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Pretty Lights and his band have an uncanny ability to leave a cosmic footprint in any city they perform in, leaning in and listening closely to the distinct heartbeat of each city on their tour. This was certainly the case when the Soundship Spacesystem landed in the nation's oldest city, St. Augustine, Florida. The three-night run transformed the city's timeless charm into kaleidoscopic ecstacy. In a twist of fate, the Pretty Lights show coincided with St. Augustine's iconic Night of Lights festival, which illuminates the city with over three million twinkling Christmas lights. Some of the many highlights from the highly anticipated weekender included Pretty Lights' electric rendition of Chappel Roan's hit "Pink Pony Club" as well as Lynyrd Skynyrd's ageless "Freebird," the latter of which featured a gripping live guitar performance by Pretty Lights' Production Manager and Audio Engineer, Phil Salvaggio. While the band's live covers, samples and flips enthralled us, Pretty Lights' original music lit the fuse of the night's explosive energy. "Rainbows and Waterfalls," "New Heights," "Only Yesterday" and "Color of My Soul" were a few of the many highlights throughout the weekend. The St. Augustine Amphitheater served as the ideal backdrop for the magical weekend, with perfect stage views around the entire venue. The Amp, which was built to memorialize the 400th anniversary of St. Augustine's founding, rooted the performances in the city's history while allowing for futuristic, jaw-dropping visuals and top-tier sound. Watch all three nights of Pretty Lights' St. Augustine run on YouTube below. Follow Pretty Lights:Instagram: instagram.com/prettylights X: x.com/prettylights Facebook: facebook.com/prettylights Spotify: spoti.fi/2GkoC5A

Subtronics cast his watchful eye over the Tacoma Dome as his Cyclops Army assembled. I want to think he’s what Sauron would have been like if he had been shown more affection. The dubstep superstar and an all-star lineup planted the one-eyed flag of victory at the second annual Cyclops Dome November 15-17. “Please drink some water, eat some food, and tell your friends and family how much they mean to you,” Subtronics said after each night in Tacoma. “Please be f—ing nice to each other. Lastly and most importantly, if you are driving and are remotely f—ed up, don’t drive. Get a sober friend or an Uber to take you home safely. And once you get home, smoke as much weed as humanly possible!” Fans of Subtronics are familiar with his regular closing remarks, but hearing it three consecutive nights emphasized why people rally to him. Compassion, collaboration and humility are integral to the Subtronics experience. That sentiment touched everything in sight. Cyclops Dome 2024 featured an impressive supporting lineup with Alison Wonderland, Dimension, NGHTMRE and RL Grime among the most popular names on the billing. You don’t always see supporting acts with popularity on par with the headliner, but Subtronics has the gift of bringing people together. Alison Wonderland and Subtronics on Night 2 of Cyclops Dome 2024.Jason Fenmore/Oh Dag Yo Subtronics anchored the show with three terrific headlining performances over the weekend. He welcomed Wonderland on Saturday to debut their since-released collaboration "No One Does It Like" and his wife LEVEL UP on Sunday. It wasn’t unusual for Subtronics to take small breaks to express gratitude for the audience, who he thanked for allowing him to play personal or unreleased tracks without judgment. The occasion wasn’t lost on him. Headlining three consecutive days is a complex task. Subtronics was refreshingly mindful that he was performing for distinct audiences: three-day ticket-holders, two-day guests and single-day visitors. In a clever effort to provide something for everyone, he would play different versions of popular songs like “Griztronics” and “Into Pieces” on separate nights. This ensured most fans would hear their favorite songs while rewarding repeat customers. The Tacoma Dome is a well-established and competitive Pacific Northwest venue. Subtronics came equipped with the appropriate lasers and lights for the occasion but incorporated a new production element that sets Cyclops Dome apart. Nearly a dozen specially designed panels hung from the venue’s rafters. Each rectangular panel was fitted with LED screens, light strips and lights. The panels—programmed along with the show’s other production elements—were versatile tools adding incredible depth to the show. They sometimes replicated the screen visuals or functioned as synchronized lights. A personal favorite was when the rigs rappelled down nearly within reach, and those dancing directly underneath bathed in the lights. The panels provided an immersive experience up close and added theatrical elements further back, providing unique vantages depending on where you stood. Cyclops Dome’s impressive lineup lived up to the hype, satisfiying dubstep enthusiasts while providing more variety than comparable shows in its genre. Wonderland threw down so ridiculously hard, you'd think she had a point to prove. Her thrashing set was accompanied by a cinematic intro and eerie visuals evoking the work of her husband, horror film director Ti West. Dimension and NGHTMRE were a match made in heaven. B2Bs can struggle with sounding disjointed or so similar you can’t tell the artists apart, but that wasn’t the case here. Apologies to the bathroom patron who boastfully—and disappointingly—claimed the duo would perform a "bass house" set. Dimension B2B NGHTMRE was a perfect marriage of the former's drum & bass and the latter's trap and dubstep leanings. NGHTMRE took the lead in the first half, easing fans into Dimension’s breakneck pace down the stretch. The "Angel" collaborators were very effective at blending their styles, taking a beloved NGHTMRE track like “Alive” or “FEELING GUD” and touching it up with frenetic drum & bass rhythms. The stage screens were turned off for large portions of the set, allowing lights and lasers to shine while giving the 21,000-capacity venue an underground atmosphere. It was a marked contrast from the set that came before. INZO deserves special acknowledgment for putting together a touching set. The Visionquest producer penned a beautiful script that was at times invigorating or wondrous. Cyclops Dome's scale implored INZO’s set to be everything one would imagine. The visuals were warm, the vibes were immaculate and at least one patron in my party visibly sobbed. The togetherness experienced during his finale was a poignant reminder of what brought everyone together. To that end, Subtronics genuinely seems to care. It’s evident by the warm environment fostered by his fans and his actions that weekend. The wait to get into the venue on Friday was admittedly painful—the line wrapped around multiple times and caused long delays getting in, seemingly due to limited entry points. Subtronics apologized on social media in real-time, assured he was addressing it and that it wouldn’t be a problem the following days. Not long after, the entry process picked up and stayed smooth for the rest of the weekend. Subtronics is on the cusp of something special. He’s building an empire not with an iron fist, but with a loving hand. His music is the foundation of his success, certainly, but the camaraderie with his audience and peers are the cornerstones reinforcing his growing domain. If the original Cyclops Dome was a test pilot, this sequel strongly affirms a bold future. Follow Subtronics:X: x.com/subtronics Instagram: instagram.com/subtronics TikTok: tiktok.com/@subtronics Facebook: facebook.com/subtronicsofficial Spotify: tinyurl.com/yupr7jmk

Black Coffee, South Africa's most illustrious DJ, used his international platform to give back to the youth of his country. Earlier in the month of November, the house music superstar brought together DJs and other local celebrities to St David's Marist Inanda, a school in Johannesburg, for a charity outing. Benefitting the school, the fundraising event featured performances by South Africa's DJ Fresh, Que DJ and pioneering Amapiano producers Major League DJz, among others. The brotherly duo of Major League DJz even brought their mother onstage during the wholesome show. Alongside the artists lending their talents for a good cause, corporate sponsors also donated to the Black Coffee Foundation during the event. That includes Sompire Kids, who donated over $16,000 of children's clothing to the organization's cause. "The Black Coffee Charity Concert was a night to remember," the foundation wrote in a celebratory Instagram post. "A phenomenal lineup of performers, a passionate audience and a shared commitment to giving back made this event a resounding success." You can learn more about the Black Coffee Foundation here. View the original article to see embedded media. Black Coffee:X: x.com/realblackcoffee Instagram: instagram.com/realblackcoffee TikTok: tiktok.com/@realblackcoffee Facebook: facebook.com/realblackcoffee Spotify: spoti.fi/35OeOeg

Spotify executives have reportedly cashed out over $1.1 billion in company stock in 2024, a figure that would take artists an astronomical 314 billion streams to match through royalties. That's according to Music Business Worldwide founder Tim Ingham, who today bemoaned the disparity in a LinkedIn post. A report published by the outlet on Wednesday says Spotify CEO Daniel Ek has sold 875,000 shares of Spotify for a total of $283 million this year. That figure pales in comparison to the cash amassed by Ek's co-founder, Spotify ex-Chairman Martin Lorentzon, who has sold 1,488,364 shares for a staggering $556.77 million. Spotify CEO Daniel Ek.Stuart Isett/Fortune Brainstorm TECH This eye-popping disparity underscores the ongoing tension between streaming platforms and musicians, who have long argued that the today's compensation structure is fundamentally broken. Streaming has transformed music consumption, but most artists—particularly independent musicians—struggle to earn a living wage from the royalties their songs generate. A recent study suggested that independent artists currently need to accrue five million streams to earn the equivalent of the U.S. minimum wage. That was before Spotify's controversial announcement that musicians and songwriters would need to meet a minimum streaming threshold before they're eligible to accrue royalties. The backlash recently came to a head after Ek myopically claimed that the cost of creating content is "close to zero" before attempting to walk back his comments, which he characterized as "clumsy." Electronic music icon deadmau5 lambasted him at the time and threatened to remove his music catalog from Spotify. Spotify stock has surged by 141% since the beginning of 2024, more than doubling in value, per Barron's.

Danish-Egyptian artist Ashibah returns with ‘Autumn’, a captivating melodic house track released on Lane 8’s label This Never Happened. Known for her heartfelt vocals and lush production, Ashibah once again proves her ability to create music that resonates deeply with fans. An Emotional Journey Through Sound ‘Autumn’ captures the beauty and melancholy of its namesake season. Ashibah’s soulful vocals pair perfectly with pulsating basslines and crisp beats, creating a track that feels both intimate and energizing. Its organic melodies and warm tones make it a standout, reflecting the signature style that has earned her comparisons to artists like Lane 8. A Natural Fit for This Never Happened This Never Happened is known for its introspective yet dancefloor-friendly tracks, and ‘Autumn’ fits right in. The song combines emotional depth with rhythmic energy, aligning with the label’s vision of heartfelt, vocal-led house music. By joining this roster, Ashibah solidifies her place as a rising talent in melodic house. A Glimpse of What’s Ahead ‘Autumn’ offers a taste of Ashibah’s artistry as she prepares for her debut album and the launch of her own label, Fatima In Trouble. For now, this track is the perfect addition to any playlist, blending warmth, soul, and energy. It’s the ideal soundtrack for autumn evenings and beyond. The post Ashibah Unveils ‘Autumn’: A Melodic House Journey on This Never Happened appeared first on EDMTunes.

We are back from the Queen Mary and resting from an entire weekend of dancing and dreaming. This year’s edition of Dreamstate Southern California was nothing short of amazing and impactful. To a top notch production, to a crowd flow that alleviated most of our concerns that were raised last year. This Insomniac production has quickly become one of our favorites, so let us tell you why. Jamal Eid for Insomniac The Production At Dreamstate This year’s Dreamstate Music Festival in South California saw its return to the Queen Mary Waterfront. This is just the second edition that took place in the venue, and the production took a huge step up from last year. First, the shuttles that took you from Long Beach to the festival grounds and back were not on the main street that crossed the city, but rather near the marina. This helped with the main traffic within the city and it was safer for ravers to commute through the more calmer streets. Jake West for Insomniac Then, each stage had a big improvement with visuals that gave us bigger immersive experience. Each set was a wonderful audiovisual journey. Each stage had its own package of pyros, smoke machines, lasers, and great vibes that carried on through the night. Furthermore, let’s not forget about the raging afterparties on the Queen Mary. Two nights of insane and special sets that lasted til sunrise, within three separate ballrooms on the ship. It was heavenly to have shuttles that lasted through the afters as well. The Music The festival crafted a magical selection of tastemakers this year, including legendary sets that people have waited for years. Sets we must mention include the Judge Jules (classics set), Darude, and Ferry Corsten presents Gouryella, which is the first time Corsten does a set under thos alias in the US in many years. The set was special cuz he only has a handful of tracks under the alias, which represent the meaning of heaven in different languages. Even though the Gouryella project began with Tiesto, Corsten took over the project and now brings it back from time to time, and we were the lucky ones to experience such a special set this weekend. All media is ritefully owned and created by Keiki-Lani Knudsen. Other sets we loved included psytrance specialists Out of Orbit, Giorgia Angiuli, and Captain Hook. On the Techno side, we danced our booties off to Funk Tribu and day 1 closer of the Void stage Clara Cuve. Then, we heard the violent yet fun basslines of Hard Trance, which included David Rust, and David Forbes & Matthew Sherry present Thick as Thieves. The Main Stage (The Dream) gave us all we needed. Trance pioneers such as Armin van Buuren, Markus Schulz, and Giusseppe Ottaviani pres Ottagon controlled the crowd with their melodies. Moreover, day two saw even bigger diversity with an Anjunabeats takeover lead by Above and Beyond. Other progressive artists we enjoyed were Grigore, Amy Wiles & Leena Punks, and Andrew Bayer, who closed the weekend with a Trance remix of ‘Eusexua’ by FKA Twigs and made our entire night. Favorite Set of the Weekend Our top set of Dreamstate SoCal 2024 goes to Giorgia Angiuli. Her frequencies are extremely seasoned and dark. Her audio-engineering skills that allow her to perform with her own made up instruments that resemble child toys while still touching on adult emotions is sublime. In addition, the mantras she displays on her visuals are extremely positive and uplifting, which leads into some hardcore dancing with her insane kicks and rumbles. This is one extremely talended artist and we hope she returns to Dreamstate SoCal consistently. The Vibes We will never quiet down about how amazing the Trance crowd is. Dreamstate is a sea full of respectful individuals. They continuously set the bar extremely high with the marvelous behavior and public etiquette. With their permanent smiles, and respectful behavior, Dreamstate’s audience is the PLUR personified. Since last year, others are wary of the Techno crowd. As the festival includes Hard Techno artists since last year, attendees remain calm and collected as we cherish each beautiful interaction we had with them. The post [Event Review] Soaring Through the Stars at Dreamstate SoCal 2024 appeared first on EDMTunes.

FL Studio 2024.2 has officially landed just in time for the holiday season, offering music producers more flexibility and precision—and relief on their wallets thanks to a solid Black Friday deal. FL Studio, the storied digital audio workstation (DAW) from Image-Line, has raised the bar with the release of FL Studio 2024.2. Packed with a treasure trove of user-requested workflow tweaks, the update offers a more intuitive production arsenal and—true to Image-Line’s ethos—it's completely free for existing users thanks to their Lifetime Free Updates policy. "At Image-Line, we’re all about helping music makers—whether they’re just starting out or seasoned pros," Image-Line CEO Constantin Koehncke said in a press release. "With AI shaking up the music world, we see both exciting possibilities and new challenges but it doesn't change our goal: making music production easier and more fun for everyone." A standout addition to the DAW is Transporter, a real-time looping FX plugin that empowers producers to create on-the-fly effects and dynamic loops. The Transporter plugin in FL Studio 2024.2.FL Studio/Image-Line Elsewhere, hot-swappable loops from the FL Cloud service make real-time sound experimentation a breeze, while scalable plugins—now supporting 8K resolution—ensure a more modern interface for plugins like DrumPad and Effector. Also on the list are features like Ghost Notes in the Piano roll, which make melody-crafting more intuitive; and a low-latency monitoring mode for real-time recording accuracy. Meanwhile, FL Cloud Pro subscribers gain access to over 4,000 presets, with new FLEX packs rolling out regularly. The Ghost Notes feature in FL Studio 2024.2.FL Studio/Image-Line For new users, FL Studio's Black Friday sale offers significant discounts and its best pricing yet, catering to global markets. "We’re thrilled to see so many new producers choosing FL Studio, motivating us to keep innovating with updates like FL Studio 2024.2," Koehncke adds. "This holiday season, we’re offering FL Studio at its best price yet, with pricing tailored to different markets to keep it accessible to everyone." The software's popular Producer Edition is available for $139 (€169) while the Signature Edition has been reduced to $199 (€239). A 30% discounted rate of FL Studio's expansive production toolkit, the All Plugins Edition, is also available for $314 (€379). The Black Friday promotion also extends to FL Cloud, annual subscriptions of which users can save up to 38%. The service also democratizes the music distribution process for users, who are able to easily release their songs on Spotify and Apple Music, among many other streaming platforms. The Black Friday sale is available exclusively through the Image-Line website and concludes December 5th, 2024 at 11:59pm PST. You can find more information here. Follow FL Studio:Instagram: instagram.com/flstudio TikTok: tiktok.com/@flstudio_official X: x.com/fl_studio YouTube: youtube.com/@fl_studio Facebook: facebook.com/flstudio

Swedish artist and creative director Alexander Wessely has been announced as the Creative Director for DJ and producer Anyma. Wessely is renowned for his revolutionary visual storytelling and groundbreaking music collaborations. The news comes ahead of Anyma’s highly anticipated Anyma: “The End of Genesys” live performance series at the Sphere in Las Vegas. It spans eight sold-out shows between December 27–31, 2024 and January 1, 10 & 11, 2025. The series is set to be a highlight of the music calendar. Wessely & His Star Studded History Wessely served as Creative Director for Swedish House Mafia from 2019 to 2023. He was instrumental in shaping their visual and artistic identity. Since his tenure with Swedish House Mafia, Wessely has continued to shape the creative visions of global icons. These include The Weeknd, Grimes and Kanye West. Celebrated for his boundary-pushing approach to live show design, Wessely’s multidisciplinary expertise spans performance, sculpture, film and photography. A New Chapter with Anyma His latest collaboration with Anyma marks a significant evolution in his career. It opens a bold new chapter overseeing the creative direction, stage design and co-directing key performance elements. Earlier this year, Wessely joined forces with Anyma as Co-Creative Director for The Weeknd’s concert in São Paulo. It laid the groundwork for their continuing partnership. Afterlife Presents Anyma: “The End of Genesys” will mark the first electronic music act at the Sphere, led by Matteo Milleri of Tale of Us. Known for seamlessly blending art, technology, and music, Anyma has captivated global audiences with its cutting-edge visuals and techno soundscapes. The residency will feature a carefully curated lineup of guest artists, with each performance delivering a one-of-a-kind experience. It will be combining Anyma’s signature style with the Sphere’s state-of-the-art capabilities. I always sought projects that push the boundaries of creativity and technology. Joining Anyma ahead of his shows at the Sphere offers an unparalleled opportunity to redefine what’s possible on the live stage Alexander WESSELY After years crafting live show designs for some of the world’s most iconic artists, including The Weeknd and Kanye West, Wessely has distilled his diverse background across theater, concert venues, and art institutions into a singular, groundbreaking vision. Anyma: “The End of Genesys” represents the next era of his creative journey. It is bound to be a culmination of collaborations, inspirations, and lessons that redefine the boundaries of creative expression and push the limits of what’s possible. The post Multidisciplinary Swedish Artist Alexander Wessely Named Creative Director for Anyma appeared first on EDMTunes.

VLTGE shatters genre boundaries with his new single, "Forever & Always," a space opera-themed banger that pirouettes between tender jazz intimacy and heavy-hitting dubstep. The unique track appears on the producer's new EP, A Space Love Story, which tells the story of a pair of desperate lovers separated by time and space. "Forever & Always" is the project's undeniable standout, where sultry saxophone whispers are suddenly obliterated by ferocious bass drops that feel like heartbreak made audible. VLTGE stuns with his production, in which vulnerability and rage coexist in breathtaking tension. Each transition is a calculated emotional assault, punctuated by delicate melodic moments that dissolve into grinding, aggressive soundscapes echoing the turbulent separation of its protagonists. Capturing the ache of their fragmented connection, the track ultimately becomes a metaphorical battlefield where melancholy and mayhem collide. It's less a song and more a sonic memoir of passion's most violent, vulnerable moments. Take a listen to "Forever & Always" below. Follow VLTGE:Instagram: instagram.com/vltgemusicc Spotify: tinyurl.com/yppcwxzp

Pendulum have announced a rare concert they're calling the "biggest ever live show" of their career. The influential electronic band is set to take the stage of England's massive Milton Keynes Bowl, which has a capacity of 65,000. While it's their first headlining performance at the venue, it's not their first time performing there. Back in 2008, Pendulum supported Linkin Park before sharing the stage with The Prodigy two years later. The supporting artists for the upcoming show, scheduled for August 9th, has not yet been revealed. Check out the band's announcement below. 🔥 OUR BIGGEST EVER LIVE SHOW 🔥 Pendulum LIVE. Milton Keynes Bowl, August 9th 2025 💥 Pre-sale: Thursday 5th December 10am local General sale: Friday 6th December 10am local Sign up for exclusive access to the pre-sale here: https://t.co/mKJ570aRKN pic.twitter.com/P4jgU1lj0U — Pendulum (@Pendulum) November 26, 2024 A few months ago, Pendulum wrapped up a long-awaited North American tour that saw them perform Los Angeles, Denver and other major cities. Since then, they've been revealed as part of UKF's gigantic takeover of the Drumsheds alongside Rusko, Caspa, Flux Pavilion, Joker and more. Pendulum frontman Rob Swire also completed a side quest over the summer when he joined Armin van Buuren onstage at Tomorrowland, where they performed their collaborative remix of "Sound of You." Pre-sale tickets to Pendulum's show at Milton Keynes Bowl go on sale December 5th, 2024 at 10am here. Follow Pendulum:X: x.com/pendulum Instagram: instagram.com/pendulum TikTok: tiktok.com/@pendulumofficial Facebook: facebook.com/pendulum Spotify: spoti.fi/3cxHXAH

As if 808 Festival’s lineup wasn’t already massive—with Anyma making his first-ever stop in Southeast Asia, a Drumcode takeover led by Adam Beyer, and DJ Snake unveiling his The Outlaw alias in Asia for the first time—808 just turned up the heat. The festival has added even more star power to its 2024 edition, announcing Zedd, Merow, Just Us, and Marie Vaunt as part of its explosive lineup. Zedd Returns to 808: A Magical EncoreZedd’s return to the 808 stage is a dream come true for fans who witnessed his unforgettable set in 2022. That performance wasn’t about flashy visuals—it was all about the stage and Zedd’s unmatched energy. His iconic tracks like Clarity and Stay electrified the crowd, creating a connection that only Zedd can deliver. His ability to command the audience with pure artistry left everyone buzzing, and his 2024 appearance is sure to deliver yet another masterclass in live performance. Fresh Faces to Watch: Merow, Just Us, and Marie VauntBringing even more depth to the lineup, 808 welcomes first-timers to its festival with Merow, Just Us, and Marie Vaunt. Merow’s innovative approach to electronic music, paired with Just Us’s energy-packed performances, promises moments that festival-goers will be talking about long after the lights fade. And then there’s Marie Vaunt, whose hypnotic techno beats are the perfect addition for those who love to lose themselves on the dancefloor. Together, these rising stars add a layer of freshness and unpredictability to an already iconic festival. The Perfect Playground for Dance Music LoversWith a lineup that includes global heavyweights, emerging talent, and unique debuts, 808 Festival continues to cement its place as a must-attend event on the global electronic music calendar. Whether you’re a fan of melodic anthems, dark and driving techno, or genre-defying surprises, this year’s festival promises to be a once-in-a-lifetime experience. Grab Your Tickets Before They’re Gone808 Festival Bangkok 2024 is shaping up to be the ultimate year-end celebration, and tickets are flying fast. Don’t miss your chance to be part of this legendary event. Secure your spot now and get ready for a December filled with music, memories, and magic. Tickets are still available so grab them now! Act fast, because this lineup is too good to miss!

Police officers in the southern part of the Netherlands discovered an MDMA-covered garden gnome. The Dongemond Police Force, which covers the municipalities of Oosterhout, Geertruidenberg, Drimmelen and Altena, discovered the MDMA garden gnome earlier this month during a drug bust. According to an article from the BBC, the gnome weighed 2kg (4lb) and the Dongemond police authorities stated, “Drugs appear in many shapes and sizes, but every now and then we come across special things”. Knowing there was suspicion surrounding the odd placement of the garden gnome, the police also added, “”In itself a strange place to keep your garden gnome. That’s why we decided to test [it] for narcotics”. To make things even funnier, police officers later concluded, “The gnome himself was visibly startled”. This was in reference to the garden gnome covering its mouth. Mixmag reported that the 2kg (4lb) MDMA garden gnome is equivalent to around “8,000 ecstasy pills weighing an average of 250mg each”. Afterwards, the drug bust continued onwards in the southern Netherlands. The drug bust occurred shortly after debate in the Netherlands regarding the potential regulation and legalization of MDMA in the Netherlands. As for the relevancy of MDMA legalization in the United States, this comes after the FDA rejected MDMA therapy for PTSD in Phase 3 clinical trials. The post Dutch Police Found a Garden Gnome Made Entirely Out of MDMA appeared first on EDMTunes.

A new report from AIF shows that the number of festivals cancelled from 2023 to 2024 has doubled Continue reading...

Announcing two intimate shows at The Cause, the duo said “we will be debuting all of the new music that we’ve been working on!” Continue reading...

Multi-platinum trio Cheat Codes has joined forces with rising pop sensation salem ilese for their latest single, ‘TYSM.’ This infectious dance-pop track transforms heartbreak into an empowering anthem, blending Cheat Codes’ signature euphoric production with Ilese’s witty lyricism and sparkling vocals. Cheat Code’s latest release, ‘TYSM,’ is a refreshing departure from their usual high-energy, club-ready tracks. This time, the trio opts for a more mellow, nostalgic vibe, creating a sweet and sentimental tune that’s perfect for a quiet moment. The song’s production is simple yet effective, with soft, dreamy synths and a gentle beat providing the backdrop for Salem’s smooth vocals. The lyrics express gratitude and appreciation for someone special, making it a heartfelt and relatable track. Despite the sadder lyrics, Cheat Codes lightens up the mood with their uplifting production. The post Cheat Codes Teams Up with Pop Sensation salem ilese on ‘TYSM’ appeared first on EDMTunes.

The hills of Red Rocks may not have eyes, but on this night, they had ears. Of The Trees recently took over the iconic Colorado venue for a career-defining performance on November 16th, when we experienced the uncompromising energy of a generational artist coming into his own. "I never imagined taking this project as far as I have," said the DJ, whose real name is Tyler Coombs. "I have always had dreams of being a rock star—ever since I was a little boy, but I'm not sure I ever really grasped what that could mean." Of The Trees.Colin Patrick Coombs in 2021 founded Memory Palace, an innovative record label where artists are invited to push boundaries and create phantasmagoric beats that linger in our consciousness, like vivid dreams we can't quite shake. There's an underlying philosophy of music as a form of ecological dialogue, where the label's sounds can communicate deeper truths about interconnectedness. That's exactly what happened to the sold-out Red Rocks crowd, a gleaming sea of puffer jackets and neon beanies who moved like they were bewitched as lasers sliced through breath visible in the icy mountain air. We weren't just watching—we were being rewired. Over 6,000 feet above sea level, the dreamlike concert bowl whispered its usual promises of grandeur. But this time, it wasn't just its monoliths speaking—it was Of The Trees, whose sensory sorcery breathed life into the storied amphitheatre and wove its history through nature's exhale. Coombs, who doubled down with another performance the following night, debuted a stunning new stage production, DJing within an illusory cabin developed by Dark Moon Designs. The modular structure, the studio said, is an aluminum build with wood cladding, dense forest foliage and a rusted roof. Channeling the surrealist whimsy of Where the Wild Things Are through a rave lens, the cabin turned into a bioluminescent beast before our eyes. View the original article to see embedded media. Inside, an LED screen crackled with timeless woodland charm, often projecting visuals of an antique chair glowing in the amber light of a stone fireplace. Outside, LED screens behind and beneath the cabin's beams palpitated with primordial visuals of molten sunsets, shivering tree limbs and blooming ecosystems of fractal flora. Designed by Alec Maassen, the stunning visuals sometimes veered into the dark as well. One moment you were cocooned in the arms of Mother Nature, the next you were wondering whether you've stumbled into a secret forest coven convening under a full moon. Brittany Teuber Brittany Teuber If the cabin was Of The Trees' sanctuary, the music he played was ours. Every snarl of distorted bass felt like the surrounding forest growling back, shaking its roots and dancing with us. We heard a plethora of unreleased bangers, including a nasty trap track with the surging LYNY and a sublime song Coombs produced alongside the late CharlesTheFirst, who in 2021 tragically died at the age of 25. Coombs also fluidly threaded his hip-hop influences throughout, creating moments of liquid grace amid the barrage of woozy trap and bass music. An undeniable highlight was when he played an unreleased collaboration with the Grammy-nominated EarthGang duo, whose signature blend of Southern grit and cosmic lyrical curiosity feels like it was written in the stars for Of The Trees' sound. that new @OfTheTrees X @EarthGang 😮‍💨😮‍💨😮‍💨 pic.twitter.com/5ZibtAgaXR — liz🪼 (@lizzyseitzinger) November 17, 2024 Despite the spine-chilling complexion of his set, Coombs is a DJ with the soul of a wandering poet. It was clear why the EDM.com Class of 2024 breakout has emerged as one of the electronic music scene's most gifted storytellers, a reputation he's attained through hard-won authenticity cutting his teeth as a humble producer and visual artist in the frigid plains of Maine. The most human part of the night, however, wasn't the music or the visuals—it was the artist at the helm. Of The Trees, often silhouetted against his otherworldly cabin, paused frequently to take it all in. Each glance he cast across the amphitheater spoke volumes—disbelief, gratitude, pure unfiltered joy. His grin, impossible to miss, said what trees never could: this was the dream. "I looked up at the silhouettes of the famous rocks with my logos on them, at the several thousand faces staring back at me, at all of the stars twinkling in the chilly November sky—and it all hit me super hard," Coombs gushed. “We are really doing this shit." Fans can now catch Of The Trees on his North American tour, "Moonglade." Tickets are on sale here. Follow Of The Trees:Instagram: instagram.com/ofthetreesmusic TikTok: tiktok.com/@ofthetreesmusic X: x.com/ofthetrees Facebook: facebook.com/ofthetrees Spotify: spoti.fi/2YxTKb9

Tomorrowland has unveiled its 2025 Belgium edition theme, and it’s nothing short of promising. Titled “Orbyz,” this year’s concept introduces a magical, otherworldly universe crafted entirely from ice, unlocking the secrets of a hidden civilization that has thrived beneath a colossal ice cap for generations. A World Awakened The story of “Orbyz” revolves around an indigenous community that emerges as the ice and glaciers begin to melt. This newly revealed society is powered by mystical red-colored crystals and rocks, radiating light, energy, and power. Tomorrowland has once again woven an intricate narrative that promises to transport the People of Tomorrow into a fantastical world filled with wonder, exploration, and awe. With its creativity and attention to details, Tomorrowland is set to raise the bar with “Orbyz.” The visuals teased in the festival’s announcement reveal a striking combination of shimmering ice formations and glowing crimson crystals, symbolizing the balance between the cold and the powerful energy within. From towering glaciers to subterranean crystal caverns, the 2025 edition is set to be an immersive spectacle that blends nature, mythology, and cutting-edge production. Stray Thoughts Tomorrowland usually alternates between two different teams of designers. The team for 2025 is the same team behind Adscendo, Return of the Book of Wisdom, and Amicorum Spectaculum. To see this team working with a concept like ice makes us think of the Final Fantasy videogames. These games often revolve around crystals and feature a medieval magical setting with some steampunk elements Pre-Registration Details Pre-registration for Tomorrowland Belgium 2025 opens on December 5, marking the first step for fans eager to secure their place at this once-in-a-lifetime event. With Tomorrowland consistently selling out in record time, early registration is a must for those hoping to join the magic of “Orbyz.” checkout the official website. Make sure you setup a Tomorrowland account ahead of time on the site! The post Tomorrowland Belgium Reveals Theme & Dates for 2025 Editions appeared first on EDMTunes.

After a year of not releasing any original material, Gentlemens Club is back. This multigenre trio has never been afraid to break boundaries within the bass scene, experimenting with whatever subgenre that comes their way. Their mild release hiatus ended with ‘FEVER’, which came out on Deadbeats, and it’s one of many tunes to still come out. Gentlemens Club brings the energy we know them for, blending UK dub, bass, and breakbeat elements to create a fun track start to finish. It follows their back-to-back set with Levity at Zeds Dead’s Texas Jamboree in Fort Worth, and a tour around Japan this Summer. With a massive visual show at Rampage earlier this year, shows in Romania, Slovakia, Germany, and Belgium this autumn, the trio makes it clear they are here to stay. Right now, they are finishing up their European tour. After that, they will gear up to end the year with a bang in America. We thought it was time to catch up with the guys, and chat about their comeback, their crazy energy on stage, and what’s more to come from them. How are you doing? Coffi: We’re all good! We did a tour in Japan recently, are wrapping up tons of collabs, working on a bunch of releases. So yeah, we’re keeping busy. You also recently released ‘FEVER’, your first original song in over a year. What took you so long? Coffi: We were honing in on what we wanted to release. We were making so much different stuff, I think we got a little bit lost in the music, so we took a bit of time to step back and realign. We asked ourselves, “Alright, what do we want to release?” ‘FEVER’ was a track that came to mind along with all the other next releases we got coming up. Soloman: We were thinking too hard, we were thinking too much about radio placements and all of that stuff. But the main reason why we started making music is because we just enjoyed making the music. That’s what we started doing again, just making music that we enjoy making, not thinking about the consumer as much. We want the listeners to enjoy the music, but if we don’t enjoy the music then what’s the point. Coffi: I think that ‘FEVER’ encompassed the whole thing of a club tune. It’s a style that we all like. It came out really easy and it just made sense. Deadbeats liked it. We liked it. So we just rolled with that one. We’ve got so many songs scheduled to come out now, that it made sense in a longer term plan as well. How was it working with Deadbeats again? Soloman: It’s always good. We’ve done a lot of work with them and they’ve always been really good to us, so it’s always a pleasure to be welcomed back and carry on working with them. This isn’t the end either, we’ve got a lot more coming up with them. 50 Carrot: We like working with them, because they care about the releases. They put a lot of time into each of them, and they don’t just release for the sake of releasing. Everything’s got a purpose. Soloman: They’ve got a good roster, and good quality control as well. It’s consistently good music. You’re talking about good quality control. Having not released for over a year, that must be something that’s quite high on your list. 50 Carrot: We’re quite hard on ourselves with what we release, so that’s part of the reason why we hadn’t released in a while. We were procrastinating on finishing some of the music, but it’s good to find this is the end of that. It’s mostly Soloman wanting our music to be on the highest level possible, and that slowed us down more than we realised this past year. Aha! Would you say Soloman is the perfectionist in your group? And what are 50 Carrot’s and Coffi’s characters like, working together? Soloman: My perfectionism can drive me absolutely crazy, and probably drives the boys crazy as well, but it has its pros, because we don’t rush things out. Sometimes you can get a bit caught in the moment with some stuff. Being a perfectionist can slow down the process, and make it better in the end. In the early days, in 2012, it would be common for us to just upload a song straight to SoundCloud at 6 PM after a day in the studio. We’ve learned that it can be good to give it some time to breathe and revisit the track after a month or two. 50 Carrot: Absolutely, we don’t rush into things anymore and I think that’s a good thing. Where Soloman is the ‘quality control’, me and Lewis (Coffi) are the ‘creators’. Not that it’s only us having the ideas, but I feel like the bulk of the idea creation is probably coming from me and Lewis. Then we give it to Sol to remix and work on, and after that it’s ready to get sent around. And then it’s our task to tell Soloman, “It’s okay, it’s ready and good to go.” Soloman: Otherwise I’ll spend two weeks fiddling with something that no one will even notice! Other than tracks coming out, you’ve also got quite some gigs lined up. How are you looking forward to them? Soloman: We’re definitely looking forward to Denver on December 28. It’s gonna be our biggest headline play in Denver ever, and we’re gonna do some solo sets there, which we haven’t done for a very long time. We’re also going to get some special guests down and send off the year properly, we’ll give people a good party. It’s going to be cheap tickets, and it’s going to be 360 as well. We also recently played a few new countries we’ve never played before, like Romania and Bratislava. You’re playing shows in both the US and in Europe. What’s the biggest difference in energy between the two? 50 Carrot: Americans will fill the space on a breakdown of a song. When there’s a bit of silence in the track or something that breaks down, it can be a bit quiet in Europe, but in America they will fill that silence with enthusiastic noises. Depending on what area of America it is, down South they will shout a “yee-haw”, for instance. Coffi: Energy-wise they’re pretty neck and neck at the moment. Would you say that there was a time where that was different? Coffi: Absolutely! Certain things are more popular in America or certain things are more popular in Europe and then that makes a difference in itself when we’re playing the sets. Right now, it seems that people are pretty open to hearing anything and everything, which is cool in America. They used to be straight and narrow on just wanting heavy dubstep but now you can go out there and play UK garage and drum & bass and they’re starting to accept it and enjoy it even. There is definitely some change happening in the bass scene! There’s a lot more UK Garage and other genres than 140 and drum & bass that people play. What is the biggest benefit to you in that? Coffi: Being multi-genre has allowed us to adapt and stay current. It’s nice to be able to play what we want and be able to adapt. Same story with releasing music, we release whatever genre we want, and we don’t have to say, “This is our new drum & bass song” or “This is our new dubstep song,” it’s just, it’s a new Gentleman’s Club song. 50 Carrot: It keeps the sets interesting for us as well. We don’t know exactly what tunes they’re going to play next so it makes the sets more exciting for us, it works to keep the crowd engaged. If they aren’t feeling a particular genre of music we can switch to play the next genre. Soloman: At the end of the day, we’re DJs, and we read the crowd and see what’s entertaining them. A lot of DJs can be quite stubborn and play what they want to play. Then, when they look up, the crowd is just standing there. We’re not afraid to switch things up if something isn’t working. We make sure we keep the crowd at the best energy possible at all times. Not knowing what each of you is going to play definitely keeps it interesting! Soloman: We don’t communicate at all what we’re going to play, that’s the whole fun of it for us. Lewis could have just discovered a new song that we haven’t heard before and he’ll turn over and look at me, give me a wink, and then drop this filthy track. It makes for a good video too. The only set we ever planned was the one for Rampage, because it was all visual. The reason we don’t plan our sets is because we like to keep it more like a party. We like to have fun with it and have a laugh and just play some tunes. We’re definitely going to be partying behind the decks at all of our upcoming shows, and we’d love to see you all there!

Tomorrowland has revealed Orbyz as its 2025 theme, in an amazing continuation of its iconic themed storytelling. Following the epic narrative paths of past years like “LIFE” and “Adscendo,” the forthcoming edition promises to carry the People of Tomorrow into a hypnotic realm of ice, secret civilizations, and transforming energy. What’s Orbyz, Tomorrowland 2025 Theme? Orbyz is an immersive story landscape, not only a celebration theme. Imagine a large, frozen cosmos in which a whole civilization has been hibernating behind a massive ice sheet just ready to come alive. This Indigenous society arises when global temperatures change and large glaciers start to melt, carrying with them an amazing supply of light, energy, and power embodied by vivid, red-colored crystals and rocks. The story behind the Tomorrowland 2025 theme Tomorrowland has regularly pushed electronic music events beyond simple entertainment value. The event, which started in 2005, has created complex, magical environments to complement musical experiences. Following noted themes like “The Reflection of Love“, “Adscendo” in 2023, and the 20th-anniversary “LIFE” theme in 2024, Orbyz carries on this legacy. Tomorrowland will publish a companion book exposing Orbyz’s whole origin narrative in line with its values. This method lets guests delve deeply into the story before seeing the painstakingly created main stage, therefore turning the festival into an immersive storytelling event. Tomorrowland Belgium 2025 will happen over two weekends for those ready to join this glacial adventure: First weekend: July 18–20 Second weekend: July 25–27 Pre-registration starts on December 5, 15:00 CET using tomorrowland.com. Once more honoring its tradition of building a worldwide community bonded by electronic music, the festival will welcome 400,000 People of Tomorrow from more than 200,000 nations. What does the Tomorrowland 2025 theme mean? Orbyz represents more than just a festival concept. A potent parallel to the transforming force of electronic music itself, it is a symbolic trip of latent potential, of dormant energy ready to be released. Electronic music constantly pushes limits and reveals new auditory worlds, much as the secret society emerges from its frozen cocoon driven by enigmatic red crystals. Electronic music lovers all across wait for Tomorrowland to delve into this chilly story. Orbyz promises to be a deep study of emergence, energy, and the mystical junction of music and narrative rather than only a celebration. The post The Tomorrowland 2025 Theme: Orbyz appeared first on The Groove Cartel.

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Swiss artist Wassay is making waves with his debut single ‘Embrace’, a house music gem guaranteed to get you grooving instantly. While this marks his official debut as a recording artist, Wassay has long been captivating audiences with his high-energy DJ sets and feel-good vibes. A sought-after DJ both in his native Switzerland and internationally, he has shared the stage with industry heavyweights like Michael Grey, Yves Larock, Jenn Getz & Alfie, Igor Blaska, and eSQUIRE, earning a reputation for electrifying performances. With ‘Embrace’, Wassay channels the same infectious energy that defines his DJ sets into his own music. The track perfectly showcases his signature House sound, featuring an irresistible vocal hook, driving kick drums, and uplifting strings. The result is a dance-floor-ready anthem that lives up to its name, as listeners will find themselves fully embracing the groove and vibe of this standout debut. ‘Embrace’ is not just a debut release, it’s a statement of what’s to come from this talented artist. Stream this single below.

Synth pop icons Dead Or Alive’s 1985 album Youthquake is being celebrated with an expansive 4CD deluxe boxset reissue, set for release on February 21st, 2025. This special edition marks the 40th anniversary of the album’s original release in 1985, an album that propelled the band into global superstardom with its infectious blend of new wave, electronic dance, and glam pop. Packaged in a stunning 7” Deluxe double gatefold wallet with O-ring, this 41-track reissue offers fans an unparalleled opportunity to revisit Youthquake in all its glory. The boxset includes newly mastered versions of the original album, a host of mixes and remixes, and a live performance recorded during the band’s 1985 Youthquake tour. Youthquake is best remembered for the worldwide smash hit ‘You Spin Me Round (Like A Record)’, a song that remains one of the defining anthems of the 80s. The track rocketed to No. 1 on the UK Singles Chart and broke into the top 20 in the US, and its innovative production by Pete Waterman, combined with Pete Burns’ provocative vocals and striking persona, made it an instant classic that is still celebrated today. Looking back at ‘You Spin Me Round (Like A Record)’ after all this time, Pete Waterman said: “I always said Pete Burns was one of the most talented people I ever met, but when we walked into the studio that Monday morning, little did we know we were about to start work on one of the 20th century’s iconic tracks.” The album also produced other hit singles, including ‘Lover Come Back To Me’, ‘My Heart Goes Bang (Get Me To The Doctor)’, and ‘In Too Deep’, which helped Youthquake chart in the UK and the US. In the years following its release, Youthquake was certified Gold in the UK and Platinum in the US, solidifying Dead Or Alive’s place as one of the 80s most exciting and influential pop acts. Billboard recently ranked Dead Or Alive among the Top 100 Most Successful Dance Artists of All Time, a testament to the lasting impact of their pioneering sound and innovative approach to electronic dance music. This deluxe edition includes four CDs, each offering something unique for fans and collectors. CD1 features the original Youthquake album, newly mastered for this reissue, featuring the unforgettable hits that launched Dead Or Alive into the stratosphere. CD2 is dedicated to ‘You Spin Me Round (Like A Record)’, featuring the song’s various mixes, including the extended version and remixes that have become fan favourites over the years. CD3 offers a selection of 7″ and 12″ versions, remixes, and instrumentals, showcasing the band’s experimental side and offering new perspectives on some of the most iconic tracks of the era. CD4 features a live recording from the 1985 Youthquake tour, captured at the Hammersmith Odeon in London. The deluxe boxset is presented in a beautifully designed 7″ double gatefold wallet with an O-ring, that highlights the cultural impact of Youthquake and Dead Or Alive’s place in pop history. Formed in Liverpool in 1980, Dead Or Alive were led by the enigmatic Pete Burns, whose unique voice and bold style made him a true pop icon. Alongside Burns, the band’s classic line-up included Mike Percy (bass), Steve Coy (drums), and Tim Lever (keyboards/guitar). The band’s fearless embrace of glam, electronic, and dance elements set them apart from their contemporaries, and Youthquake showcased their ability to blend catchy pop hooks with cutting-edge production. Over the years, Dead Or Alive’s influence has only grown, with ‘You Spin Me Round (Like A Record)’ remaining a defining anthem of the 80s. The band’s cultural impact extends beyond music, with Pete Burns becoming a trailblazer for androgynous style and an icon of queer culture. Dead Or Alive’s fearless approach to music, style, and identity continues to resonate with fans and artists today. Pre-Order HERE The post Dead or Alive celebrate 40th anniversary of iconic 1985 album Youthquake appeared first on Decoded Magazine.