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In January 2025, after months of teasers, Tame Impala’s new instrument company, Telepathic Instruments, released 1,000 units of the Orchid, a digital synthesizer with an emphasis on chord generation. According to the brand, all 1,000 units “sold out in under three minutes”. Now, the newcomer brand has announced the Orchid Drop 2, which will see 3,000 units released globally. Here’s what we know about the 29 May release and how you can get your hands on an Orchid. What is Orchid? Kevin Parker conceived Orchid over 10 years ago, according to the company, intending to create an instrument for songwriters to “find what’s on their mind”. The celebrated Aussie producer, multi-instrumentalist and Tame Impala mastermind co-founded Telepathic Instruments this year with a group of friends, and Orchid marks the brand’s debut product. Orchid is a 12-key, 16-voice polyphonic synth with three separate synth engines and a chord logic system for quickly building chords and chord progressions. A collection of onboard effects include reverb, chorus and delay, plus four LFOs and envelope generators for modulation. There’s also a separate bass engine for low-end duties. The synth was physically designed by one of Telepathic’s co-founders, Ignacio Germade, and also has a rechargeable battery and dual stereo built-in speakers for portable use. Orchid’s chord generator comprises a matrix of eight chord-type selecting and chord-modifying keys. To play a chord, you play the root note on the keyboard and use the generator to trigger the chord, selecting its voicing and using a rotary encoder to re-pitch and reposition the chord. Check out the video below for a demonstration and a warning to not get too jazzy. You can play Orchid in a handful of ways. Five performance modes are on offer, plus MIDI connectivity for hooking Orchid up to your DAW and other instruments. The performance modes are Strum, Slop, Arpeggiator, Pattern and Harp. The latter mode “mimics a harp being strummed to the sound of a given chord across a four-octave range,” says the brand. Meanwhile, a built-in Loop Mode lets you capture ideas and build upon them with overdub in a set loop. You can, of course, also play Orchid like a keyboard with its 12 velocity-sensitive keys. Telepathic Instruments stresses that the chord generation system effectively expands the keyboard to a full-size keyboard, not just the 12 keys on the unit. What’s new with Drop 2 of Orchid? Following the first run of 1,000 Orchids, Telepathic instruments has made some tweaks to the digital synth. This includes: 10 new sounds Improved loop mode Critical bug fixes Refinements to user experience When will Telepathic Instruments’ Orchid be released? On 18 December 2024, Telepathic Instruments made 1,000 Orchid units available to US customers. Drop 2 of Orchid, happening on 29 May, will be global — depending on your region, however, the exact timings of the drop will differ. North, Central, and South America Drop — open to all countries in the EDT time zone (including LATAM): 29 May at 7 pm EDT / 30 May at 9 am AET Rest of World Drop (AU/EU/UK/Asia): 29 May at 10 am CET / 6 pm AET The 3,000 units of Drop 2 will be available on the Telepathic Instruments website. As with Drop 1, customers will be required to follow Telepathic’s community, The Garden, for full instructions. Here, users can “shape and refine” Orchid before its wider release in 2025. Speaking about The Garden community and its influence, Telepathic says, “The original 1,000 Orchids weren’t just bought—they were beta-tested. Users directly influenced what’s launching in Drop 2 through a live feedback loop via Discord, Patreon, and community engagement.” The brand adds, “Since Drop 1, over 12,000 people have joined the Telepathic community on Patreon, representing 8,600 unique signups across 70+ countries. Fans of The Orchid include Fred Again, Gracie Abrams, and Murda Beats. Orchid Drop 2 continues that momentum by inviting a new wave of creators into The Garden—a digital forum and sandbox for sonic exploration.” How much is Telepathic Instruments’ Orchid? Drop 2 of Orchid maintains the original price of $549, with a custom carry case. However, Teleapthic Instruments does warn customers that, due to implications related to US and China trade regulations, tariffs may apply to US customers. What has Tame Impala said about Orchid? We’ve not heard any official word about the instrument from Tame Impala’s Kevin Parker, other than he and the team calling Orchid “an ideas machine”. The Telepathic Instruments brand was founded by Ignacio Germade, Chris Adams, Charl Laubscher, Tom Cosm and Kevin Parker. Charl Laubscher has provided some insight: “Orchid isn’t just about how much you know or don’t know — it’s about shaking up your creative process…It’s a tool for anyone who wants to step outside their musical comfort zone, to experiment and to find what’s on their mind.” Read more music technology news. The post Telepathic Instruments’ Orchid, Drop 2: All the details about Tame Impala’s synth and how to order one appeared first on MusicTech. View the full article

Miami-based DJ and producer Jonathan Einhorn is stepping into a bold new chapter. Known to millions as Baddies Only, the viral sensation is officially rebranding with his new alias, John Elle, and the launch of his own label, Club Bad Records. The John Elle era officially begins on May 22nd with the Afrobeat single ‘Reloj’, featuring Puerto Rican star Lenny Tavárez and Dominican hitmaker Shadow Blow. This marks a fresh, global sound for the artist, blending infectious Afrobeat rhythms with Latin influences. Following this release, fans can expect ‘No Creo En Amor’, with John Elle stepping in front of the mic as vocalist for the first time. An EP featuring his biggest tracks to date is also on the horizon. Before his rise as Baddies Only, Einhorn began his musical journey as DJ Yoni, performing at college events and local parties during his time at the University of Chicago. This early experience laid the foundation for his dynamic presence in the dance music scene. This rebrand signals more than a name change—it’s a complete artistic evolution. With over 250 million Spotify streams, a #1 hit on Traxsource, and a Top 100 Beatport entry, Jonathan Einhorn has built an undeniable presence in the dance music scene. His viral hit ‘Aquí Las Colombianas’ soared to #6 on the Shazam Dance Global Chart, amassing 1.2 million Shazams. And with 14 million followers and 6 billion views across social platforms, his fanbase is massive and highly engaged. In his own words, John Elle shared: “Baddies Only was a bold experiment designed to capture attention and inspire a community. Now, with the amazing followers who’ve joined me on this incredible ride, it’s time to reveal the next chapter: John Elle. This rebrand isn’t just a name change; it’s a reflection of artistic growth, depth, and my evolution as a vocalist and producer. I’ve reached a stage where I want the world to see and hear the real person behind the music, with authenticity at its core. John Elle marks a new era of creative freedom, personal storytelling, and musical innovation. ‘Baddies Only’ was just the beginning.” Big things are coming—‘Reloj’ drops May 22nd, and fans won’t want to miss what’s next. Stay locked in with EDMTunes! The post Baddies Only Rebrands To John Elle, Launches Label Club Bad Records appeared first on EDMTunes.

Darude is ringing in 25 years of "Sandstorm" by turning Helsinki into a real-life playground for fans of the track that defined a generation. The event, simply dubbed the "Sandstorm Run," invites participants to jog, sprint or stride along a six-kilometer route mapped directly through the sites made famous in the track's iconic turn-of-the-century music video. Scheduled for August 31st, just under a week before the Finnish leg of Darude's "STORM 25 World Tour," the run starts and ends in Kaivopuisto, a coastal park that locals and longtime fans will recognize from the video's early chase scene. From there, runners will make their way through southern Helsinki, including a pass by the steps of the Helsinki Cathedral. Darude himself will be onsite for the event, cheering participants on and serving as a judge for its costume contest, which encourages runners to dress in the spirit of the "Sandstorm" video. Prizes for the best outfits—awarded in individual, pair and team categories—include a meet-and-greet with Darude, group photo and tickets to the "STORM 25" concert at Kattilahalli. “It’s amazing to celebrate my career right where it all began," Darude said in a statement. "The 'Sandstorm' video is still watched around the world, and it’s incredible to see it come alive again through the runners. I hope as many people as possible join us to have fun and get moving." The event is being organized by Vauhtisammakko, a local fitness services company. Early-bird registration is available through June 30th for €39, with standard pricing kicking in July 1st at €59. You can find more details about the "Sandstorm Run" and register here. View the original article to see embedded media. Follow Darude:X: x.com/Darudevil Instagram: instagram.com/darude Facebook: facebook.com/darude Spotify: spoti.fi/3lTMfa1

Global dance music audiences are in for a treat as Italian DJ/producer, ROCK-ARO, teams up with Dominican reggaeton icon, El Chuape, on the explosive single titled ‘Santo Domingo‘, released on SSL Music. Take a listen for yourself here! Fusing the fiery attitude of Latin urban music with bass-heavy club energy, ‘Santo Domingo’ is a celebration of roots, rhythm, and the irresistible power of movement. With its driving reggaeton bounce, pulsing house beat, and a carnival of horns and chants, this release marks a bold statement from two dynamic artists who are no strangers to igniting dance floors. The track is a sonic homage to El Chuape’s hometown, blending his signature vocal swagger — previously heard in hits like “Ponme To’ Eso Pa’ Lante” and collaborations with HUGEL and Ryan Arnold — with ROCK-ARO’s seasoned festival-ready sound. The result is a record poised for massive international resonance. Inspired by the vibrant spirit of El Chuape’s hometown, the track was born from a shared vision to fuse Caribbean flair with European club power. Driven by booming bass lines, festival-style horns, and El Chuape’s unmistakable energy, ‘Santo Domingo’ is more than a party track—it’s a celebration of identity and international sound. “I wanted to create something that feels like dancing through the streets of Santo Domingo, but with the power of an Ibiza mainstage drop. It’s a personal and global moment in one.” – ROCK-ARO “When I heard the instrumental, I knew this wasn’t just another beat—it had the fire and flavor I grew up with, but with a whole new energy. We just had to make it happen.” – El Chuape About the Artists ROCK-ARO, born in Sicily, is a globally touring DJ and producer with over 1.4 million followers and a musical identity rooted in electronic music, bass house, and techno EDM. He became the first Italian DJ to perform at New Year’s Eve events in both Dubai and Abu Dhabi, and has delivered high-impact performances across Italy, Spain, Turkey, Venezuela, Monte Carlo, Bahrain, and more. With releases on Sony Italy, Blanco Y Negro, Warner Chappell, Clippers Sounds, and more, he is also known for collaborations with Latin icons such as Elvis Crespo, Fulanito, and El Chuape. He is currently partnered with global brands like Mercedes, Nissan, MSC Cruises, and Starter Italia, further elevating his profile. EL CHUAPE (Virgilio Rodríguez Adams) is a pioneering force in the Dominican Republic’s urban music scene. His breakout hit “Ponme To’ Eso Pa’lante” not only topped charts like Billboard, iTunes, and Shazam, but was also featured in Toyota’s global campaign for the 2017 Camry, making him the first Dominican artist selected by the brand. He has dominated Italy’s Reggaeton Top 50, surpassing the likes of J Balvin and Daddy Yankee, and has collaborated with Dominican legends like Johnny Ventura. With over 30 million YouTube views and a powerful stage presence, El Chuape is both a cultural icon and a global club favorite. The post ROCK-ARO & El Chuape – ‘Santo Domingo’ appeared first on EDMTunes.

Ambient music legend Brian Eno has denounced Microsoft, saying its ties to the Israeli government “leads to surveillance, violence and destruction in Palestine”. Eno has historical professional ties with the technology corporation, having composed the startup chime for its Windows 95 operating system. READ MORE: Brian Eno: “The biggest problem about AI is not intrinsic to AI. It’s to do with the fact that it’s owned by the same few people” In a lengthy new social post, Eno notes that while he “gladly took on the project as a creative challenge”, he “never would have believed that the same company could one day be implicated in the machinery and oppression of war”. Eno mentions a recent blog post by Microsoft, in which it acknowledged providing the Israel Ministry of Defence (IMOD) with “software, professional services, Azure cloud services, and Azure AI services, including language translation”. Microsoft explained that its relationship with the IMOD is structured as a “standard commercial relationship, and that the IMOD is bound by Microsoft’s terms of service and conditions of use. “These require customers to implement core responsible AI practices – such as human oversight and access controls – and prohibit the use of our cloud and AI services in any manner that inflicts harm on individuals or organisations or affects individuals in any way that is prohibited by law.” It went on: “Based on our review, including both our internal assessments and external review, we have found no evidence that Microsoft’s Azure and AI technologies, or any of our other software, have been used to harm people or that IMOD has failed to comply with our terms of service or our AI Code of Conduct.” While Microsoft said it is “important to acknowledge that [it] does not have visibility into how customers use our software on their own servers or other devices”, Eno accuses these services “support a regime that is engaged in actions described by leading legal scholars and human rights organisations, the United Nations experts, and increasing numbers of governments from around the world, as genocidal”. He adds: “Selling and facilitating advanced AI and cloud services to a government engaged in systematic ethnic cleansing is not ‘business as usual’. It is complicity. If you knowingly build systems that can enable war crimes, you inevitably become complicit in those crimes.” Calling on Microsoft to “suspend all services that support any operations that contribute to violations of international law”, Brian Eno pledges that the fee he received for his Windows 95 chime will now go towards helping the citizens of Gaza. “If a sound can signal a real change, then let it be this one,” he says. Microsoft is under increasing pressure over its working relationship with the IMOD, including from its own employees. As reported by The Verge, firmware engineer Joe Lopez interrupted a keynote by CEO Satya Nadella, yelling: “How about you show Israeli war crimes are powered by Azure?” The post “If you knowingly build systems that can enable war crimes, you inevitably become complicit in those crimes”: Brian Eno calls out Microsoft over ties to Israeli government appeared first on MusicTech. View the full article

22nd of May might seem like a date that should go unnoticed and that most wouldn’t think twice about. When it comes to the electronic dance music scene however, it marks the 25th anniversary of one of the most iconic Eurodance tracks Around The World (La La La La La) by ATC (A Touch of Class) – an anthem that would orbit the globe on repeat for years to come. On paper, the cover of the Russian pop song Pesenka by Ruki Vverh! didn’t make much sense, but with sugar-coated synths, a bouncing Eurodance beat and the catchy hook ‘’Around the World’’, the debut single from the band that no one had ever heard of, (consisting of four strangers performing in a German stage production of Cats), became nothing short of pop alchemy. In Germany, Around The World (La La La La La) took the number one spot for six consecutive weeks, and it didn’t take long before the track was blasting from club speakers in Italy, Sweden, Australia, and ended up taking over dancefloors worldwide. Two and a half decades later, and over 250 million streams on Spotify alone, and Around The World (La La La La La) continues to captivate by introducing the song to new generations and rekindling nostalgia among original fans. Around The World (La La La La La) has also inspired numerous artists to reimagine it, and in 2019, R3HAB collaborated with ATC to infuse the classic with modern electronic elements. The version achieved significant success and reached the top 20 in several countries around the world. A lot of us never learned the full verses, but the “La La La La La” got burned into our DNA. Was it Eurostyle hypnosis? We’ll never know. But the track’s still out there, circling the globe in syllables – and today, we’re celebrating its 25th anniversary by giving Around The World (La La La La La) by ATC another dance.

Artist-owned record labels are nothing new. Zeds Dead has Deadbeats. Truth has Deep, Dark, and Dangerous. Clozee has Odyzey. Excision has SUBSIDIA… the list goes on. As an artist, owning a record label is a powerful opportunity to explore a creative vision without limits. It’s also a great way to promote smaller artists who represent innovation. Record label owners (especially those who are also artists) are tastemakers. But the best tastemakers see beyond the music. This is the ethos behind INZO’s new record label, Local Void. INZO, whose real name is Mike Inzano, is a world builder. His music transcends the traditional parameters of dubstep, future bass, downtempo, and any other genre you might assign to INZO. Since 2015, Inzano has created ethereal experiences for listeners, often sourcing inspiration and samples from philosophers like Alan Watts. His music has a clear message: Embrace the present. His record label, Local Void, is a vast new expansion for this creative ethos. Learn more about the sci-fi inspiration for Local Void’s imaginative identity, how music might be shaping human evolution, and how nature plays a crucial role in Inzano’s creative process. You just launched your own record label, Local Void, alongside the label’s debut single — a cinematic collab with LSDream titled “Artifacts of a Higher Dimension.” I sense a lot of sci-fi influence in this new venture… would you say sci-fi plays a role in shaping Local Void’s sound and brand? Definitely, but I like to think of it as sci-non-fi, like scientific nonfiction. I’m a huge astronomy nerd… I love space travel; NASA, SpaceX, Carl Sagan, Interstellar, all that sort of stuff. I love the idea of becoming multiplanetary and preserving consciousness. The science of music and sound waves is mind-blowing too. Sound waves exist naturally. Birds chirping, the sounds of nature… It’s all very musical in a way. In the modern age, music is much more digital. But when we make music, no matter how “electronic” it is, we’re still doing our own natural interpretation and expression through sound waves. The fact that the right concoction of sound waves can enter our eardrums and cause a chemical reaction in our brain, which releases serotonin and dopamine that makes you feel good, is so cool. Whether you believe it’s spiritual or not, I think there’s a deeper reason why music exists. Do you have a vision in mind for the world you want to build with the Local Void record label? For sure. The term “local void” literally represents an empty void in space where there’s a minimal amount of matter. No stars, no gas, no planets; it’s a real void. This record label is designed to be a blank canvas for artists to create whatever world they want within the void. I definitely see the sci-fi element. But the INZO project is also often associated with natural elements in your music and visual experience. Would you say nature inspires your creative spirit? Absolutely. When I look at something beautiful in nature, I often envision and hear an entire soundtrack around a scene. That’s the foundation for many of my musical ideas before they eventually evolve into something else. But yeah, nature inspires me in the sense that the natural world emits a musical vibe to me. The desert sounds a certain way in my head. So does a waterfall. I like to create music in nature too; Blookah and I went to the Moab desert recently to record some tunes for our ambient project. We set up a makeshift studio in the middle of the desert and we kind of painted the picture of what we were seeing with our music. You moved to Colorado four years ago, which is one of the best places in the world for nature-lovers. Has living in Colorado impacted our relationship with nature in any way? Well my parents actually had a place up in Beaver Creek when I was growing up, so I’ve been coming to Colorado pretty often for most of my life. Colorado has always been a second home for me, and I think that played a subconscious role by exposing me to nature in such a real way when I was a kid. As I got older, as with most things, I began to appreciate all of the nature in Colorado much more. When I was living in Chicago, I always missed the mountains. The music scene in Chicago is great, but I realized how much I love the mountains in Colorado. The music scene in Denver is great too of course, but the mountains… they’re inspiring. It must feel so awesome to sell out Red Rocks this year! There are few places in the world that combine nature and music the way the Red Rocks Amphitheatre does. What makes Red Rocks such a sacred space for music (specifically bass music)? Aside from the physical attributes of the giant red rocks… People generally feel comfortable at Red Rocks. The way the seating is set up, people usually get to have their own space, which is great. The actual amphitheatre is a bowl shape, so it feels like you’re in this valley of rocks. Being in that space is very humbling. It feels huge, but also reminds you that we’re so small. Somehow, with all of that, it still feels intimate. Also — the musical history there is insane! All the legends have played there… The Beatles, Bob Dylan, and every other legendary artist you can think of. That’s so cool to me. I’ve had my fair share of spiritual experiences at the Red Rocks amphitheatre… there is something very special about that venue. But I think music in general can be a spiritual experience. Do you feel the same way? Is music a spiritual experience for you? I’d say so. Spirituality is such an umbrella term. People have their own interpretations of spirituality. To me, spirituality is succumbing to the unknown and not really having the answers to certain things. Like why music can make us feel so good… scientifically, we know the process of how this happens, but no one really knows what purpose music plays in evolution. That’s where the unknown comes in. Why do we instinctively long for and have a desire to share musical experiences with each other? It’s built in the human blueprint somehow. I think spiritually, music and art will play a long-term role in shaping human evolution and consciousness by encouraging people to come together to share something they love with each other. That creates an environment for empathy, and creates a common ground. Hopefully, every time we go to a show or indulge in things like music and art, we feel a little less divisive and different from one another. I love that… the more we talk the more I understand why Alan Watts shows up in so much of your earlier music. Can you pinpoint what originally inspired you to weave Allan Watts into the INZO project? When I first heard Alan Watts, I was at a relatively low point in my life, literally googling “how do I stop overthinking?” I came across the speech that’s included in “Overthinkinker” and once I listened to it… it was like, damn, I know all of this stuff but it still feels so great to hear it. Sometimes you don’t know how to process your own thoughts or conceptualize something until you hear it said in a very comprehensive way and that’s what Alan Wats was for me. It’s so poetic, and it had a massive impact on me the first time I heard it. I knew I wanted to share that message in my music. Using my music as a medium to share Alan Watt’s message was the goal at first. I feel like I’ve done that as much as I can at this point. I’ve shared most of the Alan Watts quotes that have really had a massive impact on my life. There’s so much more I could include in my music, but I never want it to feel disingenuous or forced. I totally get that. Regardless, I think it’s so cool that you’re introducing these philosophical concepts and spiritual ideas with people through your music, who might not have been exposed to it otherwise. Do you ever think about that? Totally. I’ve had tons of fans tell me I was the artist who got them into electronic music initially, or I was the first electronic show they attended. A lot of those people discovered me from “Overthinker” which features a speech from Alan Watts. It feels great to know I might be a gateway for people to discover certain philosophies and genres of music. Launching Local Void definitely feels like a new phase for the INZO project.We’ve talked about the world you’re creating with Local Void, but I’m curious about the community aspect. What are some of the main goals and aspirations that you have in terms of creating a community where people can exist with this music? Firstly, music aside, I’d like it to attract good people. I’m hoping the vibe attracts a tribe because in a sense, the label feels like a way for me to give back to the music community. I’m so blessed to have built up a platform that I can confidently release my own music on, and I want to use that to help other artists. Most of the tunes that are coming out on Local Void this year are my own tracks. I also have an ambient project with my friend Blu. I think a few of those tracks will also be released on Local Void. The goal is to get the steam rolling to get some attention focused on the label, then start releasing music from other artists. We have close to 200 submissions already just from our submission link, and I have a handful of artists that I’m personally reaching out to see if they want to do a body of work, or any sort of single on the label. It’s very exciting.

“Even from my very first tracks, I had a desire to get really into the machines, to make a different world inside one of the boxes, live inside there instead,” Aphex Twin said in 2014. READ MORE: Zeds Dead sampled a century of sound to create their new sci-fi bass odyssey The trickster producer exploded electronic music in the early 90s with strange rhythms and visuals, endless sonic detours and a hearty dose of tomfoolery. His cutting-edge music is rarely one genre, exploring dreamy ambient textures, hard and fast techno, trippy breakbeats and jolting sounds in unexpected song structures and layers. He was a part of Warp Records’ ever-influential IDM-labelled founding class alongside Autechre, Boards of Canada and Squarepusher, influencing a wide range of acts from Radiohead to Daft Punk. Many have pondered the question we’re going to try to answer: Who will be the next producer to shape electronic music as Aphex Twin did? Why Aphex Twin is considered the GOAT in electronic music The Cornwall-bred producer, born Richard D James, popularised the album format in electronic music, and has released six studio albums under his main alias since his famed first in 1992, Selected Ambient Works 85-92, whose title claims he made the earliest tracks at age 15. While his catalogue is staggeringly winding and nearly impossible to dissect — although plenty of fans have painstakingly tried — his biggest songs give a taste of his range: 1999’s weird and propulsive Windowlicker, and the soothing piano ballad Avril 14 from his divisive fifth studio album, 2001’s Drukqs. His music remains strange, his acclaim is truly widespread, with his 2014 album Syro even winning a Grammy (a ceremony that James, naturally, did not attend). Given all the twists and turns James has taken throughout his career and his rather singular nature, it feels almost impossible that someone could follow a formula to become the “next Aphex Twin” or to even consistently sound like him. So, instead, MusicTech is looking to the next generation of innovative and exciting electronic DJ/producers who are reshaping dance music with layered, trippy production, a distinct yet evolving sound and a unique overall artist package. Producers bringing both ambient and sharp sounds with playful visuals and track titles are the Aphex-ness we’re looking for here. Skee Mask Munich-born Bryan Müller is often compared to Aphex Twin for his layered, IDM-reminiscent take on electronic music and evasive public persona. He’s also often labelled as techno, but his music is as diverse and meticulous as his patron saint, with smoother corners and dreamy soundscapes for enhanced enjoyment. He put his first track out over a decade ago on his hometown’s Ilian Tape, back when he was a teenager holed up in his bedroom. He’s followed the Aphex format, if there is one, of releasing albums along with compilations of archival tracks. His latest music— his fourth studio album Resort — is a hypnotic dose of what Müller does best: layered, lush, deep soundscapes. It also showcases his malleability, with the tracks progressing from fully ambient to beachside groovers. “Skee Mask is one of dance music’s greatest crossover stories of the past decade, with new albums greeted with the attention usually reserved for an Aphex Twin or a Caribou,” Resident Advisor wrote in 2023 on SoundCloud, where his RA mix has clocked over 138,000 plays. “It’s not hard to understand why: [on] albums like Compro, he blends well-worn dance music tropes with incredible, detailed soundscapes and spine-tingling melodies.” Müller has an anti-establishment streak, à la Aphex, yet despite his guardedness, there’s something very earnest about his public persona. He regularly shares tracks he likes on Twitter, along with enthusiasm for his gigs, which include recently earning a residency at Tresor. He, along with his label home Ilian Tape, pulled his catalogue from Spotify after the news that its CEO, Daniel Ek, had invested in AI weapons company Helsing. He takes his role as a musical tastemaker seriously, seeing his festival sets as a “chance to change minds about how good music should sound.” Loraine James Loraine James is one of the most exciting electronic artists today, blending glitchy beats and warped vocals with IDM and DIY sensibilities. There’s darkness, beauty, vulnerability, kinetic energy and angular beats across her catalogue, sometimes all in one track. She’s collaborated with and remixed a range of fellow cutting-edge, genre-blending acts including Jessy Lanza, Yaeji, keiyaA and Kelela. She first showcased her hard but dreamy soundscapes on 2017’s Detail. For You and I followed in 2019 — her debut on Kode9’s London imprint Hyperdub — and marked her as a widely touted one-to-watch. The latter’s opener, Glitch Bitch, a sparkly, skittering, moody trip could serve as her artist thesis, while the subsequent two tracks bang with heavy, abrasive doses of in-your-face beats. She explodes the snobbery and white maleness of IDM, bringing improvisation and her queer Black femme identity playfully into the mix while working mostly in-the-box, without cost-prohibitive gear. James is truly expansive and unbounded in her musical output, recently exploring her love of math rock and ambient music with a side project entitled Whatever The Weather, currently spanning two albums on Ghostly International. On her third Loraine James album, Gentle Confrontation, she leaned into a more down-tempo rhythms and centred her voice with introspective lyrics. Her latest release, an atmospheric, smoky collab EP with Anysia Kim, continues in that vein to enticing effect. We can’t wait to hear what sonic textures and themes she explores and expands next. Vegyn Vegyn, born Joe Thornalley in London, makes moody, layered, fuzzy electronic music that dances from liquid drum and bass to ambient and far beyond. The prolific producer broke out in 2016 after working with fellow boundary pusher — and Aphex Twin fan — Frank Ocean on Blonde. He earned early support from James Blake and has worked with Travis Scott and JPEGMAFIA. He’s also an in-demand remixer, recently getting tapped by Air to add a lightly trippy touch to their beloved 1998 album Moon Safari. He’s put out two studio albums, alongside 70-plus-track brain dump mixtapes, a very Aphex thing to do. His self-designed album art and titles feel like a modern internet rendering of his British electronic brethren: Text While Driving If You Want To Meet God! shows a crashed car above the words: “Honk if you love Vegyn,” while The Road To Hell Is Paved With Good Intentions boasts a minimalist collage of lo-fi “spiritual” computer graphics. Thornalley is both prolific and uncensored in his music releases, but reticent to give interviews and talk about his music. While he’s done an Aphex Twin tribute on his NTS Radio show, he avoided telling Rolling Stone what his favourite song of his is, instead questioning the breathless awe given to the Xtal producer: “There’s a lot of good stuff there. I’m not going to go on record and say that he’s overrated. I think I would be crucified for that. But I think it’s just techie drums. People could just program drums on a computer for the first time.” Marie Davidson French-Canadian musician and producer Marie Davidson serves cutting commentary on rave culture, capitalism, big tech and more atop industrial, Soulwax-approved beats for a coy take on club music. She’s the trickster of this bunch. While Aphex Twin avoided making political statements with his art beyond poking fun at pop culture, Davidson takes our dystopian reality to task with pointed sarcasm and dark synths that cut through the noise. Just as James pushed against the bounds of what dance music could sound like, Davidson continually questions its purpose, bringing it back to radical roots, with all the weight of the 21st century wrapped up in it. Davidson has been putting out heady, campy and all-around sharp electronic music since 2015’s Un Autre Voyage but it was her Polaris Prize-nominated Ninja Tune debut Working Class Woman in 2018 and the propulsive Soulwax edit of Work It that made her a dance music heavyweight. Her latest album, City Of Clowns, her first for Soulwax’s DeeWee (the Dewaele brothers also co-produced the album) sees her embracing technology like no one else today, wearing its shiny costume for a campy dark comedy that’s all too resonant. She found inspiration in scholar Shoshana Zuboff’s 700-page manifesto about tech companies’ control over our lives, The Age of Surveillance Capitalism — intellectual dance music anyone? — yet had fun with it, reminding us of the clownery that is late-stage capitalism. On Demolition she embodies the hungry ghost we can’t seem to ever truly opt out of: “By the way, I don’t want your cash, no / What I want is you / I want your data, data, baby.” Authentically Plastic Authentically Plastic is the answer to “What if we queered Aphex Twin?” The non-binary Ugandan artist is making some of the hardest, most inventive dance music out there, incorporating African genres like Tanzanian singeli and South African gqom with industrial techno. They are reuniting techno with its Afrofuturist roots, centering it in Africa, for queer, gender-expansive beings. Community is essential to their artistry. The Anti-Fun producer launched a queer artist collective and party, ANTI-MASS, in their hometown of Kampala in 2018, a vital and transgressive space in a country where homosexuality is punishable by death. They put out their first release alongside ANTI-MASS residents Nsasi and Turkana in 2021, dropped their anticipated debut album on Kampala’s Hakuna Kulala in 2022, and put out the banging Soul Clench EP last October. While Authentically Plastic’s catalogue is slimmer than the others on this list, it perhaps packs the most punch and colours the furthest outside the lines. “I produce because the things I want to hear, I don’t really find anywhere else — at least not on most record labels,” Authentically Plastic recently said. “Four-on-the-floor techno has become dominant, and because it’s so powerful and widespread, it has tended to suppress other possible forms of techno. What I’m trying to do with Raw Space is create space for other potential forms of techno to emerge. Mostly, I do this by engaging with traditional rhythms and scales that are very different. It’s inspired by Kadodi, a form of ritualistic music from Eastern Uganda, as well as some music from Northern Uganda.” This is mind-bending music representing the anxiety of oppression, of a vital need to shake off its weight in community, until a new future is born. We sure need it. The post Who is the next Aphex Twin? Meet the producers warping the future of electronic music appeared first on MusicTech. View the full article

$199 ($149 intro pricing until March 31) $49 crossgrade license for hardware owners korg.com Korg has expanded its range of softsynths with multi/poly native, a plugin version of the recently-released virtual analogue synthesizer, which is available in keyboard and rack versions. READ MORE: Scaler 3 is packed with music theory power, but is it still too niche? Its design draws inspiration from a Korg fan favourite, the paraphonic Mono/Poly synth from 1981. Although not as well known as the Moog Prodigy or the Sequential Circuits Pro One, the Mono/Poly was certainly ahead of its time, with four oscillators, two LFOs, and innovative additions like oscillator sync and cross modulation. With the multi/poly, however, Korg has branched out from this framework to create a powerful virtual analogue synth engine. While its interface seems immense at first, multi/poly native is actually intuitive and simple to navigate. The layout design is impressive, immediately giving a complete overview of all four synth layers from the home Play screen. While the depth of features may overwhelm beginners, perseverance will be rewarded as you proceed to get your head around the Edit section. As you’ll swiftly find out, multi/poly native is designed to create an endless range of multifaceted, expressive sounds. Whether you’re a skilled keyboard player, or you prefer to build evolving loops with a step sequencer, multi/poly offers a platform to explore sound creation on your terms. Using the Korg multi/poly native Running as a plugin in your DAW, or in standalone mode, there isn’t a single right way to dive into multi/poly native. Connect your favourite MIDI keyboard controller and treat it like a hardware instrument, or slot it straight into your usual in-the-box music production workflow, layering elements to build soundscapes. Although it may not be the most glamorous or exciting move, the fastest way to explore the capabilities for the multi/poly native is to dive headlong into the patch library. As you explore, you discover a wealth of well-crafted sounds that instantly spark inspiration. The Librarian differentiates between Performances that can contain multi-layer presets with per-layer keyboard zone data and Programs that are specific to each layer. This distinction is fundamental in learning to use the multi/poly native, as the Modulation List, Main Effects, Kaoss Physics, and Arpeggiator settings all work globally across every layer. Meanwhile, each of the four individual layers has its own sequencer and effects section allowing you to get the most from every crafted sound. Once you understand the basics of the global Performance and per-layer Program features, you start to get a picture of how balanced the multi/poly is as an instrument. When focusing on sound creation, the possibilities are endless, starting with a choice of either classic oscillator waveforms, digital wavetables, or Korg’s unique West-Coast style waveshapers for creating unique, animated harmonic sounds with wavefolding capabilities. As with most virtual analogue synths, the workflow within the multi/poly’s Synthesis section moves along from the sound source to a filter section. Here, the versatile dual filter has a wide range of filter models including classics like the MS-20, Prophet-5 and Minimoog, while the mixer section lets you pan and balance the oscillators, ring modulator, and noise across the stereo mix. Just like the original Mono/Poly, there are Sync and X-Mod functions for creating classic phasing leads and lush wide pads. Also, special analogue modeling features provide a range of VCA models and the Drift & Voice Variation section gives you detailed controls for adjusting analogue drift in different areas. This allows you to simulate an out-of-the-box analogue synth, or one that is slightly wonky and in need of a service. Advanced sound creation with the Korg multi/poly plugin There are areas where the multi/poly truly shines in comparison to similar synth plugins. For one thing, its modulation capabilities are extensive, as each layer has a modulation section (the darker area below the Synthesis part of the interface). Using drag and drop you can access the Kaoss Physics section, the envelopes, LFOs, keyboard tracking, modulation processors, and the sequencer to control almost any parameter. But things really get interesting when you discover multi/poly’s sequencer. With Korg’s Motion Sequencing 2.0, the timing, pitch, shape, and four sets of step sequence values are all separated into independent ‘lanes’. Each lane can have a different number of steps, and can be randomised and modulated to create unique results every time they play. While the learning curve is somewhat steeper here, the creative possibilities and potential for happy mistakes make it all worthwhile. Even once you’re comfortable with the sequencer and modulation options, there are still four layers to expand your ideas across and a range of dynamics, modulation, and delay effects per layer. Is Korg multi/poly native worth buying? The multi/poly native is a complex, highly expressive virtual analogue beast that stands out vividly in a sea of other options. With its well-designed interface, you are always in control, even when using all four of the synthesis layers. If you’ve used other legendary virtual analogue synths like the Virus TI or the Nord Lead, you’ll be astonished how well multi/poly measures up, especially if you’re using both the plugin and the hardware version. The way the plugin lets you easily set up performances and customise keyboard splits makes it the perfect companion for live musicians using the multi/poly keyboard or module in their rigs. Meanwhile, new users will enjoy the fact that you can do anything from recreating classic synths to building intricate digital morphing soundscapes. Once you’ve got your head around the interface, sound design workflow is a breeze, which makes multi/poly native an inspiring and engaging instrument to use. It outshines its closest rival, Pigments, in many areas. For example, the sequencer is more advanced, and the fact that it exists as a hardware instrument gives the multi/poly native appeal to live musicians, rather than being exclusively a sound design platform. Although the sequencer and deeper modulation features are trickier to master, multi/poly native is actually incredibly straightforward. It allows you to get under the hood of most sounds without reaching for the manual. Key features Plugin version of multi/poly hardware Detailed modelling of classic analogue synths VST3, AU, AAX and standalone app 4-layer multitimbrality Wide range of wavetable and waveshaper oscillators Motion Sequencing 2.0 Per-layer and global effects sections Keyboard split editing The post Korg’s multi/poly plugin is a virtual analogue powerhouse appeared first on MusicTech. View the full article

Musician and producer Alison Goldfrapp is truly captivating music fans this month. With the thrilling announcement of her upcoming album “Flux,” she has already delivered the first exhilarating single, “Find Xanadu.” Now, she’s back with a second gem, “Reverberotic,” another remarkable collaboration with Stefan Storm of The Sound of Arrows. This track showcases how Alison and Stefan pushed each other into exhilarating new creative realms. The resulting sonic landscape is a masterful blend of widescreen pop and quirky electronica, packed with irresistible danceability that’s sure to spellbind and get listeners moving in equal measure. “It’s a mood, a tonic. Oozing saturating, fascinating. It’s Reverberotic.” the lyrics explain, amid the swirling, pulsating beats. “Reverberotic” immerses listeners in a rich tapestry of otherworldly sensations, a blend of auditory elements that feels like a celestial embrace. The lyrics poetically capture the essence of “luna vision,” an ethereal perspective that invites a soothing energy, evoking an almost dreamlike “glow.” With Alison currently on tour opening for the iconic Scissor Sisters, her urgency in releasing “Reverberotic” becomes even more apparent. This captivating piece brims with an enchanting allure, exuding a magnetic pull that envelops listeners in its lush, intoxicating soundscape. Each note resonates with a transcendent quality, making it an irresistible journey that lingers long after the music fades. A captivating whirlwind of swirling, dizzying, and psychedelic sensations envelops the listener, radiating an irresistible aura of sultriness and allure. This exhilarating experience is precisely what Alison dubs “Reverberotic.” Each note pulsates with a tantalizing rhythm that ignites the senses, making it undeniably a true eargasm—an immersive journey that leaves an indelible mark on the soul. Further hinting at the album, Alison explains… “Flux” is about feeling and embracing change, celebrating the wild and euphoric. I’d say this time, both musically and lyrically, the songs are more personal than “The Love Invention” as you might expect from me by now, they revel in fantasy and the natural world too”. “Flux” arrives on August 15 via Alison’s own recently launched indie label, A.G. Records pre-order/pre-save here. Connect with Alison Goldfrapp Facebook: https://www.facebook.com/AlisonGoldfrappOfficial/ X: https://x.com/alisongoldfrapp Instagram:https://www.instagram.com/alison_goldfrapp/ The post Listen to “Reverberotic” by Alison Goldfrapp appeared first on EQ Music Blog. View the full article

As far as titanic collaborations go, few will ever be as big as Avicii and Martin Garrix getting together in the studio to make the 2015 classic ‘Waiting For Love.’ Now reaching the milestone of its 10th anniversary, we can reflect upon the story behind and achievements of this great song and the people behind it. ‘Waiting For Love’ started out life as hummed melodies being sent back and forth between Avicii and Garrix till they figured out what they wanted. Once the instrumental took shape it was the lead singer of Cherry Ghost, Simon Aldred, who was brought in to provide the unforgettable vocals. The video for the track is almost as unforgettable and was directed by Sebastien Ringler who had worked with Avicii before directing the music videos for ‘Addicted To You’ and ‘You Make Me.’ This collaboration of powerhouses was bound to find success as it launched into the charts around the world reaching #1 in 4 countries. It climbed to #6 in the UK going double platinum having sold 1.2 million copies, as well as hitting #7 in the Billboard US Hot Dance/Electronic Songs chart. Over the past 10 years ‘Waiting For Love’ has amassed over 1.5 billion streams on Spotify. Garrix celebrated the 1 billion stream marker with a short but sweet tribute saying, “I miss you Avicii! Waiting for love reached 1 billion streams today and I wish we could celebrate it together.” It still remains a part of Martin Garrix’s sets with the vocal being mixed into ‘Tremor’ creating a flawless mashup. ‘Waiting For Love’ is a timeless classic that brought together two of the greatest melody writers to ever grace the music world and will forever be one of the best collaborations of all time. After first appearing on Avicii’s ‘Stories’ album, 10 years on it features on the compilation album ‘Forever’ showing the endless adoration there is for ‘Waiting For Love.’

Photo Credit: Spotify After rule changes allowed Spotify to link to external payment options in its iOS app, the digital streaming provider (DSP) reports a boost in premium subscriptions on the platform. Spotify says its internal data shows that the recent update supporting web payments has resulted in “a significant increase in iOS users upgrading to a Premium subscription.” This development follows the U.S. District Court in Northern California ruling in favor of Epic Games—forcing Apple to allow apps like Fortnite and Spotify to link to external payment methods. iOS developers can now inform customers of alternative payment methods like web billing, as well as any discounts for paying that way. Spotify was one of the first companies to update its app to take advantage of the new policy. The updated version of the app explains what the subscriptions cost, why the in-app purchase for iOS is more expensive, and how to get the cheaper price by paying with a web subscription. The update also allows them to purchase audiobooks on the Spotify app directly instead of needing to do so on the desktop app or web browser. “The 2025 order has created substantial benefits for developers and—more importantly—consumers,” Spotify states in a new filing. “Spotify’s internal data shows that its iOS app updates have already resulted in a significant increase in iOS users upgrading to a Premium subscription. Apple’s compliance has also enabled new product innovations that would not have been possible without the injunction.” https://www.digitalmusicnews.com/wp-content/uploads/2025/05/spotify-revised-payments.mp4 Spotify’s revised Premium Destination Page in the iOS app now tells free users how to upgrade to a paid subscription. It offers information about the prices and a link to the checkout page for users to pay with a credit card or PayPal. While Spotify’s conversion rates on Android have remained relatively constant, those for iOS users have upticked substantially. “This strongly suggests that the increase is due to Apple finally complying with the injunction thanks to the 2025 order,” Spotify writes in the filing. It adds that audiobook purchases from the iOS app are also ticking upwards, thanks to the new payment options. Spotify has declined to share actual numbers, while Apple filed an emergency motion to revert to its old policy while appealing. The court decided not to grant that motion—so the external payment options for Spotify and Fortnite are here to stay while this case continues to play out in court. View the full article

Photo Credit: Rod Wave by Michealjordan45 / CC by 4.0 Rapper Rod Wave was arrested in Georgia on 14 counts, including aggravated assault, possession of a firearm, and felony tampering with evidence. Rod Wave, known for hits like “Street Runner” and “Tombstone,” was arrested in Fulton County, Georgia, and released on $50,000 bond yesterday, according to court records. The musician, whose real name is Rodarius Green, was arrested in connection to an incident back in April when he returned to his home following a burglary. An argument ensued, and a pistol was fired 14 times, striking several cars and a wall in the house. According to Drew Findling, Rod Wave’s attorney, “There is no truth to these charges. Rod Green was a victim of a burglary and committed no crimes. How he was even charged as a result of this situation is incomprehensible. This will absolutely be resolved favorably to Mr. Green.” An initial police report obtained by the Associated Press says that officers found a large safe in the basement of the home that had been “dragged across the floor, opened, and emptied.” They also found a gold Mercedes SUV on the property with multiple bullet holes in it. Near the swimming pool, police also found a broken window and a hammer in a bush next to it, and a black Glock handgun was also discovered at the scene. Rod’s girlfriend told officers that she found that the house appeared to have been burglarized when she returned home. The initial report does not list any suspects that may have broken in, nor does it accuse the rapper of committing any crimes. Rod Wave was previously arrested for possession of ammunition or a weapon in Florida back in April 2024. That arrest was made on suspicion that he was involved in a gang-related shooting following an argument that left four injured. View the full article

Photo Credit: Hoàng Anh Nguyễn The live entertainment sector is in decline according to data gathered by Chartmetric. Rising costs, low ticket sales, and strict visa rules are reshaping what the touring landscape looks like in 2025. Artists across the globe are facing new barriers to touring, with data showing that there just aren’t as many touring artists on the road anymore. Chartmetric looked at both mid-level and superstar-level artists from 2022 and 2024, comparing how many were still touring. 44% of superstar-level artists were touring in 2022, while only 36% were in 2024. That decline is even more dramatic in mid-level artists, which declined from 19% touring in 2022 to just 12% in 2024. Photo Credit: Chartmetric Chartmetric’s methodology was an analysis of the top 1,000 artists from each career stage in both years. Touring artists are defined as those who performed at least ten shows in the span of a year—highlighting the steep decline for both mid-level and superstar-level artists. The data seems to indicate that star power alone is no longer enough to guarantee a successful tour. High profile acts like Jennifer Lopez, The Black Keys, and Lauryn Hill & the Fugees cancelled shows due to low ticket sales last year. Meanwhile, larger festivals are also feeling the pinch as this is the second year that Coachella did not achieve sell-out status within days of tickets going on sale. Coachella took nearly a month to sell out in 2024 and data shows that nearly half of the general admission attendees this year used payment plans to buy their tickets. Another mounting challenge for international artists is the strict via situation in countries like the United States and the United Kingdom. The cost of artist visas nearly quadrupled from $460 to $1,615 per musician last year—the first bump in price since 2016. Governments interested in helping protect the live sector can support touring infrastructure so smaller venues don’t close down. That’s something the UK is doing with UK Live Trust, which reallocates money from stadium and arena tours to smaller venues by donating £1 per ticket sold at larger venues. The globalization of live touring is also becoming more prevalent as big acts include Asia in their touring plans. Lady Gaga, Tyler, the Creator, Blackpink, Coldplay, Oasis, and Billie Eilish all have Asian dates planned for their upcoming tours. View the full article

Universal Music Group is firing back against the copyright-recapture lawsuit filed by Salt-N-Pepa. Photo Credit: David Burke Let the copyright-recapture battle intensify: Universal Music is firing back against Salt-N-Pepa’s newly submitted lawsuit. Meanwhile, the hip-hop group has redacted sensitive details from its action. We broke down the straightforward-enough suit at length moments after its filing. Long story short, Section 203 of the Copyright Act is said to allow certain entertainment professionals (not solely musicians) to terminate copyright transfers executed under non-work-for-hire agreements more than 35 years ago. Translation: Some legacy acts (and a few actors) are moving to assume ownership of IP covered by decades-old agreements. Unsurprisingly, the increasingly common step isn’t sitting right with the majors and others, which have opposed the maneuver in no uncertain terms. (Nevertheless, the likes of Dwight Yoakam and Southside Johnny have quietly settled recapture complaints levied against the majors.) Returning to Salt-N-Pepa’s allegations, the original action, we previously noted, features as exhibits copies of the relevant agreements as well as related communications with Universal Music execs. UMG brass in one such letter seemingly argued that Salt-N-Pepa’s sought terminations were both time-barred and invalid because members Cheryl James and Sandra Denton hadn’t themselves transferred the copyrights under the appropriate contracts. Another document, dated July 2024, looks to outline terms under which Universal Music would continue exploiting the contested works while the recapture showdown unfolded. Last month, push evidently came to shove, and UMG when replying to another recapture letter said it’d halted “all U.S. exploitation of the” recordings at issue. Bearing these points in mind, the major in responding to the action described the complaint’s exhibits as indicative of “repeated attempts to resolve this matter amicably.” “As indicated by Salt-N-Pepa’s own legal filings,” a UMG spokesperson told DMN, “Universal Music Group has made repeated attempts to resolve this matter amicably, including offers to enter into a mediation, ever since the artists served an invalid termination notice. “Although we had no legal obligation to do so, we still sought to find a way to improve the artists’ compensation and pay them directly, even after they had sold their royalty streams to a third party. “Clearly, the artists’ legal counsel thinks they can use the threat of negative media coverage to achieve their unreasonable demands. Despite this, and consistent with our longstanding practice, we remain committed to working towards an amicable resolution,” the rep concluded. Time will, of course, tell whether that amicable resolution materializes. Closer to the present, the presiding judge has now granted Salt-N-Pepa counsel’s mentioned redaction request. Unfortunately, evidence suggests that the approval is too little, too late; the green-lit redactions seemingly pertain to Social Security numbers that the original complaint already revealed in full. View the full article

Three years after blowing the roof off at Printworks, DJ Snake returns to the capital of England with a special show at the renowned Drumsheds. Set to take place on 10th October, the French-Algerian artist is expected to bring his new album, along with classics such as ‘Turn Down For What’ and future favourite, ‘Paradise,’ a recent collaboration with Bipolar Sunshine. Last time DJ Snake was in town, he sold out the iconic Printworks, as the event marked the opening night of the venue’s Autumn/Winter 2022 season. Although Drumsheds can host a higher capacity than Printworks, demand remains extremely high, with tickets expected to sell out quickly. This is nothing new to Snake, who in 2023 sold 80,000 tickets for his final solo show in France, which took place on 10th May this year. The Venue, DrumshedsOpened officially in October 2023, this is one of London’s most iconic rave locations. It has hosted multiple artists such as Dom Dolla and Chase & Status, as well as takeovers by labels like EXHALE and Defected Records. Its 15,000 people capacity makes it one of London’s biggest event locations, and is possible due to the venue being an ex Ikea flagship store. Decorated with the best of lighting and panoramic screens that create an immersive atmosphere, it is one of the country’s hottest places for an indoor rave. Along with DJ Snake’s show, Drumsheds will also welcome Resistance and Defected Records as part of their first shows of the Autumn/Winter 2025 season. Pre-Sale for DJ Snake at Drumsheds will go live on 28th May, with the remaining tickets (if there will be any) going on a general sale on 29th May. Access to the pre-sale can only be obtained through signing up, following this link.

We recently talked to two of the leading dance acts in the Organic House scene worldwide. Lee Burridge’s All Day I Dream has proven time after time to be not only one of the more iconic record labels when it comes to slower four-on-the-floor productions, but also a source of inspiration for countless artists all around the world, who look up to their sound and innovative trends. Not long ago, the label released its Spring Sampler compilation, which features an incredible roster delivering gem after gem. And of those artists, we had the chance to speak to the authors of one of my personal favourite tracks in the entire VA, ‘Magnetic‘, a track carefully crafted by Nathan Katz and Molac, two of the greatest, and also proper referents of the continent they come from, South America. With an impressive career, at their young age both the Argentinian and the Ecuatorian-born artists have garnered respectable belts in the world of music, often playing alongside and being played by the greatest of the genre, and opening up a whole new field for those who felt like music innovation primarily belonged to the States and Europe — they’re here to prove otherwise. ‘Magnetic’ sees the two join forces after their last year ADID collaboration ‘Flamingo‘, for a track that truly delivers. We talked about it, and so much more, in the interview you’re about to read. So sit back, and feast on the coming paragraphs, as we have a talk with Nathan Katz, and Molac. Enjoy. The Interview (Please note, the bolded text represents a question, while the paragraph(s) following it represent Nathan’s and Molac’s answers.) Well, thank you so much for accepting and for being here. So, first question, congratulations on the release of ‘Magnetic’! Would you like to share a little bit of the story of how this track came to be? How did it come about? Nathan: Thank you very much! Well, yes, Molac and I actually send each other tracks from time to time, mostly for feedback or some ideas that we both like, to get each other’s opinions. And since we had already collaborated a couple of years ago, on another track that ended up coming out on All Day I Dream, called ‘Flamingo’, we went back to the same dynamic of sending each other ideas, and one of those ideas simply clicked. I mean, we complemented each other well in terms of the work. The main idea was clear between us, about what we were looking for in the track. Basically, we wanted something groovy, but we also wanted to experiment a little with the sounds. Not to fall back on what already exists, but to find a little twist, something different. Molac: That’s true. In fact, that was our initial idea: to try to do something different. Something that people might like, not only that fits in with the label’s sound, but also that would offer a twist on the sonic innovation we could offer. And I think, in fact, I saw in some comments that they congratulated us on the sound design we created. Because it was basically a sound architecture in a certain way. Exploring sounds that neither of us had ever explored, but keeping it with the groove, with the focus on the track. We also focused on having this dreamy side, which, well, All Day I Dream always has this very melodic side. So we tried to complement that and ended up with ‘Magnetic’, which is actually one of my favourite tracks. And the truth is, the compilation gives a bit of room to experiment, because it’s not 100% All Day I Dream, it’s more… It’s like a mix of various things, that’s how I feel it, against other compilations. Molac: Well, there will be people who like it more, people who like it less. I always hear people say they really miss the sound of the past. Not just labels, but artists in general. “Oh, I miss the sound of this artist back in 2008, I miss the sound of the label from three years ago”. But evolution is as much a part of the artist as it is of the labels, and it’s a key movement. I think you can’t keep the same sound interesting over the long term. The beauty is always in evolving and finding that change. Great. Well, going back to talking about production a little bit. Specifically with this track, were there any unconventional, unusual, even bizarre techniques you used in the production of the record? Nathan: Yes, we used quite a few techniques. I think the most notable one was working with converting MIDI to audio. And then, working a lot with the audio file, deforming it, turning it around… deforming the sound in a positive way. It’s possible to find results that are just out of reach otherwise. I mean, working in MIDI or with certain plugins can achieve something similar, but working in audio is different in this case. Molac: Yes, it’s crazy. Because in reality, it’s something you can’t achieve only with standard sound design, with additive, subtractive, or even granular synthesis. I think we got to the point where resampling was the only way you could build sounds without losing sonority, which is very important, as Nathan says. I mean, we tried to distort the audio, but in a good way, in the aesthetic sense of the word. I once read somewhere that exporting MIDI to audio forces you to work with fixed parts and that it makes you grow as an artist, for that very reason. Nathan: I think it puts limitations on you when putting together a track. It’s like saying, “Okay, I have this, I can’t go back”. This is the raw material, and I try to make it fit the track. If it fits, it fits, and if not, well, we explore something else. But the idea is that, how to limit yourself, because if you don’t have endless options, that forces you to go out there and experiment. Now, a quick question. Is ‘Magnetic’ just the second track you’ve done together after ‘Flamingo’, or had you worked on other projects before? Nathan: Yes, it’s the second track we released together. But we’ve tried things in between that, some of them are still in process and others maybe just didn’t quite work out. It’s all kinds of things. Well, I guess this comes naturally now. How did you get to know each other? And since you’ve had a good relationship as colleagues, of course, how does the chemistry between you two develop as artists? Molac: My memory is terrible. But I think it all started with an Instagram message. Nathan: Yes, a DM. I think we were releasing music on Songuara at a similar time. Molac, I already had your track ‘Dandelion’ on repeat. And we congratulated each other on those Songuara releases. And well, that’s where we started our link. And it all came together very naturally, honestly. We’ve always had a good relationship. We were always very clear about what we wanted. And as for working with him, it was always a pleasure for me. Firstly, because I always considered him one of the leaders of this genre. I always had him at my personal top. And he’s also someone who, aside from being a good producer, is a proper musician. You can tell he knows how to play, in this case the piano, you can tell he’s a musician. And that helps a lot when collaborating with someone because you end up learning a lot. Look, the questions just happen to be coming at me right before I ask them so, great! [Laughs] I was just about to ask each of you what element, technique, etc., you like or admire about the other’s sound. Molac: What I love about Nathan is the groove. He has a really, really good groove. When he sent me the ‘Magnetic’ draft, it already had a great groove. I didn’t have to modify much of anything. So, that’s really significant for someone like me who loves groovy stuff. I love creating complex grooves, complex drums, created in layers. So, when I got that, I said, “Okay, I have a good structure and a good foundation to work with and start having fun“. Nathan: Well, in my case, there are quite a few things about Alan, but if I have to choose one, it would be his handling of the bass. Both sub and mid-bass. I love it because he always looks for something different, yet at the same time never loses the groove. Interesting. Well, another question more or less along the same lines. How did you come to produce the style you produce today? We’d love to know the story of each of you. How did you settle on what you are and what you consume today? Molac: Actually, well, for my part, I can talk about many things. What I’ve seen from Nathan, for example, is that there’s been an incredible evolution in his sound. He’s tried many times to find his own way around his sound, and I think he’s succeeding. Above all, to differentiate himself, which is what all of us struggle with as producers. I always try to make all the tracks I make different. I tend to use very specific sounds that are my trademark, Molac’s trademark. But I always try to find a way around them: changing BPM, trying new sounds and innovating in new styles. I can feel very Organic one day, very Housy or Progressive the next. But I always try to maintain a trademark that allows me to weave all these productions into a single story as a producer in general. Nathan: I think what initially caught my attention about this kind of sound and style within electronic music was roughly seven or eight years ago, when I heard the first tracks by Volen Sentir, Sébastien Léger, on All Day I Dream. What caught my attention most was the evolution in terms of musicality. I’ve always really liked film score music, and I found that complexity there. And also the percussive aspect, with real, played percussion, not something synthesised. It was the combo that caught my attention. And well, from then on, I didn’t stop following the label and trying to produce something similar until, little by little, I found my sound. Molac: That’s true. I think the best way to learn to produce is to first copy and then improve yourself, and try to find what you have in your head. When I’ve taught lessons, when I’ve tried it myself, the best way has been to copy and improve. Which is ultimately a very good technique. It may not be the advice someone expects, but it’s one of the best options to easily learn how tracks are crafted. Nathan: Yes, or remake a track. Trying to recreate a track you like, even if you’re not going to release it, serves as practice. I haven’t gone as far as recreating songs, but I have started working with Serum, for example. To be able to recreate sounds. And yes, honestly, it opens your mind. Okay, next. What do you think about working with All Day I Dream? I recently spoke with Wassu, and he told me that it feels like a family of close, united people. Do you share that view? Nathan: Yes, I completely agree. It’s like a family, a community formed several years ago, that shares the same message, which is what the label also tries to convey: unity, a different kind of music, for different kinds of events as well. For example, they tend to hold their events during the day, which, well, maybe others didn’t do that much before, and since then certain parties and labels started doing daytime events, it became very fashionable in the industry. And I think that’s basically what the label tries to convey, which is to create a community of followers who, in addition to the music, share that message, which I think is incredibly important. Molac: Yes, actually, my dream has always been the same. One of my dreams as a producer was to release on All Day I Dream. I achieved it last year with Nathan, and today is an honour for me again, actually, with one of my favourite tracks, as I previously said. And it was actually one of my dreams because you could see a completely different approach within the label. Not just in the showcases, in the music, in the message they conveyed. And it’s something they’ve maintained over time, and I hope it never changes, because it’s truly the heart of the label. There are no labels that are truly inspired by the human side. Aside from being very transparent too. Well, there’s a question I love to ask, let’s see if you dig it. Do you remember a moment in your career when you felt like what you were producing at the time — a loop, a bar, or whatever — had the potential to take you to another level, one you hadn’t reached before? Nathan: Story of my life! Yes, it happens to me often: I have a loop, a 30-second, or a minute-long idea, that feels complete, and sometimes what I struggle with the most is how to put together the story based on that idea. But yes, I’ve felt frustrated a thousand times, unable to finish certain ideas, but I feel it’s also part of the process, and if it doesn’t work in this project, it will work in the next. You learn a lot all day long, I used to worry more about it. Nowadays, I try to take it more calmly. Molac: Yes, the typical “It’s this way, and I have to go this way” feeling. Yes, it’s happened to me many times. I’ve actually taken that path many times, and I’m probably still on that path at some point. Now that my sound has evolved a lot, I’ve moved toward a slightly more Progressive, even more experimental, and much more atmospheric branch. And it’s actually hard because even though you have that initial flash of saying, “This is the way to go“, maintaining it, trying to completely change and say, “Okay, now I’m going to do this“, is very, very complex. It takes a long time to click, it takes a long time to also get to know the part of yourself that has something more to offer than what you’ve already been doing. Believe me, it’s very easy as producers to stick with the same sound for three or four years because it’s what we’ve always done. But setting ourselves those challenges, trying to change course sometimes, to take that fork, that new path, is what really makes this interesting and makes it worthwhile to go into the studio every day. I love it. Well, now I’ll give you my personal opinion to see if you agree. It seems that in the sphere of Organic music, which is, let’s face it, a genre that easily disappears amidst the sea of ​​Progressive House we have today, that space once occupied by Russian Organic House, which is somewhat vacant today, is starting to be occupied by Latin American Organic House. I don’t know what you think, if you think there’s a sort of Organic House movement from the American continent in general. Molac: That’s a very good question. It’s funny, in my early days I was inspired by Russian Organic House entirely. In fact, Nathan was also very inspired by that. Nathan: Without a doubt. Volen Sentir, Izhevski, PROFF, there are so many acts. Molac: However, I think we’ve also managed to add our own touch from the Latin American side. We have something different, something that’s even cultural, right? The roots are different. So that’s what the sound conveys. I don’t know if the Latin American movement is fully occupying that space, but it’s definitely growing. And that’s something I always appreciate. Not just in Organic music, but in Progressive music as well. And it’s very nice to see it happening. Nathan: Yes, melodic music in general is growing a lot throughout the Americas. Wonderful. I wanted to ask you about that, because for me, you’re precisely part of that team that’s leading it. I don’t know if I should call it “change,” but a new space, let’s say. It’s like an Organic movement that isn’t 100% Organic, but rather something with a robotic accent to it. ‘Magnetic’ has those aspects, for example. Nathan: Well, I’ve always felt that with the label of Molac and a couple of other Latino producers, which is Sendas Music. I feel like it’s a union of several producers from different Latin American countries who came together precisely for the purpose of releasing, of having producers who can make records from elsewhere, but representing Latin America and joining forces to be heard. I had a question written down about Sendas! I’m a huge fan of the label. From their first releases, from the unofficial stuff, to the original tracks they’re releasing today. What they’re doing is incredible. Molac, what was the initial idea? Was it specifically to create a space in Latin America, or was it something just between you guys, and then it just became a label? How did the story of Sendas come about? Molac: Look, it actually all started as a collective of Latin American artists. There was Dulus, who’s from the Dominican Republic, Alberto Hernández from Mexico, Nicolás Viana and Lucas Zárate from Argentina, and I was in Ecuador. What we did first was create a collective, in a way, because we had a lot of edits that couldn’t be released officially, but that could be released on Bandcamp, and we were dying to do so. We ended up doing it. Nathan even released one of his edits there, which I love. Sendas Music Collective · Nathan Katz – Porcelain In LA (Edit) [Sendas] We were gradually inviting artists, and when we realized that the label was growing, and that not only the label had grown, but also the Latin American community, and not only that, but even internationally, people knew us as the Sendas collective, we knew that maybe we should go public, so to speak. Start releasing our own original music. We’re in that process; it was very difficult at first, but we continue trying to grow in that space, which, in the end, is a borrowed space. You never know how much longer we’ll be here. But bringing value to people, bringing music with intention to people, I think, is one of our greatest goals. Music with intention, I read that in a biography of yours somewhere. I like that phrase. Molac: Yes, it’s one of my mottos because in the end, I believe that if your music doesn’t communicate or is only made for the dancefloor but without any intention behind it other than to sell, it’s pointless; it ends up being a job. Art, music as such, is certainly an industry, but it also has a very large and very important artistic component, and I think no one, none of us producers, should leave it aside. In the end, when I open my Spotify for Artists and see two or three people listening, I think to myself, “My music is brightening someone’s day right now, making them dance or making them smile“. And receiving many of these messages tells you, well, there’s much more than an industry behind it; there’s an intention, too. It’s something I really like about the artists I interview. With the experiences I’ve had, I’ve found that I can create a somewhat different space. And the truth is that in a world where, of course, music prevails, but in reality, it seems like today it’s more about marketing than anything, I think it’s important to be able to highlight certain artists like yourselves who produce from the heart and whose goal is, first and foremost, to satisfy you and then see how we’re doing with the metrics. Molac: Exactly. Nathan: Yes, I agree, the priority is always that we like it. If it passes that big filter, if it really moves you or does something to you, then it’s a success and someone else will like it. Molac: It’s true. I think that many times, as producers, we focus a lot on metrics precisely because everything is much more industrialised now, and what do I know? There are tracks that I love, they’re some of my favourites, but maybe they don’t chart as much, don’t sell as much, don’t get played as much. But some people write to me and say, “Thanks for releasing this track because I really needed it“, and I say, “Well, if someone liked it, I did my job as an artist“. Nathan: And that too. I think people, the public today, value the work much more than before, a track with a lot of process and all that. I think people value the musical part too, and it’s something that makes you want to keep doing it because people receive it very well. It’s almost paradoxical to think about that, that everything suddenly became so commercial that the small group that was left enjoying the little details is now growing again. It’s like being popular isn’t so popular anymore, if you can even call it that. It’s interesting to see, especially in genres like Organic and Progressive, that the general public values ​​Extended Mixes. It’s still difficult to beat the popularity of Radio Edits in other genres. Nathan: Yes, today there are only a few labels that continue to release Extended Mixes; in fact, most are only releasing Radio Edits on Spotify. Molac: It’s a problem too, and I understand the labels in that sense. You have to adapt to what people demand in a certain way without obviously abandoning who you are, but well, that’s not without its consequences. If we lived only from the artistic side, we producers wouldn’t see a penny, and we wouldn’t be able to continue living, because in the end, our life goal is to make a living from music, right? So, look, it’s true, many of us don’t like doing that marketing part, that part where the label asks for a Radio Edit, to make a promo video like this, etc. However, I think as artists, we shouldn’t deny that; we have to understand that it’s part of adapting our music. Look, we probably spend a whole week finishing a given track’s nitty gritties, racking our brains, maybe even longer, and sometimes all we want to do is simply publish an IG story and that’s it. However, I understand that part of the marketing has to be behind it because it’s also part of showing and highlighting all the effort we’ve put into achieving that sound, working well, and achieving decent quality. Now I ask, how easy or how difficult has it been for you to build your musical career so far? Do you think living in South America has played a role, let’s say, in the difficulty of making yourself known? Being far from the United States, being far from Europe, or whatever? Nathan: Well, yes, geographically speaking, I wasn’t born in the ideal location, you could say, but at the same time, I feel that in my case, Argentina is one of the world’s musical powerhouses. I’d say, in terms of the Progressive genre, in the last 5 or 6 years, there have been a lot of parties in all the cities of Argentina, so you could say there’s a big scene here, everything that involves Progressive music, Techno, underground Electronic music in general. I don’t think that is a valid excuse that, because you were born in a certain place, you couldn’t go far. I mean, obviously in some places you have a certain reach with certain people, but nowadays you can make a name for yourself, wherever you are, with a computer, in a room. I think it’s more like that, in my case at least. Molac: Well, as a producer, it’s in a way a little easier to open up to the international world. I think the tricky part comes when you’re being a DJ and having to play shows. In my case, it’s been very difficult because there isn’t much Organic or Progressive music in my city. I live in a very small city, not even in the capital of Ecuador. But no one is a prophet in their own land. In the end, much of the growth I’ve had as an artist has come from travelling to my country’s capital, meeting many groups that like this type of music and truly value what you do. I always feel very welcome going to the capital because they know me, they know the labels I’ve signed to, they know my career, and it’s a journey that takes a lot of effort, a lot of rejections, a lot of no’s, knocking on doors and not getting them to open for you — it’s very complicated. And I think it’s always going to be difficult to be an artist. No matter where you were born, you’ll have a certain degree of ease somewhere else, but being an artist is very hard, and it’s a feat that can’t be taken away from anyone. I love these reflections, thanks guys. I have three questions left. The first is, what would your lives be like if you weren’t in music today? What would you be? What would you do? Nathan: Wow, the hardest question. Honestly, I really don’t know, I mean, I’ve considered having a second job at one point, but these days I really struggle to see a life without dedicating myself to what I love most. And any career or something you’d have left behind or that you had a desire to pursue before getting into music? For example, I would have dedicated myself to science. Molac: I know of one career, which is marketing. In fact, I’m still pursuing it. You could say marketing is my hobby, and making music is what I truly dedicate myself to, not the other way around. Well, we come to my favorite question. If you could travel back in time, say 5, 10, 15, 20 years, whatever you feel comfortable with, and meet your past self, what would you tell them? Was there anything you worried about much more than was necessary? Nathan: I would tell him to trust what he believes in. I remember that’s something I’ve held onto throughout my life. From the moment I wanted to dedicate myself to this until today, I’ve truly believed that I can make it. So, basically, I’d tell him that: to keep believing and keep working, that at some point, things will happen just as he always thought. Molac: Well, if I went back, I would tell my past self that everything happens in its own time and not to be afraid of making mistakes, because that’s the only way to learn. And well, I’ll throw out the last question. Suppose there’s someone in the audience who admires your work, what you do as producers, making a living from music, the sound you have, and who also aspires to be a producer. If you had the chance to give them advice, what would it be? Nathan: The only advice I would give them is to be authentic to their tastes, to their essence, and that it’s a long process, a way of life, I would say, but the key is not to give up. Molac: I think any advice I could give them wouldn’t be as valuable as the insight they’ll gain when they truly find themselves along this path — both as producers and as artists.” Well, that officially concludes the interview. Thank you very much, guys! -End of interview- Final Words Guys I can’t thank you enough. From the get-go, the atmosphere of the chat was so warm and friendly, our time together flew by. And the result of such a warm interview that doesn’t necessarily have to feel like so, is a deep dive into any and everything. Thank you so much to both Nathan and Molac for their willingness, sincerity, and the motivation to keep climbing. You truly are among my referents, and I know I’m not alone in this one. Stay tuned to our page (and this very corner) for more conversations like this! The post [INTERVIEW] Nathan Katz & Molac Talk Latest ADID Release, Fulfilling Dreams, Production, And More appeared first on EDMTunes.

After nearly a decade of raving and three years working in music, I’m not exactly sure why I hadn’t been to Electric Daisy Carnival (EDC) Las Vegas, the largest electronic music festival in the United States, prior to this year. Maybe I always thought EDC Las Vegas was too big for me. I hate crowds. Perhaps I thought it was too commercial, as someone who typically prefers artier, transformational music festivals. Though the reason is unclear, I’d just never made it to “the big festival.” As I finally attended the 29th edition of Insomniac‘s flagship festival last week, I approached the weekend with an open heart and a curious eye, taking in every stage, light show, and activation in vivid detail to present a handful of things that surprised me after all my music festival experience. Sheer Size The No. 1 thing I was perplexed by all weekend was the size of the festival, both in physical size and population. When I first entered the event, I commented to my friends, who are long-time attendees, about how I thought the venue looked small. Based on my experiences attending festivals like Bonnaroo, Electric Forest, and Sziget, these festival sites often feel vast. While their acreage is larger than that of EDC, the attendance numbers are roughly half. Initially, I found EDC Las Vegas to feel surprisingly small. However, once I descended the stairs and entered the heart of the festival, I realized just how large and intricate it truly is. I discovered YeeDC! nestled in Downtown EDC, Memory Lane displays photos and videos from past EDCs, and entertainers on stilts engage with attendees and enhance the festival atmosphere. This year, EDC Las Vegas has introduced a historic 16th stage, making it remarkable to consider how festival organizers managed to fit everything into the speedway without creating overcrowding. While there were some issues with sound bleed and a few congested areas, the overall flow of the festival was quite smooth, especially given the size of the crowd—over 500,000 attendees over three days—and the number and scale of the stages placed within the racetrack. EDC Las Vegas Vibes With so many visitors throughout the weekend, it’s hard to believe there weren’t more congestion problems and rude guests shoving to get by. Generally speaking, crowds were polite; they said excuse me, and no one was overly rushed to get anywhere. Certain people may have indulged above their means. However, those people almost always had a friend group behind them, looking after them, saying excuse me and sorry to people they may have bothered in their paths. Admittedly, EDC’s status as the largest electronic festival and one of the more expensive raves in the United States led me to prejudge the people who attend. Before the festival, I had just assumed that rich, egotistical, clout-chasing ravers chose EDC Las Vegas as their mecca of dance music festivals, but I was refreshingly wrong. Although the festival is massive, Insomniac maintains the ethos of being for the people, and I underestimated how many pure-of-heart ravers would attend the event. With OG ravers fueling the energy, PLURR vibes were at their peak. People were handing out trinkets, striking up conversations with neighbors, hugging strangers goodbye before scurrying off to the next set, and simply bringing up the vibes of the entire festival. It was a restorative reminder of what rave culture should be. Production There are some ways in which EDC Las Vegas knocks production out of the ballpark, and some things the festival leaves to be desired. Stages at EDC are some of the most renowned in the world—many dance music fanatics dream of seeing the Kinetic Field stage one day. The attention to detail that crews put into that stage, which changes every year with the festival’s theme, and its grandiose size, are pretty stunning. Similarly, the fireworks and drone shows each night light up the sky in unimaginable ways. Many people at the fest were seen ditching massive performances to observe the fireworks from the speedway bleachers, widely regarded as the best spot in the house to take it all in. However, I was surprised by the simplicity of the other stages. The rest of the bunch were up to par with other U.S. festivals, but nothing extraordinary in my experience, which was a shock, knowing EDC Las Vegas’s reputation in the electronic scene. An aspect that I found especially disappointing was the lack of monitors on the stages. Although the festival wasn’t overcrowded, it’s not uncommon to be stationed behind tens of thousands of people at a set unless you’re the dedicated few who enter early and ride the rail the entire night. For hard-working attendees who pay a minimum of $450 for a general admission ticket and upwards of $2,000 for elevated experiences, it feels inconsiderate not to provide screens and monitors so they can see their favorite artists on stage without snagging front-row spots. Decorations and lights were abundant at EDC, providing attendees with an otherworldly twist on reality. Visuals and lasers were up there with the best of U.S. music festivals. In my opinion, only Excision‘s raw laser displays and visual-heavy shows, like Thunderdome and Lost Lands, beat out EDC’s explosive visual production. Many stages seemed quiet, presumably to reduce sound bleed and to comply with city ordinances. Sound levels varied wildly from stage to stage. The bass from Neon Garden, the underground techno stage, vibrated eardrums, while the sound at Cosmic Meadow, the second-largest stage, was relatively low throughout the weekend. Bass power was capped for artists such as NGHTMRE, who supposedly blew out the speakers at Cosmic Meadow during his Friday night closing set. Set Times I’m the “type B” festival friend who sees a lineup, buys the ticket, forgets about the festival until the weekend of, and shows up without planning a single thing. So, imagine my surprise when, on Thursday night, I’m looking at the daily lineups for the weekend ahead and I see that sets start at 7 PM PT and go until 5:30 AM. No other festival I’ve been to holds official sets that late into the night. This doesn’t even include the RV renegades and camp after-parties that extend well into the late morning. Fortunately, I was able to stay in an RV for the weekend. Although the shift pods that can be rented for the weekend have air conditioning, rumors spreading around camp were that they can get quite toasty. Waking up in the Nevada heat in the morning, combined with daytime camp festivities, like pool parties and DJ sets, makes for very long days following the early morning festival closures. A pleasant surprise in the campgrounds was free 24/7 showers and flushable toilets. After partying from sundown to sunup, having the option to shower, wash your face, and brush your teeth with running water at 6 AM—if you’re not dead tired—is a simple but game-changing luxury. All images courtesy: Insomniac Events. Featured image credit: Skyler Greene. The post From A Seasoned Raver: 4 Things I Didn’t Expect At My First EDC Las Vegas appeared first on EDM Maniac. View the full article

After nearly a decade of raving and three years working in music, I’m not exactly sure why I hadn’t been to Electric Daisy Carnival (EDC) Las Vegas, the largest electronic music festival in the United States, prior to this year. Maybe I always thought EDC Las Vegas was too big for me. I hate crowds. Perhaps I thought it was too commercial, as someone who typically prefers artier, transformational music festivals. Though the reason is unclear, I’d just never made it to “the big festival.” As I finally attended the 29th edition of Insomniac‘s flagship festival last week, I approached the weekend with an open heart and a curious eye, taking in every stage, light show, and activation in vivid detail to present a handful of things that surprised me after all my music festival experience. Sheer Size The No. 1 thing I was perplexed by all weekend was the size of the festival, both in physical size and population. When I first entered the event, I commented to my friends, who are long-time attendees, about how I thought the venue looked small. Based on my experiences attending festivals like Bonnaroo, Electric Forest, and Sziget, these festival sites often feel vast. While their acreage is larger than that of EDC, the attendance numbers are roughly half. Initially, I found EDC Las Vegas to feel surprisingly small. However, once I descended the stairs and entered the heart of the festival, I realized just how large and intricate it truly is. I discovered YeeDC! nestled in Downtown EDC, Memory Lane displays photos and videos from past EDCs, and entertainers on stilts engage with attendees and enhance the festival atmosphere. This year, EDC Las Vegas has introduced a historic 16th stage, making it remarkable to consider how festival organizers managed to fit everything into the speedway without creating overcrowding. While there were some issues with sound bleed and a few congested areas, the overall flow of the festival was quite smooth, especially given the size of the crowd—over 500,000 attendees over three days—and the number and scale of the stages placed within the racetrack. EDC Las Vegas Vibes With so many visitors throughout the weekend, it’s hard to believe there weren’t more congestion problems and rude guests shoving to get by. Generally speaking, crowds were polite; they said excuse me, and no one was overly rushed to get anywhere. Certain people may have indulged above their means. However, those people almost always had a friend group behind them, looking after them, saying excuse me and sorry to people they may have bothered in their paths. Admittedly, EDC’s status as the largest electronic festival and one of the more expensive raves in the United States led me to prejudge the people who attend. Before the festival, I had just assumed that rich, egotistical, clout-chasing ravers chose EDC Las Vegas as their mecca of dance music festivals, but I was refreshingly wrong. Although the festival is massive, Insomniac maintains the ethos of being for the people, and I underestimated how many pure-of-heart ravers would attend the event. With OG ravers fueling the energy, PLURR vibes were at their peak. People were handing out trinkets, striking up conversations with neighbors, hugging strangers goodbye before scurrying off to the next set, and simply bringing up the vibes of the entire festival. It was a restorative reminder of what rave culture should be. Production There are some ways in which EDC Las Vegas knocks production out of the ballpark, and some things the festival leaves to be desired. Stages at EDC are some of the most renowned in the world—many dance music fanatics dream of seeing the Kinetic Field stage one day. The attention to detail that crews put into that stage, which changes every year with the festival’s theme, and its grandiose size, are pretty stunning. Similarly, the fireworks and drone shows each night light up the sky in unimaginable ways. Many people at the fest were seen ditching massive performances to observe the fireworks from the speedway bleachers, widely regarded as the best spot in the house to take it all in. However, I was surprised by the simplicity of the other stages. The rest of the bunch were up to par with other U.S. festivals, but nothing extraordinary in my experience, which was a shock, knowing EDC Las Vegas’s reputation in the electronic scene. An aspect that I found especially disappointing was the lack of monitors on the stages. Although the festival wasn’t overcrowded, it’s not uncommon to be stationed behind tens of thousands of people at a set unless you’re the dedicated few who enter early and ride the rail the entire night. For hard-working attendees who pay a minimum of $450 for a general admission ticket and upwards of $2,000 for elevated experiences, it feels inconsiderate not to provide screens and monitors so they can see their favorite artists on stage without snagging front-row spots. Decorations and lights were abundant at EDC, providing attendees with an otherworldly twist on reality. Visuals and lasers were up there with the best of U.S. music festivals. In my opinion, only Excision‘s raw laser displays and visual-heavy shows, like Thunderdome and Lost Lands, beat out EDC’s explosive visual production. Many stages seemed quiet, presumably to reduce sound bleed and to comply with city ordinances. Sound levels varied wildly from stage to stage. The bass from Neon Garden, the underground techno stage, vibrated eardrums, while the sound at Cosmic Meadow, the second-largest stage, was relatively low throughout the weekend. Bass power was capped for artists such as NGHTMRE, who supposedly blew out the speakers at Cosmic Meadow during his Friday night closing set. Set Times I’m the “type B” festival friend who sees a lineup, buys the ticket, forgets about the festival until the weekend of, and shows up without planning a single thing. So, imagine my surprise when, on Thursday night, I’m looking at the daily lineups for the weekend ahead and I see that sets start at 7 PM PT and go until 5:30 AM. No other festival I’ve been to holds official sets that late into the night. This doesn’t even include the RV renegades and camp after-parties that extend well into the late morning. Fortunately, I was able to stay in an RV for the weekend. Although the shift pods that can be rented for the weekend have air conditioning, rumors spreading around camp were that they can get quite toasty. Waking up in the Nevada heat in the morning, combined with daytime camp festivities, like pool parties and DJ sets, makes for very long days following the early morning festival closures. A pleasant surprise in the campgrounds was free 24/7 showers and flushable toilets. After partying from sundown to sunup, having the option to shower, wash your face, and brush your teeth with running water at 6 AM—if you’re not dead tired—is a simple but game-changing luxury. All images courtesy: Insomniac Events. Featured image credit: Skyler Greene. The post From A Seasoned Raver: 4 Things I Didn’t Expect At My First EDC Las Vegas appeared first on EDM Maniac. View the full article

Photo Credit: Poo Bear’s Facebook Producer Poo Bear is diving into “street country” with Randy Savvy’s debut album, drawing inspiration from Shaboozey’s Where I’ve Been Isn’t Where I’m Going and Beyoncé’s Cowboy Carter. Randy Savvy of the Compton Cowboys is gearing up to release his first studio album with producer Poo Bear, best known for his work with Justin Bieber. On the heels of the release of the first part of his four-part EP, which debuted last month, Savvy is inspired by his own equestrian roots, as well as “Black country” star Shaboozey and Beyoncé’s Cowboy Carter. Working with Randy Savvy marks a bold move for producer Poo Bear—his first foray into “street country,” the genre-bending fusion of country and West Coast hip-hop that has been taking the music world by storm. Poo Bear will also debut new music at Been Country: Black Roots and Rhythm, the National Museum of African American Music’s CMA Fest activation celebrating Black cowboy culture and the rising wave of Black country artists. “We’re in a place now where the American West, country music, Black culture, popular culture, hip-hop, these things are all starting to converge,” said Savvy. Specifically, he pointed to Shaboozey, who blends hip-hop, country, rock, and Americana sounds in his music, such as the hit “A Bar Song (Tipsy).” Even white contemporary country stars like Morgan Wallen have been known to blend trap beats into their music. “Both of those worlds starting to converge and create this really interesting middle ground is where I live. This is my stomping ground, this is my home, it’s been my life since the beginning,” Savvy explained. As a native of Richland Farms in Compton, Savvy grew up “as an equestrian with a thing for cowboy hats, country, and rap music.” He founded Compton Cowboys in 2017, which has allowed him to work with at-risk youth and offer them a positive outlet. He’s also been honing his own unique musical style, a mixture of country and hip-hop that many didn’t think would ever catch on in the mainstream. The Compton Cowboys hit the Stagecoach country music festival last month, which Savvy called “a highlight of our year every year.” The group also teamed up with Beyoncé for her Christmas halftime show, where she debuted live performances of her Cowboy Carter album ahead of her latest tour. View the full article

Alexandre Marmita (left) and Cleber Augusto in the studio. Photo Credit: Warner Music Decades after losing his voice to throat cancer, samba artist Cleber Augusto has harnessed AI to create a project entitled Minhas Andanças (My Wanderings). Rio de Janeiro-born Cleber Augusto technically released that album in late April. But a 14-track deluxe version, including four additional songs, only dropped via Warner Music Brazil today. According to the same label, 74-year-old Augusto has suffered from “a complete loss of voice” since undergoing a throat operation in 2004. However, the former Fundo de Quintal member is still active and performing as an instrumentalist, numerous social posts show. And evidently, Augusto remains interested in putting out music. As described by Warner Music Brazil, a variety of samba artists, including but definitely not limited to Diogo Nogueira, Ferrugem, Marvvila, and Menos é Mais, contributed to Minhas Andanças in one way or another. But it was Alexandre Marmita, said to share Augusto’s vocal tone, who acted as the chief “voice donor” here, per the major. That refers specifically to providing interpretations of songs in Augusto’s style. From there, AI “enhanced” these interpretations before bringing a depiction (trained on prior recordings, of course) of Augusto’s voice into the fold, Warner Music Brazil relayed. All told, Minhas Andanças features 13 re-recordings of existing tracks and one completely new effort. The latter, entitled “Imã,” was originally captured “more than 20 years ago and rescued from one of Cleber’s old tapes,” with vocalist Péricles featured, per Warner Music Brazil. “The voice is the soul of music,” Cleber Augusto added, “and AI allowed me to maintain the essence of my interpretation, even with technology. The end result is amazing. The emotion and message of the songs remain intact, and that is what really matters. I thank Warner Music and everyone involved who made this project possible.” And in remarks of his own, Warner Music Brazil A&R manager Tony Vieira touted the AI-powered album and the tech behind it. “Technology, when used with respect and purpose, can be a great ally of art,” the former Som Livre higher-up indicated. “This project does not replace Cleber’s genius, but it allows his voice and his story to live on. It is a way to celebrate his legacy and show the world the importance of his work.” It’s now been a year and change since Randy Travis utilized artificial intelligence to release his “first new music in more than a decade.” At the time, he and Warner Music confirmed plans for additional AI works. Meanwhile, quite possibly in a harbinger of things to come, the major hasn’t hesitated to tee up AI films and music involving artists who are no longer living. View the full article

Audio Obscura is set to deliver one of the most daring and unforgettable events in electronic music history. On Saturday, June 21, 2025, the pioneering Amsterdam-based collective will take over a section of the A10 highway for a one-day-only celebration dubbed the Highway Rave, marking a highlight in the city’s official 750th anniversary festivities. As part of Festival op de Ring, a massive 17 km-long cultural takeover that will close the A10 to traffic for a single day, Audio Obscura will host a free, ticketed event on the A10 near RAI Metro Station, transforming the urban freeway into a dancefloor beneath the open sky. Known for staging landmark events at venues like Concertgebouw, Amsterdam Central Station, and the Rijksmuseum bicycle passage, Audio Obscura is now taking its boundary-pushing ethos to the streets — literally. This nine-hour rave promises explosive back-to-back sets from a hand-picked selection of electronic music’s most respected artists. While the lineup remains under wraps, the promise is clear: this will be a once-in-a-lifetime experience for dance music lovers. CUPRA and Culture Collide The Highway Rave is made possible thanks to a partnership with CUPRA, the dynamic automotive brand actively backing global music culture through its CUPRA Music initiative. With additional support from other cultural partners, the event remains entirely free — though attendees must reserve tickets in advance. Limited Merch for a Historic Moment To commemorate the occasion, Audio Obscura has joined forces with Applied Art Forms, a high-concept Amsterdam fashion label founded by Coldplay bassist Guy Berryman, to produce a limited-edition €75 t-shirt. Proceeds from the unique, numbered series will directly fund the event, blending fashion, music, and civic pride into one collectible statement. Join the Celebration As part of the wider Festival op de Ring, Audio Obscura proudly represents the underground electronic music scene, holding a premium location on the A10 Zuid (entrance S109) for this definitive, once-in-a-lifetime cultural moment. To find out how you can be part of Highway Rave Op De Ring, visit The Official Site . Free tickets will become available on Wednesday, May 21 at 10:00 AM CEST. Don’t miss your chance to be part of Amsterdam’s cultural legacy in motion — quite literally. The post Audio Obscura Announces Highway Rave on Amsterdam’s A10 appeared first on EDMTunes.

Following another massive edition of EDC Las Vegas, full sets from the 2025 festival are now being uploaded online, offering fans worldwide a chance to relive the weekend under the electric sky. Held at the Las Vegas Motor Speedway, EDC 2025 brought together hundreds of thousands of ravers for three nights of non-stop music, immersive art, and sensory overload. Now, several high-profile artists have started releasing official recordings of their performances, giving those who missed out, or those still recovering, a chance to experience the energy again. Among the first wave of available sets are: Afrojack Alesso Andy C Armin van Buuren Distinct Motive Eli Brown ILLENIUM b2b SLANDER ISOKNOCK James Hype Layton Giordani LEVEL UP Loud Luxury MORTEN b2b ARTBAT Ray Volpe REZZ Sara Landry Sullivan King Tiësto Vintage Culture More performances are expected to be uploaded in the coming days. As always, EDC’s multi-genre lineup spanned from mainstage anthems to underground club sounds, showcasing the diversity and scale that makes it North America’s premier electronic music event. This article will be continuously updated as new set recordings go live. Stay tuned—and in the meantime, fire up the visuals, turn up the volume, and dive back into the neon-drenched madness of EDC Las Vegas 2025. The post [WATCH] EDC Las Vegas 2025 Sets from Alesso, Armin van Buuren, Tiësto, & More Have Been Uploaded appeared first on EDMTunes.

Imagine saving any TikTok track directly to your music streaming service with a single click. This is what the newest cross feature between music giants SoundCloud and TikTok offers. This game-changing collaboration allows you to transfer the tracks you discover on TikTok over to the cloud-shaped logo brand. It’s just like magic – one tap, and the beat that made your heart skip is now part of your SoundCloud mix. This groundbreaking feature, aptly named ‘Add to Music App,’ has been making waves since its global rollout in 2024 and has already generated over a billion track saves across supported music streaming services, according to TikTok’s report. For the music followers, the DJs, the festival attendees, the ravers, and the technology enthusiasts, this partnership is a music discovery revolution. It’s like a bridge between the social media-centered music discovery and the more traditional streaming platforms – SoundCloud just became your all-in-one music hub. How Does it Work? This innovative feature operates on a straightforward principle. Whenever you encounter a track on TikTok that you love, you can directly save it to your SoundCloud account using the ‘Add to Music App’ feature. It’s a quick and seamless process that eliminates the need to switch between apps or search for the track on another platform. A single tap and your newfound musical gem is safe and sound in your SoundCloud library. The ‘Add to Music App’ feature, already operational on Spotify, Apple Music, and Amazon Music, has now been extended to SoundCloud. This means that SoundCloud users can import their favorites from these platforms, as well as from YouTube Music, Tidal, Deezer, in addition to the latest partner in the mix, TikTok. With this, SoundCloud has taken a significant leap in the music streaming industry, providing a one-stop solution for music lovers to discover and save music from multiple sources. It’s the perfect blend of social media-centered music discovery and traditional music streaming. Why Does it Matter? For the longest time, music discovery was a laborious process. You’d hear a track at a festival, on the radio, or in a club, and you’d have to Shazam it or type the lyrics into a search engine in hopes of finding it. With the advent of social media platforms like TikTok, where new music trends are created daily, the process should have been simplified. But the reality was far from it. Transferring these discoveries onto your preferred music streaming platform was still a hassle. But with the ‘Add to Music App’ feature, music discovery has become a seamless experience. It’s a win for the music lovers who are always on the hunt for new beats, the DJs who need to stay ahead of the trends, and the festival attendees who want to relive their favorite moments. It’s a simple yet powerful tool that enhances the music discovery journey. From SoundCloud’s perspective, it’s a smart move that leverages the power of social media for music discovery, establishing the platform as a hub for all things music. Not only does it improve user experience, but it also strengthens SoundCloud’s position in the competitive music streaming market. The Future of Music Discovery The SoundCloud and TikTok partnership is a testament to how technology can revolutionize music discovery. It’s a bold stride towards a future where finding and saving new music is as easy as a single tap. It’s a future where music lovers can discover, share, and enjoy music without the constraints of platform boundaries. The ‘Add to Music App’ feature is just the beginning. As technology continues to evolve, we can expect even more innovative solutions that will transform the way we interact with music. As music lovers, DJs, festival attendees, ravers, and technology enthusiasts, we should be excited about what’s to come. So, the next time you’re on TikTok and stumble upon a track that hits all the right notes, remember that you’re just a tap away from adding it to your SoundCloud library. Because with the ‘Add to Music App,’ you’re not just saving a track, you’re being part of the revolution in music discovery. The post SoundCloud & TikTok Launch ‘Add to Music App’ Partnership appeared first on EDMTunes.

Last week, rising producer and DJ Kotiēr made his mark with his label debut, the two-track EP, Static Soul, now available through Rose Avenue Records. With rich emotional depth, Static Soul explores the paradoxes between memory and transformation, creating an experience where time and sound transcend boundaries. The opener, ‘Lēthē’, showcases breakbeat-inspired synth lines alongside rippling textures, paying homage to the mythological river of forgetfulness that inspired its name. Furthermore, the title track of the EP serves as a bold statement for the future—anchored by an illusory groove and hypnotic melodic elements that seamlessly blend ethereal house and deep techno. Together, these tracks create a powerful counterbalance, presenting a harmonic duality that is both emotive and energizing. Kotiēr reaches new heights in exciting career after the release of the Static Soul EP At just 24 years old, Kotiēr expertly navigates dual lives between Berlin and New York. With a background as a lifelong pianist and formal training in computer science, he has pushed the envelope by experimenting with visual elements and synth-driven reinterpretations, which later led to him growing a dedicated fanbase on social media. His impressive discography includes releases on top labels like Solomun‘s Diynamic, Tomorrowland‘s CORE, and Adriatique‘s Siamese, along with fantastic performances at CORE Tulum, Soho Garden in Dubai, and Elsewhere in New York City. In fact, Static Soul marks an exciting debut release with Rose Avenue, setting the stage for his promising career ahead. Don’t miss out—stream Kotiēr’s dynamic new Static Soul EP, available now on all platforms. Click ‘Play’ on the Spotify link below to stream the EP and feel the hypnotic elements flowing through the soundwaves. The post Kotiēr Inspires Harmonic Energy in ‘Static Soul’ EP appeared first on EDMTunes.