on the day lineup. Highlight sets of the weekend include ANOTR’s jazzy and euphoric melodies, Charlotte de Witte’s hypnotizing and cerebral vibes, and Klangkuenstler’s art of the Schranz. We were sad to miss a couple of artists that couldn’t make it to the festival. But they adapted quickly to offer longer time slots to different artists. The Production Bury me at Expansions, no really, fill me up in that glorious dirt. This year’s production truly had us in awe. The Grid upgraded its visuals, even after a well-equipped HOLO Show from last year. Besides, it had plenty of fuel for the flame towers that offered majestic heat to most drops. Moreover, the perfectly timed fireworks each night encapsulated gave closure to all the memories we made on the dancefloor. And alas, all our prayers were answered: the New Expansions saw a wider, more open stage with incredible sound, intricate light pillars, and enough room for everybody. Compared to last year, the stage did not feel overcrowded or uncomfortable for any sets we saw. We also had new art installs this year, which provided amazing photo opportunities. These included the mirror arch (one of my favorites), and the glowing mushroom lady by expansions. Very trippy! Credit: Yuya Oyashi for Arc Music Festival Area 909 felt tiny compared to last year, as it hosted huge B2Bs and it felt a little cluttered for the closers on Sunday. Maybe it will need an expansion for next year as well. Lastly, it hurts for me to say this but Kaos Garden at Elrow did not pass the sound check this year. The production was as whimsical and beautiful as ever, but the volume could not match the energy the crowd was bringing into the neon-decorated tent. On a lighter note, the festival continued to be easy to navigate and the lines to get in, bar or concession lines never got too overwhelming. The Vibes The Chicago crowd is by far one of the most PLUR crowds there is. They understand the assignment and enjoy the music, while respecting their surroundings and each other. Yet again, Arc attendees are some of the most musically adept individuals, oriented by the true love of community and music. Along with their connection to Detroit. The House and Techno snobs reign supreme at Arc Music Festival. Moreover, the festival is also one of the most LGBTQ+-friendly experiences from festivals across the country. The crowd is extremely diverse, and the lineup heavily reflects its values. Artists like Honey Dijon, Purple Disco Machine, and Derrick Carter are at the forefront of the LGBTQ+ and POC underground that gave the foundations for this festival to even happen. Credit: Vee Sanders for Arc Music Festival Final Thoughts Arc Music Festival is one of those moments that completely exceeds expectations each time. The music, the people, the weather, it all worked in our favor to have three incredible days of amazing underground House and Techno. This is one of Auris’s best projects, and Arc will continue to represent the home of House Music for years to come. See you all next year! The post [Event Review] Arc Music Festival Captures The Essence Of Chicago appeared first on EDMTunes.

Following two sold-out festivals in 2024, ULTRA Worldwide will return to Australia next April for back-to-back events in Gold Coast’s Southport and Melbourne. ULTRA Beach Gold Coast will return to Southport for its sophomore edition on Friday April 11, 2025, at the picturesque Broadwater Parklands. The single-stage event will feature an impressive lineup of award-winning, international, chart-topping DJs and performers. And on Saturday April 12, 2025, ULTRA Australia will once again touch down in Melbourne for the festival’s sixth installment, showcasing a plethora of world-class Electronic music talent across multiple stages. Tickets will go on sale on Wednesday 11 September at 11 am AEST for Registered Members Pre-Release. For all details head to www.ultraaustralia.com Earlier this year, more than 40,000 ULTRAnauts sold out the 2024 editions of ULTRA Australia and ULTRA Beach Gold Coast. The events boasted an array of multi-award-winning artists, such as multi-platinum artist Zedd, A State Of Trance-boss Armin van Buuren, global party-starter Steve Aoki, and hardstyle favorites Darren Styles and Brennan Heart, while British icon Carl Cox performed a special hybrid set at ULTRA Australia in Melbourne only. ULTRA Australia takes pride in creating an all-encompassing entertainment experience for its fans from around the world. The post Ultra Announces Australia & Gold Coast Editions’ Return In 2025 appeared first on EDMTunes.

[DEEP]Search radio show by Laurent Garnier will be broadcast exclusively on the French public music radio station FIP, starting Saturday 7th of September from 10pm to 12.30am CET every first Saturday of the month. [DEEP]Search offers a carefully chosen selection of tracks and each show will be a new musical adventure, a passionate quest through the latest releases to unearth hidden treasures, with no blinkers, no limits, no preconceived ideas, a programme that transcends genres and trends, inviting listeners to discover new and daring sounds. FIP is a French public music radio station of the Radio France group. Its aim is to help you discover a musical universe without frontiers. FIP claims to be the most eclectic music radio station, broadcasting a wide variety of music genres, from jazz, rock, French chanson and world music to hip hop, blues, electronic and classical music. The philosophy of FIP is 60 minutes of music per hour, combined with short cultural updates every hour, with no advertising. A radio program made by music lovers for music lovers. In a saturated music landscape where more than 120,000 new titles appear on streaming platforms every day, music is often categorised, formatted and directed by algorithms that limit diversity and discovery. For Laurent Garnier, as for FIP, “it is essential to go beyond these imposed boundaries and explore music without preconceived ideas. As music lovers and sound messengers, our mission is to go beyond the limits, to seek out rare gems and bring to light tracks that you won’t hear anywhere else.” For Ruddy Aboab, head of the station: “The arrival of Laurent Garnier is an absolute evidence. FIP treats the music like Laurent does in [DEEP]Search with passion, humanity, and infinite curiosity. Welcome Laurent!” [DEEP]Search by Laurent Garnier, every first Saturday of the month, 10pm to 12.30am CET exclusively on FIP. A programme that transcends genres and trends, inviting listeners to discover new and exciting sounds. Tune in via www.radiofrance.fr/fip The post Laurent Garnier launches new monthly radio show appeared first on Decoded Magazine.

Up-and-coming talents in the electronic music space, this one is for you. Have always dreamt of flying to Los Angeles and producing music on some of the most iconic studios in the city. Well, thanks to AIAIAI and Pirate Studios now it can become reality. But, who is who? AIAIAI is a globally renowned Danish audio company. Pirate Studios is a leading global network of recording and performance spaces. The two companies aim to support the artists of tomorrow by increasing access to creative spaces and tools. So, what’s this trip to Los Angeles all about? The first iteration of this competition is for one lucky hip hop/rap/drill producer to receive an all-expenses-paid, four-day private production boot camp at Pirate Studios in Los Angeles. The winner will also receive two one-on-one mentorship sessions with producer, TANK GOD. He has previously worked with the likes of Lil Wayne, A$AP Rocky, Lil Wayne, 21 Savage, and more, gaining invaluable mentorship that will help sharpen their creative tools for the future. How to join the AIAIAI and Pirate Studios competition? Producers and music makers can submit one track or beat within the genres of hip-hop, trap, or drill to enter the competition. The submission must be completed via the application form on the Pirate Studios website. Here where applicants can include a link to their track, which should be uploaded on SoundCloud with the official competition artwork, available for download on the competition website. AIAIAI, Pirate Studios, and Tank God will select the winner, with the 5 runner-ups selected by the community vote from a shortlist of the best entries, curated by AIAIAI and Pirate. Main Prize Details: Return flight to Los Angeles from anywhere in the world Two one-hour one-on-one mentorship sessions with TANK GOD Four nights of accommodation in a 3-star hotel Four full days of free studio time at Pirate Studios AIAIAI TMA-2 Studio Wireless+ Headphones AIAIAI UNIT-4 Wireless+ Studio Monitors This collaboration between AIAIAI and Pirate Studios marks a significant step in empowering the next generation of music creators by providing unparalleled resources and opportunities to succeed Runners-Up Prize Details: 5 x TMA-2 Studio XE Headphones 5 x €100 Pirate Studios gift cards This latest partnership deepens AIAIAI’s connections to the hip-hop community. AIAIAI products are used by industry giants, as AIAIAI in particular has a proven track record of supporting artists such as the late MF DOOM, Travis Scott, Kaytranada, and more. Beyond the competition, the partnership includes product rental services available across Pirate Studios’ extensive network of 700 studio spaces. These services cover DJing, recording, and mastering tracks. With AIAIAI members receive 10% off at Pirate Studios, and Pirate Studio members receive 10% off aiaiai.audio. Founded in Bristol in 2016, Pirate is a global network of 24-hour studios. They offer creatives the chance to record, rehearse, mix, and play – whenever they want. Using an innovative contactless and keyless online booking system, Pirate offers a range of room types. The post Win a trip to LA with AIAIAI and Pirate Studios appeared first on The Groove Cartel.

The 13-track record is a celebration of queer identity and "otherness", sampling the voices of LGBTQIA+ icons Continue reading...

The sun is shining, skatimal is blasting and the summer of 2024 belongs to Gifta. Phase Records head honcho and self-professed skatimal pusher; the heart-of-gold DJ and freshly released producer has made her mark this festival season, establishing herself as a true champion of drum and bass and a widely loved fearless leader. Some make bass music, Gifta lives and breathes it. Approaching every aspect of her craft with relentless energy, she vibrates with a burning passion for the sound and the culture, taking every opportunity possible to embody the PLUR values; whether that’s challenging and nurturing the Phase family artists to success, or through the overwhelmingly strong sense of respect she cultivates throughout her work in the scene – not only towards others but also within herself. Few have a moral compass so generously and resolutely held, or such an unwavering desire to help others be their best selves. Having released her debut ‘Keep It Tuned’ EP at the start of the season and hopping off the deliciously dark and squelchy ‘Levels EP’ collab with drums diamonds, Exile and Coppa, the day before, Gifta is coming in hot at HITW – fresh off the back of no less than five sets at Hospitality On The Beach and a full summer of bass music pushing. After a face-melting hour at the Rampage stage, we managed to steal her away for a post-set chat on mental well-being, why having non-raver mates is key, community building, giving constructive feedback 101 and skatimal world domination. We are live! Gabs, how are you? I’ve had too many Red Bulls… Nah I’m actually good, I’m buzzing. Had a really great set, really enjoyed it and feeling very blessed. You shelled it. I’m not being paid to say that, by the way. Thank you! I think I did too! I feel really good, really enjoyed that and now I’m ready to enjoy the rest of the day of great vibes in a beautiful location and some of the best and the boldest in drum and bass. Feeling very lucky to be part of it. Favourite moment back there? That’s really hard. I think probably when I got a little rewind for my Shella double, that was really nice. How can you pick one moment though, I enjoyed it all. I even kind of enjoyed being nervous. It’s all part of it. Last year I played on top of a big beer truck. I had to sign an injury waiver in case I fell off. This year I’m on the Rampage stage, it’s progress and it’s bloody lovely. A highlight this year was also dropping my ‘Phoneline’ double. I think that’s a Gifta signature, I’m not gonna lie. My dream is that one day, Emily Makis will hear it and cover on it, maybe give it a rewind. Hopefully, that’s not far off. Manifest. You deserve all the manifested success – truly. Before we get into it, tell us – where did the name Gifta come from? I used to be called ‘gift of the gab’ when I worked in recruitment. I was the smooth talker. My DJ name was originally ‘Gift of the Gab’, but everyone called me Gifta anyway. Eventually, one promoter advised me that it was too long. I thought, I’m already known as Gifta and that was that. Also, Happy Release Day! Tell us about the Exile EP and your collab. I’ve been a fan of Exile and Coppa for a very long time. Coppa’s bass music presence is monumental and Exile’s legacy is just undeniable. I contacted Exile to do a remix and through that we connected. Phase was a lot smaller back then. We’re still small. We stayed in contact, and kept sending him Dubs. Then eventually he just said to me ‘I would love to work with you. I love what you do, and I think you’re doing things the right way. You care. You seem to care about the releases, and you put a lot of effort in.’ For ‘Type To Make You Go‘, I sent Exile stems then he worked with it from there. Then Coppa came out with this absolutely brilliant hook and worked closely alongside his personal vocal engineer to get it exactly how we wanted it. Then they just came together the way that they did. I’m so proud of the project. I’m genuinely mind-blown to even be talking about having these artists released on my label. It’s been a really interesting process, to work with the two biggest artists that I have, on original material for the label and now I’ve got a track on there which is mental. A truly great meeting of minds. What are your personal highlights from this summer? Obviously the ‘Keep it Tuned’ EP coming out at number two was sick. I feel that did so well because people wanted to support me. I like to think that people really came together to support an up-and-comer but also an underdog in the scene… and a girl! I’m really proud of that. Another highlight… I played Noisily festival and passed the decks onto Camo & Krooked. That was also probably my favourite set I’ve ever played. Also running the Phase remix competition for the winner to be on our remix LP, it was great to see the amount of enthusiasm behind the entries. And the amount of new artists I got to discover through that was really cool. On a more personal note, I’ve just had such a great time making some lovely new friends this summer, who have brought new joy and energy into my life. Shoutout to them, because there’s a new spring in my step and it’s not just down to everything happening with Gifta. Shoutout to the Gabs crew – old and new! Let’s talk about artist management. You have methods when it comes to cultivating your artists. What advice would you give to artists feeling musically disconnected? One of the best things you can do is to try and go to more local events. Stop looking to these big festivals and huge raves in warehouses where there are so many people you don’t even know where to look or where to stand. Support the local scene. It’s important. The scene needs support now more than ever. And there I can guarantee, you will be surrounded by people to whom all that matters is the music. I find that even for myself, it allows me to feel more connected and reminds me why I love the music and the community. It’s easier to spark up a conversation in those more intimate types of places, in a smaller smoking area, or outside in the line, before you go in. Through that, you’ll find hidden gems of artists too, maybe even people that may have more space and more time to work with you than these huge names with incredibly crazy schedules. That’s my advice to any artists struggling. Get yourself to those smaller events. Once you start doing that, you’re on the path to making some meaningful connections that I genuinely believe can be long-lasting and beneficial, and just get you back in that kind of smaller community spirit, rather than lost in a crowd of 10,000 people. Not to say that these festivals and stuff aren’t great. That’s how our music’s supposed to sound, on these huge fuck off systems with these amazing lights, there’s nothing like it. It’s amazing! But it’s underground music. So take yourself back to the underground. You should be giving inspirational speeches on stage. I like talking about it. I can’t lie. I’m very passionate about what music can do because it saved me, it gave me purpose! Like a lot of people in this scene, I didn’t really fit in anywhere until I found this. And then my life became good! Drum and bass is having a moment right now. We’re topping the charts. We’re touching territory we never thought we could reach and that’s amazing. If you love the music, I don’t think you should be upset by that, but that also means it’s changing, certainly at the highest of rates. But I think if we keep the very foundations of it, then we will always be able to call it a safe space and call it home, and keep that community vibe as much as possible. And equally, not everyone is comfortable in those big spaces with 10,000, 30,000 people, why shouldn’t they be allowed to get the rave experience? I think now more than ever, our up-and-coming scene is a drum and bass scene in and of itself, and it’s a shame to think that it’s suffering right now, I certainly find it hard to put on events comfortably because it’s such a financial loss almost every single time, even if it does well. For so many artists this is their core, that’s all they’ve got, small events are their livelihood. Everyone came up from somewhere. Everyone came from the underground. Support your local scene! I love the way you run feedback sessions with your Phase family, what advice can you share on how to give constructive feedback? Firstly, take it as a huge honour that somebody is asking you for feedback, and be mindful. Be clear, be specific, and give suggestions on how they can actually fix a specific issue or a problem that they’re having with that track. The likelihood is, if they’ve come to you for that feedback, you might be telling them to address stuff they can’t hear themselves in their mix, or they don’t know how to do. You might be using all these production jargon terms that they don’t understand. So explain those things. State whether something is more of a preference rather than an issue. For example, ‘your kick drum is really interfering with the sub-bass, you should fix that’ – good. ‘Oh, I don’t really like this riser’ – bad. Make it clear what’s an opinion on the creative aspect vs. what needs to change to improve the mixdown and advance them technically. It’s good to start with what’s good about the track, some people can take feedback very personally, certainly something that I’ve had to learn. I just want my artists to improve. Sometimes I’ve not given a shit sandwich and just said straight up what’s not great about it. Even though that’s come from a place of love and wanting people to improve and because I can handle that myself, that doesn’t mean everyone else can and that that’s good for them. That’s something that I’ve had to learn to make me a better leader. Open the feedback up to questions that they may have, or ask them what they think about the feedback you’ve given. Encourage them to have another crack at it. Something else I think is useful is suggesting a reference track for them to listen to, that might have a similar vibe to what they’re trying to do. Just be clear. There’s nothing worse than sending a track to someone, and they come back with, ‘make better’ or ‘beef drums up’. What does that mean? To a producer who isn’t super experienced, that doesn’t mean anything! Being specific and actually taking the time to deliver good feedback can help them improve by miles. It’s crushing to hear someone critique your work without giving any direction. Gifta’s masterclass needs to be rolled out nationally! Every now and again when I’ve got some time, or even if it’s just for someone that I like, even if I’m not interested in it necessarily for the label, I might put up a story inviting people to send me their music. I think it’s important to do this, but it’s important to me personally because I’ve experienced this myself and sought out feedback from the right people who have given me the time of day. I’ve seen how much confidence it’s given me and how quickly I’ve been able to progress. I just want that for other people, because it’s such a great feeling to make music that you like. Is there any advice you would give to up-and-coming female producers in particular? Who are trying to get to grips with production, become more confident… Resource-wise, YouTube is an amazing friend. I can highly recommend DNB Academy’s YouTube channel. You can also go on their website and get loads of free resources and also buy some courses that you can do at your own pace. Sample Genie is also a very similar sort of platform. You can go on Discord and join different channels from different producers and different record labels. If you’re not so confident, maybe ask questions on the anonymous side of Discord. Patreon is really good, it’s specifically tailored stuff with specific producers. What’s really great about it, is that a lot of them have a feedback tier where you can submit your music to these producers that you love and look up to, and get some good quality specific feedback. When it comes to having confidence,in my opinion, you just need to do it. I make it sound easy. I’m not saying that it is, but you need to swallow your pride and say to yourself ‘I’m going to go for it, and if I don’t go for it, then I’m the only person getting in my way.’ So ask for feedback, put that mix out, and approach that label with tunes again. I’m not saying that’s an easy thing to do, but unfortunately, sometimes our own heads are our worst enemies. However, you can make them your best friend. And the more you do it, the more you put yourself out there, the easier it becomes. You’ve got to believe in yourself… I’ve been trying to do this thing for ten years, and it’s only in the last couple of years that it’s getting places and all these new things are happening. I’ve always believed in myself and I knew that I wouldn’t stop no matter what. And even if this is the biggest it gets for me and goes back down, I’ll be on my deathbed still trying to do this drum and bass thing. I love it. I want other girls to look at me and think, if she can do it then I can too! You bear a lot of responsibility; managing the Phase crew, and the business but also your own career, all with a lot of effort, hard graft, care, love and attention. How do you look after yourself? I’ve had tricky moments. To be so honest with you, losing my nine-to-five was the best thing that ever happened to me for that. But also just being that little bit older and a bit more aware now of certain things and what’s good for you and what’s not has helped. First of all, booking in breaks and sticking to them, is key to preventing burnout before it arrives. Being healthy physically, drinking water, going for walks, not spending all day sat behind the desk and in the studio in a dark room is really important. Actually prioritising sleep and eating healthy, are literally the basics. If you’re looking after yourself physically, the mental tends to follow suit. Finally, I’ve learned this the hard way only recently, it takes sacrifice sometimes but don’t neglect your friends that have nothing to do with your music. Big one, they’re important. They know you. Before Gifta there’s Gabs, and that comes before anything else for them. I’ve had cases where – and like I said, it’s taken me a while to get to this place, but – when I was younger, trying to push through. I skipped a few birthdays here and there to recover from a rave the night before, and took a pretty rubbish booking instead of being there for someone. Didn’t answer the phone to a friend who really needed me because I was knee-deep in my tune. I’m not saying that you shouldn’t do that at all, but there are instances where I regret not being more present and these friends are important for your mental wellbeing. It grounds you and reminds you who you are away from all this. If Gabs isn’t good, Gifta can’t be good, and Phase Records definitely can’t be good either. Prioritising your health and having that support system is absolutely key… Don’t neglect what’s important. You can chase your dream, but what’s going to lift you up on the days when it’s not going so well, are the people who were with you before all this. You’ve been working towards your vision for a long time. What’s your long-term goal for Phase Records? For Gifta? I would love to get a Best DJ nomination one day. I would really love that. Do I think I can do it? Voting for you now… I think I could. I would love to. And for the label… to achieve what the big dons are achieving, being 50 years old and still thriving. Have our own office, the works. That’s the dream. I want to keep putting out music and for skatimal to be recognised as a new subgenre. That would be sick. On that note. We’ve got the entire Phase Records crew to look to for skatimal. What other artists can you point us to? Yes yes yes. To nod at some of the really big skatimal dons; T<I, Waeys, Enei. Then if you want to listen to some of the newish producers on the block; hit up SMG, Visla, Yatuza, Parallel, Hexa, Chris Kastro. There’s an amazing young guy called Portrait based in Manchester – go check him out. Another guy called Kenna, is making some disgustingly good jump up skatimal. For skatimal DJs, shoutout to Klueless man! Mix that skatimal man, she’s amazing! Three words to sum up Summer 2024? Crazy… busy… and happy. Three festival essentials? Earplugs! You only get one pair of ears, protect them! Then… sunglasses… and a portable charger. Standard. You of course have an incredible relationship with Hospital Records through their business development scheme. What’s it like to work with them? Every day is a learning day… and an inspiring one. I learn so much about what it means to be an artist and how to run my label. I feel like a sponge, being around the Hospital lot. They make me a better label owner, a better artist and a better person. Most important lesson you’ve learnt? That you have the right to say no to stuff. And finally, why is Hospitality In The Woods one of the greatest festivals of all time? Because it’s in that awkward stage between the end of festival season – Boomtown is done you’re miserable because festival season is over and summer holidays are coming to an end. Then, boom, you just have this wonderful day to round everything off. The weather’s always nice and it’s run by Hospital – the most amazing people who, in my opinion, really put the ravers first. They’ve been doing it for such a long time so it’s always expertly run. And it’s always a pleasure. It’s that one festival that all your mates will go to, especially if they missed one or two here and there. There are loads of reasons why it’s a special place. But yeah, I think it’s just *chef’s kiss*.

AIAIAI has announced a unique partnership with Pirate Studios, a leading global network of recording and performance spaces. This collaboration aims to support the artists of tomorrow by increasing access to creative spaces and tools. In an ongoing effort to support the artists of tomorrow, AIAIAI and Pirate Studios are joining forces to launch a competition that will unlock opportunities for emerging creatives the world over. The first iteration of this competition is for one lucky hip hop / rap /drill producer to receive an all-expenses-paid, four-day private production bootcamp at Pirate Studios in Los Angeles as a trip away to work on their tracks and music production skill. The winner will also receive two one-on-one mentorship sessions with producer, TANK GOD, who has previously worked with the likes of Lil Wayne, A$AP Rocky, Lil Wayne, 21 Savage and more, gaining invaluable mentorship that will help sharpen their creative tools for the future. Both AIAIAI and Pirate Studios have a rich history of nurturing up-and-coming talent, and consistently show commitment to creative communities through initiatives, partnerships and programming. This latest partnership deepens AIAIAI’s connections to the hip hop community , AIAIAI products are used by industry giants, such as AIAIAI in particular has a proven track record of supporting artists such as the late MF DOOM, Travis Scott, Kaytranada and more. Beyond the competition, the partnership includes product rental services available across Pirate Studios’ extensive network of 700 studio spaces. These services cover DJing, recording, and mastering tracks, ensuring that artists have access to top-tier equipment to bring their creative visions to life. With AIAIAI members receiving 10% off at Pirate Studios, and Pirate Studio members receiving 10% off aiaiai.audio. Founded in Bristol in 2016, Pirate is a global network of 24-hour studios that offers creatives the chance to record, rehearse, mix, and play – whenever they want. Using an innovative contactless and keyless online booking system, Pirate offers a range of room types. Whether you’re a professional or a beginner – their recording, rehearsal, and DJ rooms provide a private space for artists to develop their ideas from concept to completion, making them the perfect partner for AIAIAI, who are equally committed to supporting creative communities. Competition Details: Producers and music makers can submit one track or beat within the genres of hip hop, trap or drill to enter the competition. The submission must be completed via the application form on the Pirate Studios website (link here), where applicants can include a link to their track, which should be uploaded on SoundCloud with the official competition artwork, available for download on the competition website. AIAIAI, Pirate Studios and Tank God will select the winner, with the 5 runner ups selected by the community vote from a shortlist of the best entries, curated by AIAIAI and Pirate. Main Prize Details: Return flight to Los Angeles from anywhere in the world Two one-hour one-on-one mentorship sessions with TANK GOD Four nights of accommodation in a 3-star hotel Four full days of free studio time at Pirate Studios AIAIAI TMA-2 Studio Wireless+ Headphones AIAIAI UNIT-4 Wireless+ Studio Monitors This collaboration between AIAIAI and Pirate Studios marks a significant step in empowering the next generation of music creators by providing unparalleled resources and opportunities to succeed Runners-Up Prize Details: 5 x TMA-2 Studio XE Headphones 5 x €100 Pirate Studios gift cards The post AIAIAI is launching a collaborative competition with renowned Pirate Studios appeared first on Decoded Magazine.

Today, DJ Tennis and Ashee reveal their new collaborative project Tenashee, along with A/V installation SUPERPOSITION in partnership with lauded visual artist MAOTIK. The installation has been unveiled at London’s W1 Studios, and will remain in place throughout September, with the Tenashee live A/V show to debut on September 19. A concept as at home in galleries and cultural spaces as it is in the live environment, this marks only the beginning of Tenashee’s story and evolution. The Tenashee project contrasts boldness with intricacy, melody with sound design, and subtleness with intensity. It combines shared musical roots—IDM, drum & bass, and ambient—with a view to experiment, sidestep genres, embrace extremes, and create immersive art-driven worlds for those touched by both music and visual-art to step into. MAOTIK is a French digital artist focused on crafting immersive environments, interactive installations, digital architectural sculptures, and audiovisual performances. Nestled at the intersection of art, science, and technology, his work has been presented at international festivals and institutions worldwide such as Mutek, Sonar, Oi Futuro in Rio, Art Basel, Frieze London, FIAC Paris, Signal Festival in Prague, the British Film Institute in London, Miraikan Science Museum in Tokyo, B39 in Seoul, and more. Designed specifically for the unique architecture of W1 Curates, a multi-screen immersive art platform, SUPERPOSITION uses lines and cubic geometry to alter the perception of space, transforming the environment—including both the interior and exterior of the building—into a fluid, evolving structure. By analysing frequency and tempo, the visual composition starts with simple elements that gradually become more complex over time, layering graphical components that react independently to different aspects of the music. The visuals respond to a musical piece from Tenashee, based on deconstructed sounds and elements from the forthcoming body of work so far, a project the duo has slowly developed since 2020. The project was conceived during the pandemic when DJ Tennis found himself stranded on a Caribbean island while producer/DJ Joseph Ashworth (Ashee) was housebound. Producing in isolation, and limiting themselves to the musical instruments they had to hand, the duo found themselves in an especially creative state, sharing sounds and sketches as interesting ideas arose, and they finally connected in Ibiza to develop the music further. A need to step away from dance floors, and rediscover the pleasure of making music without a destination—simply enjoying the process—sparked the collaboration. From conceptualization to realization, the installation and the live show mark only the first two steps in an uncharted creative journey. Together with MAOTIK, Tenashee will also be debuting their live A/V performance at W1 on September 19. A singular blend of immersive visual elements, compelling musical artistry, and an enhanced sound system, the debut show offers a first look into the evolving Tenashee universe, with plans for collaboration across the worlds of electronic music and interactive art to be revealed in time. From punk band tour manager to event organizer, artist, label head, and everything in between, the DIY roots and decade-spanning experience of DJ Tennis, real name Manfredi Romano, have sculpted him into the quintessential tastemaker. From managing bands such as LCD Soundsystem and Black Flag, his early days as a promoter saw him go on to work with artists from the likes of Ninja Tune, Warp Records, and Raster-Noton. He has performed and collaborated on original music with LP Giobbi and Alex Metric, remixed the likes of Maribou State and Jungle, performed b2b sets with Gerd Janson and Kerri Chandler, and has served as the manager for Tale Of Us and Carlita. Romano is also a well-respected chef who spearheads his own food platform, Munchietown, working alongside other culinary artists he meets while on the road, in addition to hosting star-studded private dinners and much more. Ashee, real name Joseph Ashworth, is a London-based producer who is influenced by every corner of electronic music, but releases tracks with a raw, energetic edge. His energetic, creative sound has found a home on labels such as CircoLoco, Life and Death, and Aus Music. Joseph’s versatility and depth of musical knowledge demonstrate why he is such an in-demand producer, artist, and DJ. The SUPERPOSITION exhibition runs till September 30 – visit https://www.w1curates.com/ for opening hours. To sign up for the debut of Tenashee’s live show on September 19 head to https://laylo.com/djtennis/tenasheew1curateslaunch. The post DJ Tennis & Ashee unveil collaborative Project Tenashee appeared first on Decoded Magazine.

Alesso & David Guetta – Never Going Home Tonight Two of the biggest names in electronic music, Alesso and David Guetta, team up to deliver ‘Never Going Home Tonight,’ a progressive house anthem with an infectious melody. Their combined talents shine through in this high-energy track that feels destined for mainstages worldwide, as the duo masterfully blends euphoric build-ups with uplifting drops. Armin van Buuren & Hardwell – Follow The Light In what can only be described as a dream team collaboration, trance legend Armin van Buuren and big room titan Hardwell join forces for ‘Follow The Light.’ The track combines Armin’s signature uplifting trance elements with Hardwell’s high-octane energy, resulting in an explosive track that’s as melodic as it is powerful, perfect for any festival set. Fred again.. – ten days (Album) Fred again.. continues to blur the boundaries between genres with his new album ‘ten days.’ Known for his emotional production and innovative sampling, this album sees Fred blend house, garage, and electronic pop with deeply personal lyrics. Each track feels intimate yet expansive, proving again why Fred is one of the most exciting and groundbreaking artists in the electronic scene today. The Chainsmokers, Kim Petras – Don’t Lie The Chainsmokers and pop sensation Kim Petras collaborate for ‘Don’t Lie,’ a catchy, vocal-driven pop-dance anthem. With infectious lyrics, smooth production, and a drop that keeps the energy high, this track is primed to become a staple in both pop and EDM playlists, showcasing both artists’ ability to create crossover hits. Tiësto & Swimming Paul – VHS Rave Tiësto teams up with up-and-comer Swimming Paul for ‘VHS Rave,’ a nostalgic throwback to the golden era of rave culture with a modern twist. The track’s lo-fi synths and retro beats evoke memories of 90s warehouse parties, but Tiësto’s production keeps it fresh, making it a unique blend of old-school vibes and contemporary EDM. Honorable mentions: Above & Beyond feat. Richard Bedford – Heart Of Stone Alan Walker, Joe Jonas & Julia Michaels – Thick Of It All Alok & Jazzy – The Heat Andrew Bayer & Oliver Smith – 4U Ben Nicky – Handbrake Curbi – Close Your Eyes Dimitri Vegas & Like Mike & Loic D & Ronald V – Melody Of The World Don Diablo ft. Sandro Cavazza – Young Again Felix Jaehn ft. Bbyclose – Dream Come True Lucas & Steve – Renegade Master Madison Mars – Look No Further (feat. Grace Luisa) Markus Schulz & Emma Hewitt – Till We Fade MOGUAI, James Carter & Pizzata & Klein – Free Your Mind (feat. Salvatore Mancuso) Steve Aoki & 22Bullets – Mami STVW & Chockablock – Mr. Brightside Vluarr & Arcando feat. Felix Samuel – Ascend Will Clarke feat. Sharlene Hector Will Sparks & Darren Styles – Scars Stream all these tracks and more in our New EDM Friday playlist – follow here.

Originally released on Studio !K7 Records in 1998, Peter Kruder and Richard Dorfmeister’s ground breaking release, ‘The K&D Sessions’ reset the bar for what could be achieved in a compilation – selling over a million copies. ‘The K&D Sessions’ now celebrates its momentous 25th Anniversary milestone with a limited 6LP / 3CD box set release mastered and cut by LA luminary Bernie Grundman that includes a collectable 40-page booklet containing unseen photography and archival notes from the time. Kruder & Dorfmeister have also revealed planning for a very special K&D Sessions Live Tour for 2025 taking in many prestigious venues and key European cities including London, Manchester, Bristol, Amsterdam, Barcelona, Milan, Antwerp, Luxembourg, Budapest, Warsaw, Gdansk and more. Further details on the Q1 and Q2 2025 Tour will be announced soon. Occasionally an album comes along that seems to capture the mood of the time. ‘The K&D Sessions’ was one. In the late 1990s no afterparty, smoking session or languid Sunday afternoon was complete without Kruder & Dorfmeister blasting from the Bang & Olufsen. “The bottle is empty, the CD has stopped, there are still a few cigarettes left. So, I’m going to open another bottle, push a button on my CD player, and make use of my lighter – and then many associations will appear again which I won’t write down anymore. All I want to do now is simply enjoy.” – Robert Menasse on ‘The K&D Sessions’ Masters of mood, alchemists synthesizing undiscovered emotional planes from already existing material, pulling only the vital minerals. K&D are well known for only taking the vocal stems from the music which they select to remix, building a whole new set of arrangements around these pieces of original source material. “On all the remixes, it was of paramount importance for us to just use the vocals,” emphasises Peter. “We never used anything of the original tracks except for that. We wrote a whole new song around those vocals. That’s why we also feel that this record is more like our record than a remix album.” During a period when remixers were becoming more venerated than the original artists whose work they were messing with – ‘The K&D Sessions’ was monumental. Included on the 6th LP is their legendary 11-minute shimmering remix of Madonna’s “Nothing Really Matters”. It also contains Peter Kruder’s Powercut Mix of Roni Size’s “Heroes” and K&D’s remix of U.F.O, “L.O.V.E.”. In addition, there are two cerebral alternate remixes of Lewis Taylor, one being completely dubbed and the other the using the vocal line for this beautiful gem, “Lucky” and a special remix of “Speechless” by Count Basic. These have been staples in K&D’s sets and now take their rightful place collected in the canon of ‘The Sessions’. With the original having sold well over a million copies, it’s hard to imagine a mix or remix compilation being able to inform a movement like ‘The K&D Sessions’ has; and while we’re on the subject of anniversaries 2025 is the 40th anniversary of !K7. Kruder & Dorfmeister: The K&D Sessions (25th Anniversary Boxset Edition) is released 25th October 2024 and available to pre-order now. The U.S. release date is coming soon. Tracklists: 6LP Tracklist / side splits: LP1 A1 Roni Size, Reprazent – Heroes (Kruder’s Long Loose Bossa) A2 Alex Reece – Jazzmaster (K&D Session TM) B1 Bomb The Bass – Bug Powder Dust (K&D Session TM) B2 Lamb – Trans Fatty Acid (K&D Session TM) LP2 C1 Count Basic – Speechless (Drum ‘n’ Bass) C2 Rockers Hi-Fi – Going Under (K&D Session TM) D1 Depeche Mode – Useless (K&D Session TM) D2 Count Basic – Gotta Jazz (Richard Dorfmeister Remix) LP3 E1 Aphrodelics – Rollin’ On Chrome (Wild Motherfucker Dub) E2 Knowtoryus – The Revenge Of The Bomberclad Joint (K&D Session) F Truby Trio – Donaueschingen (Peter Kruder’s Donaudampfschifffahrtsgesellschaftskapitänskajütenremix) LP4 G1David Holmes – Gone ft. Sarah Cracknell (K&D Session TM) G2 Sofa Surfers – Sofa Rockers (Richard Dorfmeister Remix) H1 Mama Oliver – Eastwest (Stoned Together) H2 Bomb The Bass – Bug Powder Dust (Dub) H3 Kruder & Dorfmeister – Boogie Woogie LP5 I1 Sin – Where Shall I Turn (K&D Session TM) I2 Bone Thugs-n-Harmony – 1st of Tha Month (K&D Session TM) I3 Kruder & Dorfmeister – Lexicon J1 Knowtoryus – Bomberclad Joint (K&D Session TM) J2 Rockers Hi-Fi – Going Under (Evil Love & Insanity Dub) J3 Strange Cargo – Million Town (K&D Session TM) LP6 K1 Count Basic – Speechless (Peter Kruder Vocal Mix) K2 Lewis Taylor – Lucky (Kruder & Dorfmeister Suicide Mix) K3 Roni Size – Heroes (Peter Kruder Powercut Mix) L1 Madonna – Nothing Really Matters (Kruder & Dorfmeister Remix) L2 UFO – L.O.V.E. (K&D Session TM) L3 Lewis Taylor – Lucky (Kruder & Dorfmeister Reprise Mix) 3CD Tracklist: DISC 1 01 Roni Size, Reprazent – Heroes (Kruder’s Long Loose Bossa) 02 Alex Reece – Jazz Master (K&D Session TM) 03 Count Basic – Speechless (Drum ‘n’ Bass) 04 Rockers Hi-Fi – Going Under (K&D Session TM) 05 Bomb The Bass – Bug Powder Dust (K&D Session TM) 06 Aphrodelics – Rollin’ On Chrome (Wild Motherfucker Dub) 07 Depeche Mode – Useless (K&D Session TM) 08 Count Basic – Gotta Jazz (Richard Dorfmeister Remix) 09 Rainer Trüby Trio – Donaueschingen (Peter Kruder’s Donaudampfschifffahrtsgesellschaftskapitänskajütenremix) 10 Lamb – Trans Fatty Acid (K&D Session TM) DISC 2 11 David Holmes – Gone (K&D Session TM) 12 Sofa Surfers – Sofa Rockers (Richard Dorfmeister Remix) 13 Mama Oliver – Eastwest (Stoned Together) 14 Bomb The Bass – Bug Powder Dust (Dub) 15 Kruder & Dorfmeister – Boogie Woogie 16 Sin – Where Shall I Turn (K&D Session TM Vol. 2) 17 Bone Thugs-N-Harmony – 1st of Tha Month (K&D Session TM) 18 Kruder & Dorfmeister – Lexicon 19 Knowtoryus – Bomberclad Joint (K&D Session TM) 20 Rockers Hi-Fi – Going Under (Evil Love & Insanity Dub) 21 Strange Cargo – Million Town (K&D Session TM) DISC 3 22 Count Basic – Speechless (Peter Kruder Vocal Mix) 23 Lewis Taylor – Lucky (Kruder & Dorfmeister Suicide Mix) 24 Knowtoryus – The Revenge Of The Bomberclad Joint (K&D Session TM) 25 Roni Size – Heroes (Peter Kruder Powercut Mix) 26 Madonna – Nothing Really Matters (Kruder & Dorfmeister Remix) 27 UFO – L.O.V.E. (K&D Session TM) 28 Lewis Taylor – Lucky (Kruder & Dorfmeister Reprise Mix) Pre-order here The post Kruder & Dorfmeister: The K&D Sessions celebrates 25 years with a new limited 6 LP vinyl box set appeared first on Decoded Magazine.

Discover the electrifying new track ‘The Heat’ on New Music Friday! Experience the dynamic collaboration between Brazilian sensation Alok and emerging Irish-Jamaican star Jazzy. Tune in to this infectious beat on your preferred streaming platform and get ready to hit the dance floor. Let us know how much you love moving to this rhythm! ‘The Heat’ As the summer festival season comes to an end, ‘The Heat’ is a standout track with its vibrant, high-energy beats, offering the perfect sound for the dance floor this fall. A blend of modern electronic elements and classic dance vibes showcases Alok’s signature style. The polished production of ‘The Heat’ makes it an irresistible anthem for clubs. Jazzy’s dynamic vocals infuse the track with infectious energy, seamlessly complementing Alok’s driving electronic beats. Notably, ‘The Heat’ features the iconic ‘Mixmasters’ In the Mix’ sample, , adding a nostalgic touch and creating a bridge between old-school and contemporary dance music. It’s a unique and familiar standout track that captivates listeners. ‘The Heat’ follows the success of Alok’s ‘Why I Love You So’, his previous collaboration with Supafly and James Hurr. Alok is globally renowned for his unique blend of Brazilian bass, deep house, and pop influences, captivating audiences worldwide. With chart-topping hits like ‘Hear Me Now’ and ‘Never Let Me Go’, he showcases his remarkable talent for producing catchy, melodic tracks with pulsating basslines. For an electrifying experience, be sure to check his tour dates here for a show near you. On the other hand, Jazzy, an up-and-coming artist, is making waves with her dynamic and adaptable vocal style, seamlessly merging pop, electronic, and dance music influences. Don’t miss her stunning performance on ‘The Heat’. Stay tuned to EDMTunes for all your music updates! The post Alok & Jazzy Release Exciting Single ‘The Heat’ appeared first on EDMTunes.

Legend has it that Lost Lands was so loud last year that it tore a hole in the festival's grounds—until now. Later this month, Excision will welcome Subtronics, NERO, Rusko, Deathpact and many more to his flagship festival in Ohio. Despite the 2024 edition of Lost Lands selling out in record time, the dubstep juggernaut and his team have not held back with regard to improvements to the Jurassic-themed outing. With just over two weeks to go, they've pulled back the curtain on the festival's newest stage, The Crater. A new space inside the festival's Legend Valley grounds, The Crater will feature 360° performances that will give fans a chance to experience intimate performances not often seen at music festivals prior. In addition to the stage's reveal, Lost Lands' organizers also announced the list of artists throwing down in The Crater. Boogie T, Jessica Audiffred, Dirt Monkey, Eprom, VAMPA, Leotrix and many more are slated to perform in the asteroid's wake from Wednesday to Sunday. The Crater! This brand new stage is going to be poppin' off Wednesday through Sunday ☄️ pic.twitter.com/ygR8m2IXB7 — Lost Lands Festival (@lost_lands) September 5, 2024 The Crater is not the only upgrade to Excision's prehistoric party this year. Organizers have revealed that there will be an additional entrance to the festival, a walkway connecting the new stage with two previous stages, more vending and lockers, and a larger quiet area for decompression. Moreoever, Excision in June shared that his team is constructing a tunnel beneath the busy road separating the campgrounds from the Lost Lands festival grounds to speed up entry and exit processes. Lost Lands will return to Legend Valley in Thornville, Ohio from September 20-22, 2024. You can find out more about the festival here. Something big is landing at Lost Lands! Introducing an all new area and 360 stage inside the festival.. The Crater ☄️ pic.twitter.com/cSFha69n1O — Lost Lands Festival (@lost_lands) August 31, 2024 Follow Lost Lands:X: x.com/lost_lands Instagram: instagram.com/lostlandsfestival Facebook: facebook.com/LostLandsMusicFestival Follow Excision:X: x.com/excision Instagram: instagram.com/excision TikTok: tiktok.com/@excision Facebook: facebook.com/excision Spotify: spoti.fi/3lLJ5jl

With his new single, Mat Zo has flipped the switch on a disco fever dream, fusing nostalgic electro house with contemporary production elements in a call to all dancefloor denizens. The renowned producer's latest is a journey to the not so distant past, firmly placing us in the heart of the early electro house heyday. Out now on mau5trap, "Disco Boy" pays homage to a time when the genre was bursting onto the scene with a sound that felt both new and exhilarating. However, his latest offering is far from a mere throwback. Zo breathes fresh life into the classic mau5trap aesthetic and his signature attention to detail ensures that each listen reveals something new. Fans of his earlier works, as well as those new to his music, will find themselves appreciating the track’s complex interplay of old-school influences and modern flair. "Disco Boy" opens with a familiar Zo rhythm, its industrial house drums establishing a formidable foundation. The hypnotic cadence is dotted with robotic vocal ad-libs while his meticulous production shines throughout. As he deftly layers intricate electro house elements over a bed of melodic synth pads, the resulting soundscape is a lush concoction of textures both vibrant and gritty, transporting listeners to a bygone era. Listen to "Disco Boy" below and find the track on streaming services here. Follow Mat Zo:X: x.com/mat_zo Instagram: instagram.com/mat_zo Facebook: facebook.com/matzomusic Spotify: spoti.fi/30KshQp

Despite performing on the world’s biggest stages, from Coachella to Glastonbury, Fred again.. has the profound ability to make the monumental feel deeply personal. In his earlier Actual Life albums, the superstar producer captures the rawness of the human experience by turning everyday moments into powerful, visceral dance tracks. Using samples recorded from real-life interactions, he's built his reputation on producing music that makes fans feel like they were in the room with him at every turn. Fred deepens that connection in ten days, which he described as an album that breathes life into the "very small quiet intimate moments." In that spirit, the album is filled with collaborations, from Sampha and Skrillex to Joy Anonymous and Emmylou Harris, creating an interesting dichotomy between those private moments and their diffusion after being laid bare for all to experience. With 10 songs and 10 interludes that flow to create a cohesive narrative, the album opens with the uplifting "adore u," where bubbly marimbas flutter through luminous vocals by Obongjayar. Meanwhile, he takes the album in a more upbeat direction with "places to be," a track where he blends punchy drum patterns with the soulful swing of Anderson .Paak. One of the album's highlights is "glow," where Duskus' atmospheric production entwines with the energy of Skrillex and the meticulous precision of Four Tet. The combination of these virtuosic talents is a microcosm for the prevailing ethos of ten days: that all of Fred's small, intimate moments ultimately built atop one another to form a journey. He wraps the album with "backseat," a fitting end that feels like snapshots frozen in time, thanks to the feathery vocals of The Japanese House: "Hold on to this feeling, because you won't feel it for long," she warbles. Replete with Fred's ethereal instrumentation, the track reminds us that even in the most chaotic and overwhelming moments, it's important to appreciate the little things. Listen to ten days below and find the album on streaming platforms here. Follow Fred again..:X: x.com/fredagainagain1 TikTok: tiktok.com/@fredagainagain Instagram: instagram.com/fredagainagainagainagainagain Facebook: facebook.com/fredagainagain Spotify: spoti.fi/3w2WKZD

Despite performing on the world’s biggest stages, from Coachella to Glastonbury, Fred again.. has the profound ability to make the monumental feel deeply personal. In his earlier Actual Life albums, the superstar producer captures the rawness of the human experience by turning everyday moments into powerful, visceral dance tracks. Using samples recorded from real-life interactions, he's built his reputation on producing music that makes fans feel like they were in the room with him at every turn. Fred deepens that connection in ten days, which he described as an album that breathes life into the "very small quiet intimate moments." In that spirit, the album is filled with collaborations, from The Japanese House and Sampha to Skrillex and Emmylou Harris, creating an interesting dichotomy between those private moments and their diffusion after being laid bare for all to experience. With 10 songs and 10 interludes that flow to create a cohesive narrative, the album opens with the uplifting "adore u," where bubbly marimbas flutter through luminous vocals by Obongjayar. Meanwhile, he takes the album in a more upbeat direction with "places to be," a track where he blends punchy drum patterns with the soulful swing of Anderson .Paak. One of the album's highlights is "glow," where Duskus' atmospheric production entwines with the energy of Skrillex and the meticulous precision of Four Tet. The combination of these virtuosic talents is a microcosm for the prevailing ethos of ten days: that all of Fred's small, intimate moments ultimately built atop one another to form a journey. He wraps the album with "backseat," a fitting end that feels like snapshots frozen in time, thanks to the feathery vocals of The Japanese House: "Hold on to this feeling, because you won't feel it for long," she warbles. Replete with Fred's ethereal instrumentation, the track reminds us that even in the most chaotic and overwhelming moments, it's important to appreciate the little things. Listen to ten days below and find the album on streaming platforms here. Follow Fred again..:X: x.com/fredagainagain1 TikTok: tiktok.com/@fredagainagain Instagram: instagram.com/fredagainagainagainagainagain Facebook: facebook.com/fredagainagain Spotify: spoti.fi/3w2WKZD

With her new EP, Linney reminds us why we dance: not to forget, but to remember differently. The red-hot producer and singer-songwriter blends haunting house beats with introspective lyricism in We Dance, which reimagines the dancefloor as a space where the spirits of past pain pirouette with present joy. She brilliantly invites us to join this dance—not as spectators, but as active participants in our own healing. "To me, this record is about music having the ability to transform tragedy and turn it into something beautiful," Linney says. "Dance music has a pulse that imitates the heart and reminds me to keep moving through whatever I'm dealing with." Unlike a lot of today's hollow, heavy dance music, the project is not mindless escapism—it's mindful confrontation. In Linney's domain, dance music is medicine for a world that's forgotten how to move through its miseries. Pulsing with hard-won wisdom, We Dance is that remedy. Linney wastes no time conveying her message, kicking off the EP with its sublime titular track, a euphoric cut where she belts, "We dance for a reason, we move to make sense of the pain." Then comes the spellbinding "Sequoia," a deep house stunner where her vocals soar skyward like the majestic trees it embodies. Linney leans further into the nature motif in "Daisies," a sonic bouquet where her raw voice cuts through a bassline you can feel in your bones. Here, her lyrics paint vignettes of stubborn hope, exploring our tendency as humans to cling to beauty in unlikely places. That captivating desperation comes to a head in the ensuing track, "Together," a dance anthem where she pleads, "Does it scare you that I’m not afraid of tomorrow? 'Cause you're my escape." Listen to We Dance below and find the new EP, out now via Helix Records, on streaming platforms here. Follow Linney:X: x.com/linneyofficial Instagram: instagram.com/linney TikTok: tiktok.com/@linney Facebook: facebook.com/linneyofficial Spotify: spoti.fi/33ARzWg

S2O, the world’s largest water music festival, made a splash in New York City this Labor Day Weekend. Held at the iconic Brooklyn Mirage, the two-day event brought together thousands of revelers for a unique and unforgettable experience. Presented by Pulse Events, this was the first time that the water festival took place in the U.S. and based off of this weekend, it was a major success. Since its inception in 2015, the event brand has become the world’s biggest Songkran/Thai New Year celebration with events in Japan, South Korea, Hong Kong, Thailand, Taiwan, and Vietnam. Dubbed as the world’s wettest party, it was a weekend of celebrating life as thousands of people joined into this festivity. True to its reputation, S2O delivered on its promise of non-stop water action. The Brooklyn Mirage was transformed into a water-logged playground of sound and excitement. Water cannons blasted the crowd from all angles, creating a chaotic yet exhilarating atmosphere. Attendees were drenched from head to toe, but the constant flow of water kept things cool and refreshing. The organizers had water cannons consistently shoot into the crowd, as well as staff shooting large water guns to add into the fun. Those in attendance were able to purchase water guns inside the festival and have water gun fights all while listening to top tier music inside the venue. As the music intensified, so did the water fights. The production was on another level as well, really adding into the festival ambiance. There was no shortage of CO2 cannons, lasers, and pyrotechnics. All of these factors, blending in with the refreshing water and all the vibrant production, made this truly a one of kind experience. The music lineup at S2O was nothing short of impressive. Headliners like Marshmello and Subtronics drew massive crowds, while other acts like Alan Walker, Timmy Trumpet, and ARMNHMR kept the energy high throughout the day. Said the Sky b2b William Black in particular stunned the crowds with their bass-filled performance in their special b2b. House fans were in delight with Dzeko putting on a groovy house/tech house set whereas Level Up put on a heavy headbang inducing performance. photo credits: TaniaHauyon Overall Impressions S2O’s debut in New York City was a resounding success. The festival’s ability to transport attendees to a tropical paradise, even in the heart of Brooklyn, was a testament to its organizers’ vision. S2O’s combination of music, water, and vibrant visuals created an unforgettable experience. The festival’s immersive atmosphere and the camaraderie among attendees made it a memorable event for all who attended. A suggestion would be to move the festival to an earlier week throughout the summer as many in attendance were stating that it got too cold at night after being drenched in the water. photo credits: TaniaHauyon photo credits: TaniaHauyon The post S2O New York: a Wet and Wild Weekend appeared first on EDMTunes.

Much has changed in the electronic music sphere since Cosmic Gate last minted a ‘Wake Your Mind Sessions’. It’s time in which Nic & Bossi jumped wholeheartedly into the livestreaming space, embracing the medium with a succession of visually captivating sundown shows from rooftops around Miami, NYC, Mexico, Bali and most recently Ibiza. So beloved did they become (New York’s currently resting a 15 million views!) that fans began clamouring for both cross-platform streaming and a new instalment of ‘Wake Your Mind Sessions’! A natural solution had of course presented itself! Bringing all the auditory thrills of a Cosmic Gate performance direct to all channels, ‘005’ was a go! So what’s on board!? Well, the double-disc-er is packed with music from the likes of Armin Van Buuren, Joris Voorn, Rivo, Like Mike, MAGNUS, AVIRA, Eelke Kleijn, Klur and many more. Naturally, the mix-comp’s also the foremost platform for studio-hot productions and on ‘005’ Cosmic Gate are all about that! Amongst its thirty-plus tracks are ‘Trifecta’ and‘Only You’ (with Arnej and Susie Ledge respectively) – new CG anthems just waiting in the wings! You’ll also find box-fresh remix-revisions of recent singles ‘Brave’ and ‘Just The Beginning’, as well as the classic ‘The Drums’. Further in still, you’ll find Wake Your Mind Records premieres aplenty, hot off the desks of Daniel Wanrooy, Noah Shah, Luccio and others. All this audio coalesces into a dazzlingly-mixed, twin-disc odyssey, that journeys through deep house, tech, tech-trance and melodic techno … and right back out the other side! It’s time for another ‘Sessions’ session, folks and right here’s where you’ll find it! Disc 1’s opening moments are formed by the stripped back syncopation of Klur’s ‘High Above’, while moody, fused, drum-dramatics from Arnej, Dennis de Laat and Adrian Font, Paige x Jordan Arts latterly keep its temperature gauge equally cool. Vocal numbers are initially sparse, but when deployed, carry all the more punch through their paucity. Case in point Rivo’s heady revision of Armin and Sharon Den Adel’s ‘In And Out Of Love’ and Noah Shah’s equally potent ‘Look For Me’. Clean, compelling rhythmics continue to forge the mix and it’s not until the likes of Scorz’s rework of ‘Just The Beginning’ and CG’s their most recent single, ‘Only You’ that melodic influences begin working their way in. Catalysed by Luccio’s ‘Unna’ and ‘JOI Part II’ from MAGNUS & Conor Ross, the 2024 remix of ‘Precious Heart’ from Tall Paul brings a fully pumping conclusion to Mix 1. Opening disc 2 of ‘Wake Your Mind Sessions’ with ‘Eyes Open, Mind Free’ from AVIRA was too good an opportunity for CG to miss – so they didn’t! It steels a Teutonically techno-ish march on the Prydz/Angello riffing ‘Wheel Me Out’ from Ginchy, which in turn opens the door to more mainstage material from Like Mike, Estiva, Daniel Wanrooy and the just-unleashed Sean Tyas’ remix of ‘Blame’. At the midpoint AVIRA’s back, this time alongside Joris Voorn, with the duo’s take on Eye Q’s classic, ‘The Orange Theme’, while Cosmic Gate gets spacier still with ‘Welcome to Orion’, courtesy of Eelke Kleijn. Maxim Lany views ‘The Drums’ through a techno lens, before Nic & Bossi bring the fifth ‘Sessions’ to a mighty head with their current floor-roar, ‘Trifecta’! 5 years in the waiting, making and cultivating, ‘Sessions 5’ (the 250th album release on Black Hole Recordings!) is out on September 4th. Find it through all good sales and streaming platforms here! [https://cosmicgate.lnk.to/wyms005] Disc 01. 01. Klur – High Above 02. Arnej – Searching For Love 03. Moeaike – Falling In Love 04. Adrian Font – The Edge 05. Paige x Jordan Arts – In This Moment (Cornelius SA Remix) 06. Dennis de Laat featuring Jade PraiZe – Figment Of My Mind 07. Yulia Niko, Moullinex featuring A Sul – Sand (Moullinex Remix) 08. Rivo vs Armin van Buuren featuring Sharon Den Adel – In And Out Of Love 09. Mees Salomé – Rose 10. Cosmic Gate & Nathan Nicholson – Just The Beginning (Scorz Remix) 11. Noah Shah – Look For Me 12. Klur & Julian Schwarz & Tailor – Mystery 13. Cosmic Gate & Susie Ledge – Only You 14. Tall Paul – Precious Heart 2024 15. Luccio – Unna 16. MAGNUS & Conor Ross – JOI Part II Disc 02. 01. AVIRA – Eyes Open, Mind Free 02. Ginchy – Wheel Me Out 03. Like Mike, Florentin & HEREON featuring Sam Martin – Pulsating Energy 04. Solee – Alegria 05. Estiva – Fine Day 06. Daniel Wanrooy – Turn off the Lights 07. Cosmic Gate & Christian Burns – Brave (Sean Tyas Remix) 08. Joris Voorn & AVIRA – The Orange Theme 09. Eelke Kleijn – Welcome to Orion 10. Cosmic Gate – The Drums (Maxim Lany Remix). 11. Remusic – Space Visions 12. Son of Son – Lost Control 13. MorganJ & G-POL – BAD 14. Konstantin Sibold & Adam Sellouk – The Dawn 15. Cosmic Gate & Arnej – Trifecta cosmic-gate.de instagram.com/realcosmicgate facebook.com/cosmicgate youtube.com/channel/cosmicgatetv twitter.com/cosmicgate soundcloud.com/cosmicgateofficial blackholerecordings.com soundcloud.com/blackholerecordings instagram.com/blackholerecordings facebook.com/blackholerecordings twitter.com/BlackHoleRec The post Cosmic Gate Release The 5th ‘Wake Your Mind Sessions’ Compilation & Includes Just Released Singles ‘Only You’ w/Susie Ledge and ‘Trifecta’ w/Arnej appeared first on EDMTunes.