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Hardwell and Armin van Buuren will soon show us the way to dance music nirvana with their much-anticipated collaboration, "Follow The Light." A fitting blend of the superstars' iconic sounds, the powerhouse collaboration is imminently set to arrive after building a steady momentum in the live performance arena throughout 2024. From its debut spin in January, "Follow The Light" has become a staple in the respective DJ sets of Hardwell and van Buuren, like at UNTOLD Dubai, 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. View the original article to see embedded media. By all accounts, "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. Hardwell's label, Revealed Recordings, recently fueled the excitement with a tweet declaring, "The moment all of you have been waiting for is finally here," confirming the release of the single this Friday, September 6th. Fans can pre-save "Follow The Light" 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 book, titled HET ALTIJD, is a “visual journey” through De School over the years Continue reading...

New names added to the line-up include Carl Craig, Jane Fitz, Kerri Chandler, Marcel Dettmann, Moodymann, Palms Trax, and more Continue reading...

Continuing his unique project, NINETOZERO, Enrico Sangiuliano returns with a new single ‘Interconnection‘. Together with ‘Can U Feel It‘ it completes the Interconnection EP, which will be released on vinyl later this year. The celebration won’t stop with the release of the EP. Enrico Sangiuliano will play an all-night-long set at Village Underground in London on 7th September. The upcoming release is about the ‘Interconnection’ between different senses, for example sound and touch: when sound becomes vibration our perception enhances. The track creates a metaphor of the concept using a voice and a synthesizer that playfully evolve and merge into each other to become one, while still keeping their distinctive identities. ‘Interconnection’ is a track made for the dancefloor, a place where all our senses come together and go beyond the auditory experience, becoming a multisensory experience where we’re all… interconnected. – Enrico Sangiuliano As a producer, Enrico Sangiuliano has done it all. He remixed classics to chart-topping techno tracks that range from deep and dark to more melodic and euphoric. His creativity knows no bounds. With ‘Can U Feel It‘ and more recently with ‘Interconnection’, he explored the connection between auditory perception and physical sensations. The brilliant ‘Interconnection‘ is a pulsating cut that locks dancers into the hypnotic drums as flashes of acid synths spray about up top. Edgy vocal stabs add to the pressure. Meanwhile, trance-infused pads change shape through various filters. They range from smooth and smudged to sawtooth and make the trip all the more dynamic. Each element has plenty of room to breath and make its mark; a spine-tingling breakdown offers a moment to set before the groove kicks in and oscillating pads take dancers to the next level. Enrico Sangiuliano’s Interconnection EP is another essential work from this revered talent. The post Enrico Sangiuliano releases new “Interconnection” EP appeared first on The Groove Cartel.

Kendrick Lamar, Busta Rhymes, Jay-Z, and Snoop Dogg will also star in the film Continue reading...

The famed Scottish institution will shut permanently this month after 26 years Continue reading...

Time may have claimed Avicii, but an unprecedented auction organized by his family aims to transform his personal belongings into catalysts for change. Fans of Avicii, whose real name was Tim Bergling, will soon be able to place bids to own a tangible memory of the legendary DJ, who in 2018 tragically died by suicide at the age of 28. 267 of his personal items are set to hit the auction block on October 1st and all proceeds will benefit the Tim Bergling Foundation, a philanthropic organization launched in the wake of his death to provide support for young people experiencing mental health issues. Presented by Stockholms Auktionsverk, the collection includes sneakers, clothes and musical instruments owned by Bergling. The company, which claims to be the world's oldest auction house, has joined forces with EDM.com to provide our readers with an exclusive first look. "The family has long considered how to best handle these items and decided that a charity auction for The Tim Bergling Foundation was the best option rather than keeping them in storage," says Stockholms Auktionsverk specialist Malin Sveholm, who is overseeing the auction. "Holding an auction for the Tim Bergling Foundation—whose goal is to support the mental wellbeing of young people—is transforming them into financial resources to help others." Lot #10 features a black Miami Marlins New Era cap, size 7 3/8. Bergling wore the hat during a performance in San Francisco in February 2016. Sean Eriksson Stockholms Auktionsverk Stockholms Auktionsverk Lot #14 features a pair of blue Givenchy high-top sneakers with white soles and intricate patterns of white flowers. The size is not specified. Bergling wore the sneakers for a press shoot in May 2016, less than two years before his death. He also wore them to Burning Man that year and they are still "covered in sand" from Black Rock City. Stockholms Auktionsverk Lot #79 contains a treasure trove for Avicii's fellow artists: a personal DJ setup used by Bergling. The lot comprises two Pioneer CDJ-2000 Nexus DJ Multi-Players and a Pioneer DJM-900 Nexus Mixer in their original black cases. An electronic music collector's dream, it's a tangible connection to the timeless beats that continue to move millions. "Tim Bergling himself was not a collector in the sense that he collected things to accumulate an estate," says Tom Österman, Senior Client Executive oat Stockholms Auktionsverk. "We have learned that he did not attach much value to material possessions, instead his view of money was that the more you have, the more reason you have to share it—to make the world a better place." The live auction will take place at Nybrogatan 32 in Stockholm and online Tuesday, October 1st at 3pm CEST (9am ET, 6am PT). Stockholms Auktionsverk is publishing a digital catalog on September 6th. You can find out more via the auction's official website and read about how to bid here.

About eight out of ten times, when we listen to new music, our immediate thought and expectation is how the song or the artist makes us feel; and more often than not, the feeling you’re aiming for is – euphoria. Something NOTION has achieved to invoke with every release he has made since his debut. Pushing his ideas with purpose, creativity, and power, the Bristol native has now become one of the leading names of the UK’s dance music’s most prominent new-generation artists. With a creative approach that is both futuristic and impactful while building on his penchant for delivering turbo-charged music that exudes a variety of emotions, which has long been a defining feature of his releases, NOTION has been consistently pushing the envelope by reinvigorating bass music in his own enterprising ways, while serving his vision’s most imperative purpose – making people dance. Now sitting at the helm as one of United Kingdom’s top dance music lynchpins through hits such as ‘FOUND LOVE’ and ‘CHERRY’ as part of his ‘OUTSIDER’ series, NOTION continues to make his mark on global music with this renewed sound in singles such as ‘TEMPORARY FRIENDS’ with Charlotte Plank and ‘BACKBONE’, which sees NOTION experiment with jungle music. These have been accompanied by ‘TV DREAMS’, ‘GRAVITY’ and ‘THINK ABOUT U’ that have seen NOTION draw inspiration from his foundational sounds like house, breaks and garage. The Mixtape has already been a favourite among his industry peers, with massive support coming from scene heavyweights like Sammy Virji, Joy Orbison, Ben UFO, Floating Points Conducta, salute, Disclosure, Joy Orbison, and Ewan McVicar throwing their weight behind the release. Having just arrived from an extensive tour across the United States and Canada, NOTION is preparing to unveil his most prolific offering to date: the ‘FORWARDS’ Mixtape. The inventive DJ and producer recently unveiled the Mixtape, starting with the uplifting track ‘FEEL LIKE ME’. The full release, out on August 30, which will include some his recent hits, will be an exhibition of NOTION’s ever-evolving sound, which has traversed from its roots in bass and bassline cuts into a more versatile blend of electronica, garage, breaks, and jungle. We figured it was the perfect moment to catch up with NOTION and dive into his ‘FORWARDS’ Mixtape, chat about his current tour in the USA and Canada, and get bite on his DANCE DUBS project. Of course, we had to kick things off by asking how the festival season has been treating him! “It’s been great but I’m not going to lie, I’m a bit of an introvert and I love being at home so I never really look forward to summer until it actually gets here haha. Don’t get me wrong, I do love summer & festival season, always a highlight of my year but I also really love rainy days and cold weather, plus I don’t really have the legs for shorts tbh.” The festival season was marked by NOTION’s highly anticipated Glastonbury debut, where he dished out his energetic dancefloor cuts at the UK’s most prestigious musical gathering. Seamlessly combining his trademark blends that ranged from hard-hitting basslines to infectious rhythms, NOTION was able to give the crowd a glimpse into his ‘FORWARDS’ Mixtape. “I’ve never been to Glastonbury before and it’s just like the most overwhelming mad experience. So cool to be able to play it b2b with Oppidan too. Also, fun Glasto fact – my dad almost went to the first EVER Glastonbury when there were like 300 people in a field but him and his mates drove round for ages and couldn’t find it so they went home, so that one’s for you Dad.” Coming to his FORWARDS Mixtape, NOTION believes that it represents a natural progression of his artistic journey. The Mixtape is a testament to NOTION’s relentless pursuit of innovation and a passion for discovering the endless potential within his craft. “I’ve kind of been looking at FORWARDS as a continuation of my OUTSIDER project that I dropped in 2022 which was a bit of a fresh start for me in terms of expressing myself more freely artistically as well as trying to work out how to do artwork, music videos and all the visual side of being an artist properly and then also just being a bit more open to showing different sides of myself musically. I make so much different music across so many genres and before that point I kind of felt like I could only drop club stuff so it was a bit of a turning point for me. Having said that, there wasn’t really a conscious decision to write a project this time, FORWARDS is basically just made up of music I’ve been making over the past 18 months that all felt like it fit together naturally so we decided to make it a thing!” Next, NOTION detailed the creative process that went into making his FORWARDS Mixtape “I was thinking about this the other day because I never really go into writing music with a plan, I just sit down on my laptop with a blank slate and see what comes out. All of the influences in the Mixtape are club/dance music but I feel like it would feel more at home on the motorway at 2am than at fabric or something. I think that sums up a lot of the music on this project.” We’re in an era where the lifespan of a song has drastically shortened, largely due to the fleeting, 15-second dopamine hits offered by platforms like Reels and TikTok. While this can lead to viral moments, the decline in a song’s popularity is almost ten times quicker once the initial buzz fades. With the FORWARDS Mixtape, NOTION aims to defy this trend and craft art that stands the test of time. Each track on the release is imbued with deep emotions, prompting NOTION to reflect on the importance of moving away from the fast-paced consumption of music. “FORWARDS wasn’t really something I sat down with the intention of making as a whole project, it’s more just a collection of stuff I’d been writing over the last 12-18 months that felt like it all made sense as a body of work so it kind of wasn’t a deliberate move. I just knew I wanted to write some music that felt like something you’d sit and listen to all the way through – not skip to the drop and that’s all you’re there for. The whole anti-disposable art thing kind of hit me a few years ago though after just seeing how quickly people move on from stuff online. I feel like creatives put their heart and soul into their work and it’s just become completely normal to see a 15 second clip of something on insta, judge it off that and then move on to the next thing. I get that’s just the world we’re in now but I think it’s really important to not cater art to that model or it just becomes a snowball effect of dumbing everything down. Honestly, I think it would be arrogant of me to think I’m actually going to have any effect on any of this stuff with this project but I just really don’t want to make art that caters to whatever metric some tech company CEO decides is important so i’m just gonna do me, even if the algorithm hates it.” The lead-up to FORWARDS has been an exhilarating time for NOTION. Over the past twelve months, he has celebrated a series of chart-topping releases, each one further solidifying his presence as a tour de force of UK’s expansive dance music landscape. Adding to his music, he is currently in the middle of a monumental North American tour, which has been a major highlight of his year. “It’s actually just been so nice to be able to drop all this music to be honest, as hectic as its been planning it all, I feel like I spent years sitting on tons of unreleased tracks to the point where it became a bit of a running joke so I suppose I’m just making up for lost time haha. Getting to tour North America for the first time as well as Australia and New Zealand again has been amazing too.” Safe to say, NOTION hasn’t been able to get enough of the love he has received during the tour, and he talks about what his plans for the remainder of his tour. “The way people show love in America and Canada is super different which caught me off guard a bit the first time I went earlier this year… like when was the last time someone made you a personalised candy bracelet. It’s very different from home but I feel like they’re really dedicated to the music and it’s super cute how much they support you once they know you out there. After that I’m off to Australia and New Zealand which is always just absolute carnage at the shows and I cannot wait to get there.” Another key element of NOTION’s seminal undertakings is his DANCE DUBS project, a collection of exclusive, unreleased tracks available on SoundCloud and Bandcamp. This project has now garnered over three million plays on SoundCloud (with SKEPTA DUB contributing to 700k plays alone), thousands of purchases, and more than two thousand fans signing up for his broadcast community. Building on this success, NOTION launched a sold-out, eight-date UK tour in 2023, featuring a boat party and a radio show. DANCE DUBS which has now done the rounds of North America and is about to be unleashed in Australia and New Zealand, has played a crucial role in helping NOTION cultivate a loyal fanbase by seamlessly integrating them into his broader artistic vision. “Dance Dubs basically came about because there was a point in like 2021 or 2022 where I just had so many unreleased bootlegs, edits and tracks I’d made that were playing in sets my manager Sam and I were trying to work out what to do with them all. 90% of them couldn’t go on Spotify or get released how we usually would drop music because of samples/copyright, etc so we came up with the idea of kind of branding the whole thing and turning it into a series of free releases and just giving them away. Since then, it’s grown into this whole thing where we’ve done whole tours with it and now, we’re taking it across the world which is nuts. All off the back of a few bootlegs!” Bristol’s impact on major dance music genres is profound and widely recognized. The city’s vibrant cultural and musical scene has been a major source of inspiration and innovation, influencing some of the biggest names in dance music history. NOTION is no exception to this trend, but his relationship with Bristol offers a distinctive viewpoint. While the city’s influence is apparent in his work, NOTION’s perspective is uniquely his own. “I actually grew up in a tiny village in the west midlands which was definitely not quite as musically rich and vibrant as Bristol haha (I didn’t move to Bristol until I was 18) but to be honest I think the fact there wasn’t much going on really helped me nurture my introverted music making side and if I’d grown up in a city with loads of other stuff to do maybe I wouldn’t actually be doing this now. That said Bristol is such a sick place to be as a creative, there’s loads going on here artistically so it’s definitely an inspiring environment to be in.” With the release of the FORWARDS Mixtape now behind him, we were eager to learn about NOTION’s next major and innovative endeavour. Throughout his career, from his debut to the OUTSIDER series and up to FORWARDS, NOTION has been on a relentless quest to surpass the boundaries of his previous work and set new standards, demonstrating his ability to continuously evolve his sound. NOTION is poised to embark on another thrilling chapter, and his back catalogue suggests that his future releases will bring fresh and groundbreaking elements to the table. It’s an exciting time to be a fan, as NOTION’s next move promises to be both innovative and captivating – a move that will once again challenge the status quo and deliver something truly remarkable. “Definitely just trying to lean into being myself and not TRYING to fit into the dance music landscape too much. I’d love to continue doing all the visual stuff that’s made up such a big part of the FORWARDS project too and maybe start applying that to other aspects of my music but it’s expensive and very time-consuming so I don’t know how realistic that is hahaha. It’s probably a bad career move but I’m having much more fun and I feel a lot more comfortable with how I’m expressing myself for the first time ever probably, and long may it continue.”

The 2024 festival season is coming to an end. But there’s no time to be sad as Mysteryland has released some serious footage from the 2024 closing ceremony. After a three-day sun-drenched weekend, Mysteryland unveiled an unprecedented finale that left attendees in awe. For the first time ever, a 10-minute choreography seamlessly combined 600 drones, fireworks, 3D video, lights, music, and vocals. This cutting-edge performance was developed in collaboration with TWOFIFTYK DRNS (known for their shows at Burning Man). What we created here with Mysteryland goes far beyond just a drone show. The 600 drones are part of a fully integrated 10-minute choreography of light, lasers, drones, video, music, vocals, and fireworks. This show is an experience where all these disciplines are integrated to create a new, immersive reality where the line between what is real and virtual is no longer visible. – Sander ter Braak, TWOFIFTYK DRNS The drones were fully integrated into the finale, transforming the stage from a 30-meter centerpiece into a towering 120-meter-high spectacle of light and technology. I am completely overwhelmed by this next level show and beyond proud of our team. Special shout out to our creative team who created pure magic with this end show. We look back on a fantastic edition in which we took a wonderful step in a new direction with Mysteryland. ‘Celebrating life’ is central to everything we do, and it was very special to close this sunny edition with an end show of this size, in which that theme formed the common thread. We are grateful for our crew, partners, artists and of course our amazing visitors. We can’t wait to show them what we have in store for next year! – Rosanne Janmaat, CEO ID&T A key highlight of the show was a performance by fan-favorite Genevieve Coté. He is known for Britain’s Got Talent, who enchanted the crowd with her famous nature and animal sounds. The entire finale revolved around the theme “Celebrate Life,” where “life” carried a dual meaning, with a special focus on nature. This profound message is especially poignant in times when the pressure on our environment is increasing. Mysteryland and sustainability Mysteryland has long been committed to sustainability, and this year was no different. The festival ran almost entirely on green, locally sourced energy. This continues its tradition of leading the way in environmentally conscious event production. The festival offers a stage to no less than 300 artists from different countries representing all genres in the electronic music spectrum. Mysteryland is set to return for the 2025 edition with dates already set: 22 – 24 September 2025 and visitors can pre-register. The full end show will be available on Mysteryland’s YouTube channel very soon. The post Watch Mysteryland 2024 staggering closing ceremony appeared first on The Groove Cartel.

Today, Aslice is announcing the closure of its revenue-sharing platform. From its private beta launch in December 2021 to the closure in September 2024, the service gathered around 7,400 playlists from 935 DJs, who collectively shared over $422,000 of their earnings with more than 27,000 music producers worldwide. Utilizing machine-learning technologies, Aslice achieved an industry-leading accuracy of 99.8% in track matching, delivering the blueprint for traditional rights organizations on how to adapt to electronic music’s needs. Driven by a vision of sustainable and equitable change, Aslice sought validation by commissioning external data experts to independently review their operations and impact on the electronic music industry. Launching its public beta in March 2022, the community-driven platform Aslice emerged as the game-changing “easy button” for working DJs to share a small portion of their fee with the producers they play. While addressing the increasing DJ and producer income disparities in electronic music, Aslice offered an innovative alternative to the traditional performance rights collections model through its advanced software and quickly turned into a completely new revenue stream. An achievement in itself, which the Aslice team looks back on with pride in their closing statement: “In less than four years, Aslice proved that real change in the music industry is possible. Our community platform was built by artists for artists. We developed a revenue-sharing software that worked–without any corporate funding or influence. Aslice has always been dedicated to ensuring music producers are compensated fairly, driven by a simple yet profound principle: share with the artists you love. Beyond the innovative technology we created from scratch, we fostered something much more meaningful: we strengthened connections between DJs and music producers worldwide. We made strides toward a fairer music ecosystem that prioritized the core values of respect and mutual support, making artists feel valued and acknowledged in a new way. Inspiring things can happen when we all work together.” – Read the full Aslice Statement here! As part of the closing process, Aslice underwent an external review by the data analysis experts at Audience Strategies. Their resulting report, “A Slice Of Fairness,” provides an independent evaluation of Aslice’s four-year operation, examining the achievements, the challenges encountered, and the valuable lessons that can be drawn from their initiative. “Aslice’s story is both inspiring and bittersweet. A handful of dedicated people with a passion for fairness and community created a platform that genuinely improved lives, redistributing over $422,000 to producers.”, says David Boyle from Audience Strategies.“Their 99.8% accuracy rate puts behemoth legacy systems to shame. They showed that a fairer music industry is possible, with producers earning more through Aslice than from traditional channels. It’s gutting to think how close they were to making this sustainable – just a few more top DJs walking their talk on supporting artists would have tipped the scales. But Aslice proved that you don’t need deep pockets or a huge team to change the world. They’ve set a new benchmark for fairness and respect. Their impact will echo for years to come. Now, it’s up to the industry to build on the foundation they laid. The question now is: who will pick up the torch?” The post Aslice is closing appeared first on Decoded Magazine.

EDM isn’t often a first choice of genre when it comes to soundtracks for films, but there have certainly been some notable instances of it. Here are our picks for the top 5 times EDM has appeared in films. Blade Confusion – New Order (Pump Panel Reconstruction Mix) There are few songs out there that have a more synonymous relationship with a film than that of ‘Confusion’ with ‘Blade.’ This iconic acid techno banger kicks off the film in style and is part of an equally iconic scene, the blood rave. ‘Confusion’ was New Order’s follow up to their amazing track ‘Blue Monday’ and would earn them the number one spot on the UK Indie Chart as well as reaching number 5 on Billboard’s Dance Club Songs Chart. But it was when Pump Panel got a hold on the track that they would transform it into the thumping hit that would blast onto cinema screens with ‘Blade.’ Deadpool 2 Bangarang – Skrillex Skrillex’s ‘Bangarang’ is one of the best dubstep songs ever made, but it was still a massive surprise to hear it make an appearance in ‘Deadpool 2.’ When a time traveller called Cable arrives from the future and meets Deadpool he asks if dubstep is still a thing leading into a fight scene scored by ‘Bangarang’ which made for a genuinely great fight song. Skrillex played a huge part in popularising dubstep with ‘Bangarang’ reaching the charts in the United States, United Kingdom, Australia, Austria, France, New Zealand, Norway and Sweden. Its appearance in ‘Deadpool 2’ proved a line from the film to be true, “Dubstep never dies.” We Are Your Friends Desire (Gryffin Remix) – Years & Years ‘We Are Your Friends’ has a stacked lineup of amazing EDM tracks in it with songs from the likes of Tchami, Deorro and Pete Tong, but the story behind ‘Desire’ making it into the film is an interesting one that Gryffin recently revealed on his Instagram. At the time he was still trying to get his name out there by releasing bootlegs of songs on Soundcloud when he was approached to make a remix of ‘Desire’ for ‘We Are Your Friends.’ Despite making three different versions of the song, he didn’t feel they were good enough but due to deadlines he just submitted one which is a decision he would soon be thankful for. The director loved the track and put it in the film and the track has now gone on to rack up over 300 million streams on Spotify making it Gryffin’s most successful song. 22 Jump Street Can’t You See – Shermanology, GRX Back in 2014, Martin Garrix was starting to make a name for himself with massive tracks like ‘Animals’ and ‘Wizard’, but little did people know that he was releasing music under another name. His GRX pseudonym is well known today but early releases under it such as ‘Gamer’ and ‘Can’t You See’ flew under the radar so not many people know that alongside Shermanology they provided a song for the EDM packed soundtrack of ‘22 Jump Street.’ The track is a wild mix of big room house with opera that perfectly matches the madness of the film itself and is a highlight of the soundtrack. Trainspotting Born Slippy .NUXX – Underworld When it comes to the conversation of songs that are synonymous with films, ‘Born Slippy .NUXX’ in ‘Trainspotting’‘ is a match up that just about everyone knows with it being hard to mention one without the other. The track was originally released as ‘Born Slippy’ in 1995, however following the release of the film ‘Born Slippy . NUXX’ was issued as a single and would reach number 2 on the UK Singles Chart. This techno banger from Underworld went beyond the underground and has achieved icon status with it being one of the best songs to come out of the 90s while featuring in one of the best films to come out of the 90s as well.

Summer may be over, but the party is not. September is here and it has the best events to start your Autumn festival season. 1. WORLD CLUB DOME – Frankfurt, Germany (6-8 September) Kicking off with Germany’s #1 festival and top 10 ranked festival worldwide, WORLD CLUB DOME is returning to Frankfurt from 6-8 September for one weekend of madness at the Deutsche Bank Park Stadium. Artists like David Guetta, DJ Snake, 3 Are Legend, Chase & Status, Black Coffee and many more are set to take the German festival by storm with their performances. The ‘Future’ Edition of WORLD CLUB DOME will be the final major mega-festival of the 2024 season. Big things are expected as the ‘Future‘ theme is set to convert the 700,000 square meters of space into a futuristic musical universe of unforgettable sights, experiences, and spectacles. It will include two all-star Main Stages, the WCD Pool Sessions and a magnificent hardstyle stage. In addition, “Coachella Vibes” at Reality Star Island promises to be the biggest assembly of TV stars, influencers and celebrities, bringing an abundance of glamour and fashion to the wonderful festival. Phase 4 tickets for this year’s World Club Dome cost €209.00 (3-day club ticket) + taxes and can be purchased here. 2. EDC China – Suzhou, China (15-16 Sep) From Las Vegas to Suzhou, China, Electric Daisy Carnival is one of the top-tier festivals one can experience in his life. With the first edition taken place in 2018, EDC China is returning in 2024 September 15-16 for 2 days of partying to multiple genres of electronic music. From trance to bass music to hardstyle and techno, EDC has it all pleasing attendees with their favourite artists. Some of the names on the lineup include The Chainsmokers, Paul Van Dyk, Sub Zero Project, Axwell, but these are just a few of the big acts that are present on the four stages that EDC is putting out for their China edition. Besides all the amazing artists that will step on the stages, EDC is also known for its mesmerizing organisation transforming the venue into a music wonderland. Tickets for the 2024 edition of EDC China are now available to buy here with the cheapest available ones being ¥1,580 or €201. 3. BEONIX Music Festival – Limassol, Cyprus (20-22 Sep) In the Eastern Mediterranean Sea, BEONIX Music Festival kicks off on September 20 for three days of dancing in the lovely country of Cyprus. With three separate stages: the Main Stage, Hangar Stage, and Garden Stage, each intended to provide attendees with a unique visual and aural experience, BEONIX is well-known for its wide variety of acts and immersive experiences. Headlining acts for this year’s edition are Italian duo Tale Of Us, Fatboy Slim and Ukrainian melodic house DJs ARTBAT. Their involvement strengthens BEONIX’s standing as a landmark occasion in electronic music, bringing guests performances by some of the most important names in the field. Some other big artists that will take on BEONIX are Claptone, Miss Monique and Brina Knauss. The Main Stage at BEONIX is getting an extensive renovation for the 2024 edition, aiming to deliver an updated visual experience that complements the event’s exceptional sounds. For more information and prices on tickets visit the website. 4. Lost Lands – Legend Valley, Ohio (20-22 Sep) Headbangers unite, Legend Valley in Ohio is back to raving with Lost Lands making a return 20-22 September. The prehistoric festival has a rich lineup that includes DJ Snake, Crankdat and Ray Volpe. Besides this, Excision, the founder of the festival is going to perform 3 different sets: a 2 hour set, as well as a Excision B2B Wooli and an Excision ‘Detox’ set. For DnB fans, the legend Wilkinson will also be on the decks during Lost Lands. Besides the amazing lineup that attracts thousands of bassheads, the prehistoric concept of the festival is one of a kind. Featuring dinosaurs all around the venue and a new mainstage every year, the production of this event never disappoints The 7th annual Lost Lands Festival starts on September 20th but an opening party inside the venue will take place on Thursday, September 19th. To be able to access the pre party an early entry ticket is required. Lost Lands 2024 has sold out in June and around 40,000 people are expected in attendance. 5. Ultra Japan – Tokyo, Japan (14-15 Sep) Moving to Asia, Tokyo is welcoming Ultra Japan back on the 14th and 15th of September for the 9th edition of the festival. After their stop in Croatia for Ultra Europe, the Ultra Worldwide team is once more turning the Odaiba Ultra Park into Japan’s electronic music capital. September 14th will see artists like Armin Van Buuren, IsoKnock and Afrojack on the mainstage, while the following and last day of the festival will host names such as Alesso, Steve Aoki and Subtronics. ULTRA is expected to produce an exciting atmosphere with its unique stage setups and highly visual headline acts that will attract thousands of visitors. With three stages setting up in the park, over 50 artists will bring the vibes to one of the most awaited festivals of the year in Asia. The Ultra team is also brining their production to Hong Kong, for a one-day event that clashes with Ultra Japan on September 14th. Tickets for Ultra Japan are on sale and can be bought following this link. 6. PRIMER Music Festival – Athens, Greece (7-8 Sep) If you are looking to be dancing by the sea in warm weather, then Greece’s PRIMER Music Festival should be your go-to choice. The festival is back this year in Athens for the 5th time with two-days of raving together with world class DJs such Martin Garrix, Eric Prydz, Kolsch, Morten, Gordo and many others who will fill the festival’s two stages: Main Stage – Water Square and the Afterhours Stage – Faliro Sports Pavilion. PRIMER is set to take place 7-8 September and will offer attendants an impressive experience with their interactive lighting bracelets. Organisers announced a new, improved mainstage with cutting-edge lighting and sound that promises an unforgettable experience alongside the breathtaking performances and immersive visuals. The Afterhours Stage is being introduced for the first time this year to celebrate the festival’s 5th anniversary and will be open both days after the shows on the mainstage have ended. This will allow party people to dance past midnight, unlike previous years. Phase 4 tickets are now on sale with the general access pass priced at €120 and available to buy here. 7. Nocturnal Wonderland – San Bernardino, California (14-15 Sep) California’s Nocturnal Wonderland is taking place 14-15th of September and once more has a stellar lineup that will grace ravers to the sounds of DJs like Deeper Purpose, Deorro, Green Velvet, Kaskade, KSHMR, Sub Focus and many more. Back 2 Backs are also looking amazing for this year’s edition that has in plan Lee Foss B2B Cid, Gene Farris B2B Offaiah and Yellow Claw B2B Flosstradamus. Four incredible stages are expected to be present at the Glen Helen Regional Park for this edition and each of them has at least one not to miss artist. The two-day camping event features a range of musical genres as well as interactive art pieces, performers dressed in neon, and camping activities. Nocturnal Wonderland has been going on since 1995 and had various locations, with the San Bernardino county park as the most recent home of Insomniac’s first ever festival and the longest running festival in the United States of America. If you think you are ready to experience the Nocturnal World, you can buy your passes on the festival’s website. 8. Caprices Festival – Gstaad, Swiss Alps (20-22 Sep) Another festival taking place from 20-22 September is Caprices Festival Gstaad which returns to the stunning mountaintop of Eggli in the heart of the Swiss Alps. Caprices Gstaad made an impressive debut in 2023 and is expected to show up again this year bigger and better. Performers scheduled for the weekend include Âme B2B Jimi Jules, Bedouin, Canadian house and tech artist Blond:ish, as well as breakthrough deep house DJ Alex Wann. The festival features two stages up in the Swiss Alps: Eggli, a chalet stage, and Yurt, a second stage with a mystical vibe and beautiful surroundings. Produced with incomparable quality, Caprices Gstaad has top-notch sound standards, and offers amazing programming for a lush experience towards the fans. Final release weekend passes can be found on the website and cost CHF 199.00 / €211.72. 9. Breakway Festival Carolina – Concord, North Carolina (27-28 Sep) The final festival you could consider in your September calendar is Breakway Festival Carolina, taking place 27-28 September. After their festival in Massachusetts, Breakaway are taking the party to Carolina bringing a crazy lineup full of big names such as Alesso, Fisher, Marshmello, Knock2, Chase & Status, Kream and others. Taking place on the Charlotte Motor Speedway, the festival will have three stages like previous years including the Main Stage, the Launch Pad, and the Silent Disco presented by Monaco. Host for Breakaway Carolina will be music influencer Bobby Hendrickson. The festival offers different experiences made in partnerships with their sponsors. Some of the many are drink experiences with Bacardi as well as Beatbox, Breakaway’s official Party Punch. SHEIN is also at the event helping attendees elevate their festival look with body marbling and free accessories. Passes can be found on Breakaway’s website and start from $95. For college students, a special offer is available if they want to attend just one of the days with the price being $65.

The funds raised by the campaign will help relieve the financial burden of the producer’s "urgent and ongoing" healthcare Continue reading...

It's the second single to be released in a collaboration between her own label, Peach Discs, and London-based imprint Method 808 Continue reading...

Despite having battled with Stage 4 prostate cancer for the last 4 years and received the last treatment in October 2023, UK DJ, producer legend, Ashley Beedle was dealt a devastating blow at the beginning of November 2023. He suffered a brain bleed and seizure due to the rupture of a brain mass and in February 2024, during a 16 hour operation to remove the mass, he suffered a major stroke. This caused the loss of movement in the leg and arm on Ashley’s right-hand side and robbed him of his power of speech. Since recovering in Kings College’s Critical Care unit, Ashley has proved himself to be a fighter and has surmounted all odds with an incredible sense of humour and determination that has impressed everyone involved. Thanks to the extraordinary care and support from the NHS, Ashley’s speech is slowly returning, and he’s been discharged from the residential rehab centre. However, he’ll remain in a room in a nursing home for the foreseeable future until suitable assisted living accommodation becomes available for him and wife, Jo via the local council housing list. Sadly, the diagnosis is that Ashley’s mobility won’t return to his right side and he will be confined to a wheelchair requiring full time carers for the majority of his activities including bathing and getting in and out of bed. Ashley and his family are now facing the reality of not just the physical and medical challenges, but also the many financial ones, having used all their savings to get to this stage. In response, Ashley’s friends and family have set up a GoFundMe campaign to help support him through this challenging situation. The fundraiser’s target is £50,000. The GoFundMe donations will go towards providing Ashley with a secure and comfortable future with access to private physio treatment, wheelchair friendly furniture, and a hospital bed for home use, etc. Ashley wants you to know that he is a survivor and not a victim and he says ‘thank you’ to all of you who contribute towards the fund. Referenced in Daft Punk’s ‘Teachers’, Ashley Beedle has been top of his game for over 35 years. From his defining roles in X-Press 2, Black Science Orchestra and The Ballistic Brothers and part of the trailblazing Shock Sound System, Gentleman Rudeboy, Ashley Beedle is one of UK dance music’s most well-respected figures, boasting an insane amount of iconic remix works and productions. His most notable achievements include co-writing the iconic ‘Lazy’ ft David Byrne and topping the Jamaican and UK charts with his remixes of Bob Marley’s ‘Stand Up, Jamrock’ and Elton John’s ‘Are You Ready For Love’. Ashley is part of the No’West Production Team with wife, Jo Wallace and musical partner, Darren Morris. He is also involved in the new Black Science Orchestra project, creating new tracks with original co-founder, Rob Mello and new Scientist, Darren Morris and together, they have remixed Primal Scream’s ‘Love Insurrection’, coming out in Autumn 2024. Ashley’s good friends and music industry peers are already rallying round to help Ashley, with fund raising events currently being organised by David Homes, Faith and XPress-2. Watch this space for details! To donate to Ashley’s GoFundMe head to: https://gofund.me/a9a14181 The post Ashley Beedle GoFundMe Campaign Launched appeared first on Decoded Magazine.

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Lucas Estrada joins forces with Paradigm and Oaks to deliver a new single that captures the essence of nostalgia. With an epic melody and a powerful yet tender beat, “Love In Vain” is sure to give you goosebumps. The playful synthesizers transport you to another world, while the heartfelt lyrics and captivating sounds create an unforgettable listening experience, perfect for all playlists. With tracks like “Bloom” and his remix of “Ghost Town”, Stockholm-based Lucas Estrada has captivated the electronic music scene with his unique blend of uplifting melancholic music. His distinctive style combines melodic vocals, soft chords, and steadily building beats, creating nostalgic, loungy, and danceable vibes. This mix of pop, dance, and house music has made him one of Sweden’s most streamed dance artists globally, leading to collaborations with Lovespeak, Bhaskar, Clara Mae, and Wankelmut, as well as remixes for Robin Schulz and Winona Oak. As the founder of LoudKult and Momentone, Estrada’s high-energy and passion are evident in his work, offering listeners a sense of optimism and a reminder of the good in the world. Paradigm is a trio of friends from Australia and Germany, collaborating with industry giants like Afrojack, Katy Perry, and NOTD. Comprised of Seb, Patrick, and DJ Leon, they broke through in 2020 with “Wake Me Up in Paris,” earning gold records in Germany, Austria, and Switzerland. With over a quarter billion streams on Spotify, they rank among Germany’s top 20 artists annually. Their music, a blend of infectious pop hooks and energetic house beats, creates a unique sound that captivates listeners. And last but not least, meet Oaks, the electronic alter ego of singer-songwriter Winona Oak. Hailing from Sweden, Winona’s poetic beginnings led to a career with hundreds of millions of streams. Oaks represents her dive into electronic music, marked by collaborations with The Chainsmokers, Robin Schulz, and Alan Walker. As Oaks, she blends poetic talent with electrifying beats, promising an exciting evolution in 2024 and beyond. “Love In Vain“ by Lucas Estrada x Paradigm x Oaks will be released on September 6th, 2024 on NITRON music – the dance label of Sony Music Germany. Download & Stream https://nitron.lnk.to/LoveInVain Follow & Find Out More Lucas Estrada Instagram | Lucas Estrada TikTok Winona Oak Instagram | Winona Oak TikTok Paradigm Instagram | Paradigm TikTok NITRON Music Instagram | NITRON Music TikTok The post Lucas Estrada x Oaks x Paradigm Release New Single “Love In Vain” appeared first on Electic Mode.

PillowTalk Music is excited to reveal the first single by Michael Tello, a.k.a. Lil’T. The new release, “Don’t Make Me Wait!” by New York’s Peech Boys, is a fresh deep house take on the famous 1982 hit. Lil’T’s new solo album will come out in the winter of 2024, and this single is the first taste of it. Many people know Lil’T as the beat and bass mastermind behind PillowTalk. Now he’s going out on his own with a project that features his signature sound: an infectious mix of old and new beats. He once again works with his longtime musical partner, Warren Bruce, better known by his stage name Big $exy, to make this updated version of the Peech Boys’ song. The heart of the song is Big $exy’s smooth vocals. You can feel it over vintage analog basslines, synth leads that sound like Dr. Dre, and swinging beats that are ready for the dance floor. Together, Lil’T and Big $exy reimagine the original track by mixing old-school sounds with current production methods to make a sound that is both familiar and new. The fun doesn’t end with the first track, though. “Don’t Make Me Wait!” has three different versions that are sure to get people dancing all over the world. The Classique Remix, by the artist The Mekanism, follows the genre’s golden years vibes, with its catchy grooves and nods to the past. On the other hand, Lil’T is in charge of the Disco Revenge Mix. He skillfully blends Big $exy’s vocals with the Peech Boys’ original acapella. This version is full of underground appeal and is about to become a hit among people who love house music. The last track in the package is the After Dark Remix by Martin Pērez and Mario Polanco. Known as M&M, they changed the song into tribal deep tech-house rhythms that take people on a trip underground with pulsing beats and full soundscapes. The post PillowTalk Music’s Lil’T Injects Deep House on Peech Boys’ “Don’t Make Me Wait” appeared first on The Groove Cartel.

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Stephen Austin AKA Stevie Hyper D was a massive stage presence and musical pioneer, with a unique and pioneering MC style. After years of breaking boundaries under the radar, he finally signed to Island Records in 1996. But on the brink of success, at the age of 31 the pressures of relentless performing proved too much. A heart attack extinguished his potential, leaving a gaping hole in his family and the burgeoning jungle scene. Today his contribution to UK music culture can be traced from 80s reggae sound systems and jungle’s thrilling 90s apex, all the way to UK rap’s evergreen swagger. Our story unfolds through the focus of a family’s love for a man, whose life and untimely death were inextricably linked to a genre’s creation. Darrell Austin, Stevie Hyper D’s nephew, goes on a personal journey through 90s London, to discover first hand his uncle’s legacy. Through conversations with Stevie’s friends, musical peers and other family members, he is forced to confront his own grief and mental health. Darrell and Stevie were close in age, so their relationship was more akin to brothers than uncle and nephew. Their heritage, raised in London, of mixed Caribbean and Gibraltarian descent gave them a shared perspective, which is uniquely British and multicultural in equal parts – and which permeates the film. The post “Hyper” – The Story of Stevie Hyper D – In Cinemas Winter 2024 appeared first on Decoded Magazine.

Anton Zaslavski, known globally as Zedd, has made a lasting impact on the world of electronic dance music with his distinctive sound and chart-topping hits. Born in Russia and raised in Germany, this DJ and producer started his musical journey at a young age, mastering the piano by four and the drums by twelve. His classical training and innate talent have helped him craft a unique style that blends complex melodies with electrifying beats. As we celebrate Zedd’s 35th birthday, let’s dive into his top 10 tracks that have defined his career and captured the hearts of EDM fans worldwide. 10. Good Thing with Kahlani – 261m Spotify streams 9. Stay The Night with Hayley Williams – 325m Spotify streams 8. I Want You To Know with Selena Gomez – 345m Spotify streams 7. Beautiful Now with Jon Bellion – 361m Spotify streams 6. Happy Now with Elle Duhe – 518m Spotify streams 5. Clarity with Foxes – 605m Spotify streams 4. Lost In Japan (Remix) – 796m Spotify streams 3. Break Free with Ariana Grande – 925m Spotify streams 2. Stay with Alessia Cara – 1.2b Spotify streams 1. The Middle with Maren Morris & Grey – 1.5b Spotify streams “

Celebrated electronic music producer and audiovisual artist Halina Rice has today announced her third studio album EVOLVE set for release on 9th October. In support of the highly anticipated new album, Rice will be taking her renowned immersive show to high profile venues across the UK in 2025 . Working with an international team of visual artists and designers, March 2025 will see performances at iconic venues including Nottingham Rock City, Manchester New Century, Newcastle NX, Bristol’s SWX, Glasgow SWG3, Leeds Project House and Brighton The Old Market. Rice is widely acclaimed for her innovative fusion of electronic music, visual art, and cutting edge immersive sound and technology. Her new album was mixed in L-ISA by L-Acoustics spatial audio software and will be released in in Dolby Atmos spatial effectively pushing technical boundaries to create a multisensory experiences that transcends traditional music experiences. With her new album exploring themes of : “EVOLVE came about through my work in spatial audio where you separate sounds into granular objects. Each sound, however small, has its own life and space. When combined a whole new textured composition evolves and emerges. Ultimately the aim is to orchestrate and unify these sounds together – along with visuals and lights in live – to create evocative and moving experiences. Some of the tracks I have been performing in live environments to experiment and give them time to literally evolve into the final released versions. Much of my process revolves around experimentation in order to innovate.” Integral to Rice’s work is the creation of dynamic and encompassing live immersive experiences. In 2020 she launched her ground breaking NEW WORLDS project – where each release comprised both music and the creation of a unique visual environment. Since then she has continued to experiment with innovative technology, working with lead visual designer Freny Antony and often being one of the first to take the plunge into what is now a rising trend in immersive experiences. Tickets on sale from Wednesday 4th September for UK at https://tix.to/HRICE The post Halina Rice has announced her third studio album appeared first on Decoded Magazine.

With a career spanning over two decades, Hazard has consistently pushed the boundaries of the genre, delivering tracks that resonate deeply within the drum and bass community. His latest project, “Hazard’s Hospital EP,” marks his first release with the iconic Hospital Records, a collaboration that brings together his signature gritty jump up style with the label’s renowned melodic touch. The ‘exactly what it says on the tin’ titled EP came out last July to critical acclaim, having bridged the gap between the label’s liquid sound and Hazard’s classic jump up style perfectly. Born and raised in Birmingham, DJ Hazard, whose real name is Scott Molloy, began his musical journey in the late 1990s, a time when drum and bass was still finding its feet in the UK. Inspired by the raw sounds of the genre’s pioneers, Hazard quickly developed his signature style—a blend of hard-hitting basslines, intricate drum patterns, and an unmistakable grit that has become synonymous with his name. A few weeks abc we sat down for this exclusive Q&A with DJ Hazard. He breaks down his process of making of the EP, the decision to work with Hospital Records, and his views on the current state of electronic music production and the world of drum and bass. From the challenges of fine-tuning his production process to the importance of authenticity in a landscape filled with sample packs and ghost producers, Hazard offers candid insights into his creative journey and the principles that guide his work. Whether you’re a long-time fan or new to his music, this conversation offers a rare glimpse into the mind of an artist who continues to shape the future of drum and bass while staying true to his roots. So tell us, what is Hazard’s Hospital EP? How did the name come about; I wonder? Basically, it just came about as a place holder when I was sending it over to them to listen to. It’s the first Hospital Records EP I’ve done so that’s just what it was. Exactly what it says in the tin. When they asked me what the name of the EP was I just said Hazard’s Hospital EP. At first, they said yes, then they said no, then yes. I’m glad they went with it, It was just too funny. Why did you decide to work with Hospital Records for this release? I’m a big fan of them. Hospital has already given me bookings in the past for their Hospitality events. I wanted to work a new label and who better than the people who have supported me in the past? Would you say Hospital generally have a younger audience going to their parties than the ones you’d usually play? The DJs on the night generally play liquid or vocally stuff, and I play more up-tempo, harder-sounding tunes. When I get booked for their nights, they put me on near the end so that there’s more of a contrast. The crowd is a mix of ages and much of the night they’ve been vibing with the liquid. All the DJs before me keep that vibe going, so when I’m finally on, it’s all been set up for me sonically. It always goes down well. It’s always appreciated. It’s an easy night for me, if I’m honest. Hazard’s Hospital EP has your signature sound throughout it, but there are more melodic than your previous well-known releases. Did you make this EP specifically to cater to the sound of Hospital Records? These tunes weren’t made specifically for Hospital Records actually. Initially, I sent them over a couple of tracks that I thought would be more their thing. Two nice tunes. They were more vibey, and melodic. They came back to me saying basically ‘Yeah, they’re nice and all, but we’d really love some DJ Hazard-sounding stuff’. I told them to leave it with me. I bought this house I’m in now about 9 or 10 years ago, and have had so many problems with it so every tune was coming out sounding rubbish. Normally I take months to make a tune, but because I had just treated the studio and was finally used to it, I was putting out tunes in a few days. I told them to leave it to me and by Christmas I had sent them 12 Hazard tunes and they picked four. It’s funny, out of all the demos I’d sent them, they put the four tracks of the EP together and I never would have thought that those four tracks would work well. At first, I was a bit resistant, but then after a few listens, I thought, ‘Hang on, these complement each other quite well’. It just shows you though, those guys at Hospital know what they are doing. It made me realise that they are some of the best to work with. They’ve got more knowledge when It comes to these things. It’s crazy, they’re amazing. They’ve got about 30 people working on this release. In terms of promotion, they’ve done such a sick job. Can you breakdown the EP for us? The first track, Behind The Mask is classic jump up and more along the lines of the Hazard sounding stuff that Hospital wanted. It’s got a swing and the bass is always moving. Drill Bit is more new sounding. It’s still got the swinging, but it’s 4 to the floor and a lot harder hitting. That one always goes off when I drop it. Cloud Drift is on the lighter side of things. It’s a real roller. It’s got some vocal chops in it and opens with lots of pads and atmosphere. Break The Silence is some hard-hitting drum and bass in your face. It’s got that screetchy jump up sounds that’s fresh sounding. What’s your favourite track off Hazard’s Hospital EP? Honestly it depends on how I’m feeling in the moment, but I have to say Cloud Drift. That’s the bigger tune. It’s got the longevity, in my opinion. It’s melodic and floaty. I was happy with the end result. What’s your production process likes? I always try to make everything from scratch. I don’t use samples at all really. I think Cloud Drift uses a sample break and that’s about it. I’d usually make them on drum programmes like Superior Drummer or Addictive Drums. That’s why there’s a lot of swing in my drums because I can programme it how I want. Then once I’ve them programmed, I bounce out the stems of the drums so they’re all on separate channels. Then I process them all individually through the desk. I get everything on the desk then put it back into the DAW. I find computer and software fix problems you create when you use hardware and vice versa. We’d all love a perfect set of ears but unfortunately, we haven’t got that. Even if it’s going through the desk and you’re vibing, it might not work sonically in the mix. With software, you can fine-tune everything, cut out any mistakes. We’re not as good engineers as we’d like to be so I don’t mind using software to clean things up a bit. There’s definitely two sides of producing music. The creative and the technical. Would you say you’d fall under the second category? How long have you been engineering for? Personally, I wouldn’t call myself an engineer. I’m still winging it. I probably know more than most people in the business. And I’m not just an arranger. There are some acts out there that are basically just sample arrangers. They just make the same tune over and over again. Sure, they’re successful, but they’re not improving. In my opinion, you should make a new tune and make new mistakes repeatedly so you can keep learning. That’s what impresses me and those are the people I respect in the industry. It sounds like your music-making process is long and arduous. Do you feel any competitive pressure to just grab a few sample packs together and start releasing more consistently? It seems to me that that kind of release strategy is being rewarded. No, and I think that’s exactly what the problem is with a lot of the tracks coming out these days. I don’t think there’s competition at the moment. They might look like they are, they might get paid to be one, but they’re not. At the end of the day, if they come into a studio, they’re going to be confused and use the desk as a laptop stand. If you just lump a few samples together than you’re not a producer, you’re an arranger. There’s only a handful of producers out there that I really respect. Guys like Break, Noisia, Heist, Benny L just to name but a few are absolutely killing it and pushing boundaries. Too many people faking it out there in electronic music, a lot of new acts using ghost producers and whatnot. We can be on the same line up but don’t think I’m going to respect you for it. I’ve done it the proper way, the hard way. Is this a new phenomenon? I think it’s worse now but there’s always but people faking it. It was a lot of the DJs I wanted to be like when was getting into it all. Here’s me trying to study everything, thinking that I needed to know all this information to make music just like my idols. I was heartbroken when I found out they didn’t make their own music. It can drive you crazy sometimes, navigating through all of the fake-ness, but as long as I’m true to myself I’m good with that. I’m here, always trying to improve, do new things, and explore this art form as much as I can. Are there any up-and-coming artists or producers in drum and bass that you are particularly excited about or listening to at the moment? There are some newer producers that are making stuff I’m liking. A producer called Enta. But if I’m honest, I’m finding more of the older producer’s new stuff is what I’m really vibing with. TC, Heist, Benny L, they’re just killing it. I think it’s because they’re making tunes and not just making drops. Most of the new lot are sample pack producers and too many people are using the same samples and pre-sets. Every tune’s got that bloody frog sound. I’m not feeling it at all. Then they have the cheek to call it jump up! Rubbish. It’s not a genre, it’s just laziness. Who’s going to be playing that in ten years? No one. They can all do something about it. If they want to book me for the same line ups, then go on, but don’t look me in the eye and tell me we’re on the same level. Don’t mention us in the same breath as me. This is the problem with kids these days: they want to be bigger, not better. As long as you realise that social media is not real, you’ll be fine. What would you say to new producers who are getting signings through using sample packs? Don’t get me wrong, there’s no shame in throwing together a few sample packs, but just don’t expect me to think of you as a producer. Be honest about it. Don’t pretend you’re something you’re not. I’m fortunate enough to be able to make music for a living, and I think when you’re in that position, you should really be trying your best to be an actual music maker, to perfect your craft, expand what you know and push boundaries. There’s been a few tunes I’ve just made recently that I’m feeling that way, that they push the boundaries. In all my years of producing, I’ve only accomplished that with a few tunes. What can people expect from this new release? You can expect your timeline to be full of me. If I’m honest, I just wanted them to do social media promotion. They’ve gone above and beyond with the vinyl release, I’m so happy to be working with them. Everything else is just bonus. Hazard’s Hospital EP is out now on, you guessed it, Hospital Records. It’s available to download and as a 12” vinyl on the Hospital Store.