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Spotify's efforts to grow their premium subscriptions are paying off, quite literally. The streaming giant recently revealed record profits on its Q2 earnings call, and now, their stock is surging. Shares ballooned at a 14% clip on the New York Stock Exchange on Tuesday, per Music Business Worldwide. Spotify reportedly revealed a 20% revenue increase to a staggering $4.14 billion from April to June, with gross margins of 29.2%. But how is Spotify driving so much revenue? Premium subscriptions are bringing in the big bucks. The company saw a 12% increase in its subscriber base despite a pair of price hikes, bringing the number of total users to an astounding 246 million. These premium subscriptions swelled the company's revenue by 21%. Spotify's ad business has also proven successful, driving a 13% increase in sales to over $456 million. Another major contributing factor to the company's boosted Q2 revenue is their late-2023 layoffs and budget cuts. Back in December, Spotify reportedly reduced their workforce by 17% by letting go of roughly 1,500 employees. Their operating costs were cut by 16% year-on-year, which not only affected their workforce, but also their massive marketing budget. "It's an exciting time at Spotify," said CEO Daniel Ek, per a Spotify blog post. "We keep on innovating and showing that we aren’t just a great product, but increasingly also a great business. We are doing so on a timeline that has exceeded even our own expectations. This all bodes very well for the future." Spotify expects an additional 13 million new users in Q3 and five million more premium subscribers as they debut their Basic plan in Britain and Australia, and expand their video catalog. Moreover, the company predicts they'll see over $4 billion in revenue from July to September.

Subtronics and Wooli have finally dropped their long-awaited collaboration "Hallelujah," which now has fans saying the same. The track presents a thrilling combination of both producers' signature styles of dubstep, with Subtronics' knack for digitized riffs and trills entwining with Wooli's high-flying, almost euphoric sound. The two had heavily teased the song's release on social media, posting snippets and building the anticipation to a fever pitch. In a joint post, they even went so far as to post the track's drop, one that's fit to have you singing at the top of your lungs before the bass shreds your speakers. Beginning softly, stirring vocals set the stage with a melancholic and wistful touch as a more sinister beat builds underneath. True to form, however, the airy feeling doesn't stay for long. An angel-and devil-on-your-shoulder dynamic presents itself as a guttural pre-drop vocal gives way to a shattering drop. Subtronics and Wooli refuse to relent in the second drop sequence, where rumbling vowel bass churns beneath frenetic arpeggios. The two producers are longtime friends and collaborators, joining forces for "Melt Ur Brain" back in 2020. Wooli was also Subtronics' main support on his "Tesseract" tour. "[Subtronics] has been extremely influential in helping my work ethic improve over the last few years," Wooli said in a post on X. "Always an enjoyable and easy experience working together and excited for our b2b later this year." Listen to "Hallelujah" below and find it on streaming platforms here. Follow Subtronics:X: x.com/subtronics Instagram: instagram.com/subtronics/ TikTok: tiktok.com/@subtronics Facebook: facebook.com/Subtronicsofficial/ Spotify: tinyurl.com/yupr7jmk Follow Wooli:X: x.com/woolimusic Instagram: instagram.com/woolimusic TikTok: tiktok.com/@woolimusic Facebook: facebook.com/woolimusic Spotify: tinyurl.com/3dhp5rms

Looking to locate an artist on the Tomorrowland livestream schedule for 7/26? We’ve got you covered. It’s Day One of Tomorrowland WE2! If you haven’t been living under a rock these past days, the Belgian festival absolutely smashed it last weekend, with legendary sets from Hardwell, Swedish House Mafia, and many, many, many more. If you were not able to make it to Belgium this year, worry not as you can catch the livestream on the internet. Here we have an easy-to-follow guide to know where and when to visit the Tomorrowland Livestream this Friday 7/26, so that you don’t miss any artists. Tomorrowland Livestream, Friday 7/26 Who To Watch Today? Kevin de Vries, Swedish House Mafia, Hardwell and Lost Frequencies are all on today’s timetable. Follow the chart below to see which times they play, both in local Belgium time and its East Coast equivalent. Whenever you’re ready, hop on to the Tomorrowland website to find the stream. Mainstage ArtistTime (CEST)Time (EST)Dimension16:3010:30Opening Show17:3011:30Bassjackers17:3511:35B Jones18:3512:35Kevin de Vries19:3513:35Solomun20:4014:40Lost Frequencies21:4015:40Swedish House Mafia22:4516:45Hardwell23:4517:45 Freedom Stage ArtistTime (CEST)Time (EST)Samm16:3010:30Might Delete Later18:0012:00Sam Divine19:0013:00Meduza21:0015:00Trym22:3016:30Nico Moreno B2B DYEN23:3017:30 Happy Watching fellow ravers! The post Tomorrowland Livestream, Friday 7/26, Who To Watch Today? appeared first on EDMTunes.

Insomniac Events' storied EDC brand is heading to Southeast Asia in 2025. According to a new website launched for the festival, it's scheduled for January 17-19 at Phuket's Boat Avenue Lakefront in southern Thailand. Phuket's city streets boast a colorful life of their own, in which the lights and vibrancy EDC are likely to mesh seamlessly. The capitol city also lies right along the lush shores and crystal waters of the Andaman Sea, providing a scenic backdrop for the debut of EDC Thailand. Insomniac Events Earlier in the year, Insomniac founder Pasquale Rotella accidentally let news of the festival slip during a livestreamed lineup reveal for EDC Las Vegas, according to our friends at EDM Identity. Insomniac has not yet revealed any further details about EDC's expansion to Thailand. In the meantime, the company is currently gearing up for EDC China in September and the second iteration of its cruise festival, EDSea, in November. Tickets for the inaugural EDC Thailand event are not available at the time of this writing, but fans of the brand can register for updates here.

The label and collective had orginally been set to takeover the Berlin venue on August 2 Continue reading...

Greenrooms have proven themselves time and time again to be creative hubs, and RemK would undoubtedly agree after producing his latest single in one prior to his EDC Las Vegas performance. Described by the artist as a "festival banger," "UH OH!" proves itself perfect for both laser-laden shows and dance-filled nights alike. Showcasing an energizing arrangement, the track is replete with nostalgic, booming 808s underlying a dark yet enthusiastic melody that captivates from beginning to end. "UH OH!" arrives in the midst of massive momentum for RemK following his landmark EDC Las Vegas performance. Last year saw the rising trap music star embark on his debut headlining tour and ultimately perform at popular festivals such as Nocturnal Wonderland and Chicago's iconic Lollapalooza, among others. Take a listen to "UH OH!" below. Follow RemK:X: x.com/RemKMusic Instagram: instagram.com/remkmusic TikTok: tiktok.com/@remkmusic Facebook: facebook.com/RemKMusic Spotify: spoti.fi/3ul0YtU

Porter Robinson is unrecognizable in his latest album, a recklessly beautiful dive into the torn pages of his mind—and the cleansing climb back to himself. A dopamine-fueled existential crisis, SMILE! :D presents to fans a new Porter, a post-EDM realist bleeding with candor. The boy who once tore up festival stages with formulaic, rave-fueled electro is now a complex soul creating tender alt-pop that seeks to mend the heart's most tormented moments. Robinson's reinvention reflects an artist unafraid to evolve, even through the vertigo of that strobe light headache. Life in the public eye is a plank on which all artists have to eventually walk, and it's sadly too easy to grow nihilistic—especially when you feel endlessly misunderstood. Naturally, sacrifice and compromise become routine as they relinquish pieces of themselves to perpetuate a hollow commercial image. Under those circumstances, SMILE! :D is the untethered stroke of genius that happens when there are no f***s left to give. Porter Robinson.Alyssa Kazew At the album's core is Robinson's war with cognitive dissonance through the years. It's the musical equivalent of laughing at a funeral or crying at a rave—a beautifully uncomfortable reminder that pain and happiness are conjoined twins. Perhaps no track better explores his inner turmoil than the nostalgic "Easier to Love You," a deeply introspective billet-doux to his fractured former self. "I found a letter, 'Dear future me / I promise I'll take care of the person we'll both be eventually / I'll pick up painting and I'll join the gym' / I can't shake the feeling that I'll be happy by the time I'm him," he quavers. Robinson is even more contemplative in the track "Is There Really No Happiness?," which features additional production from the red-hot electronic music trio WAVEDASH. Here, he pirouettes on the knife-edge between emptiness and ecstasy as he ponders about a world without a loved one. And who could forget "Russian Roulette," the stunning single he released in early-June? One of the album's undeniable highlights, the synth-soaked track finds Robinson using the metaphor of a deadly game of chance to convey detachment and suicidal ideation in the face of relentless criticism. Every rousing chorus is shadowed by the nagging pull of gravity, like trying to dance in quicksand. To that end, the album is proof that clarity isn't attained easily. Dissociative disorders are the earthquakes that topple our mental architecture, but Robinson shows that you can rebuild a firmer foundation in the rubble. Listen to SMILE! :D below and find the new album on streaming platforms here. Follow Porter Robinson:X: x.com/porterrobinson Instagram: instagram.com/porterrobinson TikTok: tiktok.com/@porterrobinson Facebook: facebook.com/porterrobinsonmusic Spotify: spoti.fi/2Zu4oNS

RÜFÜS DU SOL just announced they will play a one-off special DJ set in London at The Cause. The event will take place next Thursday August 1st, with limited tickets on sale from 10AM Friday via presale. The London show will feature GRAMMY award-winning RÜFÜS DU SOL’s only appearance in the UK this year and they will be joined on the line-up by Jimi Jules. The event will be live streamed by Mixmag, who will also be making the set available online at a later date. Despite being known for their grandiose live shows to rapturous mainstage festival crowds, it’s RÜFÜS DU SOL’s rare DJ sets that are fast becoming some of the most sought after in the world. Their recent DJ set at Coachella was met with widespread acclaim, as were their closing DJ sets at Brooklyn Mirage, Hï Ibiza, and Space Miami. Photo credit: Sophie Chan Andreassend Today’s announcement follows RÜFÜS DU SOL’s recent single ‘Music Is Better,‘ which was released last month via Rose Avenue/Warner Records. The group first premiered the song during their Coachella set earlier this year, marking RÜFÜS DU SOL’s first new music since their 2021 Grammy-nominated album, Surrender. The long-awaited single captures the themes of hope, intimacy, and connection that have long defined the RÜFÜS universe, while showcasing a more expansive and ambitious sound than ever before. ‘Music is Better’ arrives ahead of RÜFÜS DU SOL’s only live show this year, headlining Portola Festival in San Francisco on September 28th. For tickets to the London show, text ‘E16’ to +1 561 783 8765 or click here. The post RÜFÜS DU SOL Announce One-Off Special DJ Set In London appeared first on EDMTunes.

With this year's theme set to be "Revolution of Imagination," Boomtown will welcome over 450 artists to Winchester next month Continue reading...

Suray Sertin of Montreal, one of the top must-hear Canadian dance music talents, released his latest single, ‘Always’ on July 18th. It is a track that aims to bring out exhilarating vibes and Suray Sertin released ‘Always’ on Zeds Dead‘s wickedly awesome label, Altered States, and the track also features the vocal support of rising bedroom pop artist, Ethan Surman. The track contains a plethora of outstanding sounds coming out of various genres such as UK garage, electro house, and dance pop. Additionally, the balance of vibrant chords and uplifting vocals make the track a beautiful piece of music to play on repeat. Click ‘Play’ on the Spotify link to stream ‘Always’ from Suray Sertin, a track that shows why this amazing producer from Quebec has the potential to become one of dance music’s future superstars. Also, check out this pretty cool exclusive live set that he conducted in Montreal, in which he creatively blend in the sounds of house and UK garage. This producer’s superb music production skills have shown why he has already earned sync placements with EA Sports, Nike, and CBC Television, as well as collaborating with prominent names in dance music such as Higher Ground and Foreign Family Collective. The post Suray Sertin Brings Out Exhilarating Vibes With ‘Always’ appeared first on EDMTunes.

This past weekend, Chris Lake delivered an unforgettable weekend of house music beats in New York City for two b2b shows. The event organized by EMW, took place on 7/19 and 7/20, over at the Brooklyn Army Terminal, which is an unique open air venue by the water. The organizers of the event are known to pick out bespoke locations to offer a fresh take in the New York City events space and had organized shows at venues in NYC such as the Kings Theater and Angel Orensanz Foundation. Walking into the venue space was such a vibe, being able to see a majestic city skyline, waves crashing against the pier, and seeing a picturesque backdrop. There were also a handful of food trucks and bathrooms as you entered in. The venue was a pier so it was expected to be long and narrow. Throughout the weekend, there was approximately 9000 in attendance each day which is basically almost the size of a mini festival which was impressive. In terms of production, the weekend was all about the music and vibes and beyond some co2 cannons and a few lights, that’s all the crowd needed when the raw house energy from the Black Books gang was oozing through the air. The sound system was impeccable as well, blasting throughout the long venue. On day one, those in attendance and myself were treated to quite the surprise when Chris Lake announced that he would be performing a b2b set with Chris Lorenzo at an earlier time slot. Throughout both dates that I attended, Lake himself was the undisputed maestro, crafting sets that seamlessly blended his signature tech-house sound with classic house elements. Tracks like ‘Deceiver’ and ‘Lose My Mind’ ignited the crowd, while his newer material showcased his evolving artistry. Both of his sets were two longs each, not letting off the gas pedal with nonstop bangers. ‘In The Yuma’ and ‘Summertime Blues’ were other crowd pleasers that got everyone jumping. Other heavyweight artists such as Chris Lorenzo and Green Velvet added their unique flavors to the shows as direct support to Lake. Lorenzo’s high-energy set, featuring anthems like ‘California Dreamin” and ‘MAMI,’ kept the energy levels soaring. Green Velvet, a house music legend, brought his signature acid-infused sound, dropping hits like ‘LIFT ME UP’ and ‘Simulator’ to the delight of the crowd. For future upcoming events in NYC, check out the official EMW website here. The post Chris Lake Delivers House Grooves at Blackbook Takeover in NYC for Two Nights appeared first on EDMTunes.

'Silence is Loud' is the first album from the genre to be included in the prestigious prize's shortlist since Roni Size's 'New Form' took home the award in 1997 Continue reading...

Seven Lions and Dabin, two of melodic house’s top superstars, have teamed up once more to release a track that aims to bring everyone’s hearts closer again. The two artists collaborated with Norwegian vocalist JIM in releasing ‘Ones I Used To Love’ and the track comes off of its debut at the most recent EDC Las Vegas. Both Seven Lions and Dabin also teamed up on their Billboard Dance charting hit single, ‘First Time’, and most definitely, ‘Ones I Used To Love” will become a track that all fans of the melodic house genre will continue playing for as long as the genre remains phenomenal in the dance music world. Click ‘Play’ on the Spotify link below this paragraph to stream ‘Ones I Used To Love’, a track that Seven Lions and Dabin released on the former’s spectacular record label, Ophelia Records. Additionally, take notice of JIM’s superb vocal skills as his vocals perfectly sync with the producers’ top-notch drops. The post Seven Lions, Dabin Release ‘Ones I Used To Love’ feat. JIM appeared first on EDMTunes.

Today, the German/Iraqi artist, producer and DJ Boys Noize releases a longtime live-favorite, ‘FVKVRVND‘ ahead of his return to HARD Summer Music Festival next weekend, Saturday, August 3rd in Inglewood, CA. FVKVRVND VND FVNDVVT We are in the midst of a lockdown-incubated “everything revival” where 148 bpm is the new 128, raging is the new raving, and the underground rules once again. This is a welcome change for HARD, who, ahead of HARD Summer 2024, are sending a message through their label’s forthcoming Boys Noize release ‘FVKVRVND’—namely, that HARD will be serving what their name says, and that they are not, in fact, fvcking arovnd. Credits Glenjamn With the ‘FVKVRVND’ single, Boys Noize bottles the lightning of the Techno zeitgeist into an anthemic Molotov cocktail. Immediately locked in and propelled forward by the inhale exhale of the 4/4 rhythm, the track slowly increases the voltage of its low and menacing portamento sawtooth—an all but forgotten signature of aughts electro that sends prickling waves of electricity across the skin. The buzzing bassline echoing in the distance becomes a looming, existential threat, revealing what those steady, heavy breaths are running from. After the wide expanse of the buildup, the claustrophobic drop squeezes the chest and rattles the gut. Discrete details have outsized effects, like Boys Noize’s exclusive use of open hi-hats giving the drums a live punk quality, and the low-pass filter coaxing strange, organic harmonics out of the synth. The piercing alarm cry of some synthetic animal warns when danger reappears on the horizon, back for the track’s second round. Don’t mistake this ripper for a retro record, however; “FVKVRVND” doesn’t resurrect a genre, only a vibe. And this summer, the vibe is hard. More on BOYS NOIZE BOYS NOIZE (Alex Ridha) builds worlds, then builds bridges between them. Propelled by an infatuation with sonic invention and a prescience for subculture, the German-Iraqi artist, DJ and producer has developed a peerless practice that is both deeply informed by electronic music history and determinedly transcending conventions. Credit Alex Horiz As an international festival headliner and A-list producer, Boys Noize embodies the transformation and expansion of 21st century Techno, House and Electro into the current zeitgeist. Yet as a Berliner and lifelong DJ, he remains dedicated to the underground, regularly flexing the decks at BERGHAIN, TRESOR, RSO, and HÖR, all while running his record label BNR. We’re going hard this summer, this is ‘FVKVRVND’: The post [prewrite july26]BOYS NOIZE Will Make You Find Out With ‘FVKVRVND’ appeared first on EDMTunes.

On June 14, 2024, Los Angeles’ vibrant music scene witnessed an unforgettable event as Waxthieves took the stage at the Moroccan Lounge. This electrifying night showcased seven unreleased tracks, giving fans a sneak peek into the future of electronic pop music. Originally known as a producer duo, Waxthieves is primarily the brainchild of Frankie Arena. Hailing from New Orleans, Arena seamlessly blends his rich musical heritage with LA’s electronic pop scene. His unique approach heavily uses electric guitar, saxophone, and synthesizers, creating a new style of electronic music that captivates and energizes. The Performance The Moroccan Lounge, located in downtown Los Angeles, provided the perfect backdrop for Waxthieves’ high-energy performance. The audience enjoyed a sonic journey that intertwined electronic music’s rhythmic beats with rock’s raw energy and disco’s groove. Each unreleased track showcased Frankie Arena’s innovative vision. He merged live instrumentation with electronic soundscapes, offering a genre-blending experience. The Future of Electronic Pop Waxthieves’ live performance at the Moroccan Lounge was more than just a concert. It was a glimpse into the future of electronic pop music. By incorporating live instruments into their sets, Waxthieves is redefining the genre’s boundaries, bringing rock’s high energy and disco’s infectious grooves into electronic dance music. For those who missed the live debut of these groundbreaking tracks, keep an eye out for Waxthieves’ upcoming releases. Frankie Arena’s innovative music is bound to leave a lasting impact on the scene, promising even more electrifying music in the future. Check out WAXTHIEVES live, below. The post Waxthieves Live at the Moroccan Lounge: A Night of Unreleased Magic appeared first on EDMTunes.

Two years after Gordo and Drake's collaborations became instant summertime staples in 2022, they're showcasing more on the former's debut album, DIAMANTE. The culmination of over four years of work, the introspective project moonlights as a reflection of Gordo's evolution as an artist. He famously retired his Carnage alias back in May 2022. "[DIAMANTE is] the most emotional project I’ve worked on in my life," Gordo said. "It features work from artists I’ve looked up to and artists who inspire me, some I've known for years and others I've met more recently." Gordo and Drake's partnership has been instrumental in shaping the landscape where hip-hop meets house music. Their collaborative force was first showcased on the latter's dance-influenced album Honestly, Nevermind, in which Gordo contributed production to six tracks. Their synergy now continues by virtue of DIAMANTE, which features two new collaborations, "Sideways" and "Healing." Spanning 16 tracks, the album also includes high-profile contributions from T-Pain, Leon Bridges, Maluma, Fuerza Regida and Keinemusik's Rampa and &ME, among others. "We've been friends for years but had never actually properly collaborated on music before Honestly, Nevermind," Gordo says of his creative partnership with Drake. "To have him on my debut album speaks volumes about what people can expect on it." Gordo and Drake.c/o Press Since adopting his Gordo alias, the DJ and producer, whose real name is Diamanté Blackmon, has earned several significant accolades in short order, including a Grammy nomination and a spot atop Billboard's "Hot 100 Producers" chart. His debut album has the feel of both a tour de force and a deeply personal breakthrough. "This album embodies all my different tastes and personalities, from what I listen to, to what I play live, who I am as an artist, but most importantly, who Diamanté is," he explains. "It’s my most personal work to date and comes from a place of love and authenticity." Listen to DIAMANTE below and find the new album on streaming platforms here. Follow Gordo:Instagram: instagram.com/gordoszn X: x.com/gordoszn TikTok: tiktok.com/@gordoszn Spotify: spoti.fi/31jquSE

Nestled in the Swiss Alps, Caprices Festival Gstaad returns to the mountaintop of Eggli in Gstaad, Switzerland, from September 20-22 for its second edition. This nature-focused festival will offer a unique blend of music, travel, and culture against a stunning backdrop. Known for its exceptional dining, thrilling downhill runs, and sun-drenched terraces, Gstaad will provide an immersive alpine experience for music fans. Gstaad’s charming village atmosphere, combined with its rich culinary scene—including first-class cocktails and raclette—adds to the festival’s appeal. With only two stages—the Chalet Stage and Yurt—the festival will maintain an intimate setting that fosters a closer connection to the music. Attendees can look forward to high-end sound quality and a lineup that promises unforgettable moments. Headliners will include Âme B2B Jimi Jules, sure to bring their fresh collaboration of sounds to the Alps, and Blond:ish, who will deliver house and tech vibes straight from Canada. Carlita, a Turkish classical musician and multi-instrumentalist, will offer experimental sounds, while Lee Burridge, the maestro behind All Day I Dream, will captivate with his deep house music. Accommodation options will range from premium hotels and wooden lodges to private chalets, catering to all budgets. Whether you’re drawn to the music, the breathtaking scenery, or the luxurious alpine lifestyle, Caprices Gstaad will be a must-attend event. Tickets are on sale now. Full Lineup: Alex Wann Âme B2B Jimi Jules Apache Bedouin Blond:ish Carlita Guy Gerber Lee Burridge Parallelle Andera Daaeeru B2B Gianundso DadaDisco Daughter In Law Eli Light Garance L&MI Natalie Wamba (Live) Olivia Polarny Satin Jackets Sound of Bam Photo Courtesy of Caprices // Credit: Alex Negulescu The post Caprices Festival Gstaad Returns for a Second Alpine Adventure appeared first on EDMTunes.

Techno’s most elusive sensation once again sends shockwaves industry-wide as he unveils his latest single, ‘Remedy’, arriving today under his imprint, Arcane. The adrenaline-fueled release showcases the dynamite’s technical expertise while unleashing an infectious, unbridled energy that captures the essence of the underground as seen through Eli Brown’s lens. ‘Remedy’ unleashes an atmospheric sonic experience that is anchored by its unrelenting heartbeat and rhythmic refrain. The raw cadence plunges listeners into the track while its hook entrances listeners more deeply into the realms of Eli Brown’s subversive universe. ‘Remedy’ blurs the lines of the veritable phenomenon’s typically sinister sound, sitting at the nexus of darkness and light, fated to mesmerize and revitalize audiences across the globe. Here is what the man had to say on this new release : “I’m always drawing inspiration from the music I grew up with. For example, you’ll hear obvious nods to the vocals of Maxi Jazz from Faithless throughout this track. I wanted to create something that feels visceral and aggressive, but also has a euphoric moment in the break – perfect for playing toward the end of my sets. Remedy is about escapism through sonics. It’s universally familiar and it’s why many of us love going to clubs, festivals, concerts and so on. This is a big one and I hope this track resonates with audiences in the same way it does for me.” Known for his immersive and sonic experiences and dark, dynamic brand of techno, Eli Brown continues to push the boundaries of the genre with distinct and vigorous sounds. Coming hot off of high-octane performances at some of the most prestigious festivals like EDC Las Vegas and Ultra Miami, alongside his latest two-track EP Pyramid Rave with HI-LO, Eli Brown’s infectious energy continues to catch the attention of listeners around the world. You can listen to Eli Brown’s new single ‘Remedy’ below and on all available streaming platforms. Stay tuned for more news! The post Techno Powerhouse Eli Brown Releases New Banger ‘Remedy’ appeared first on EDMTunes.

The critically acclaimed Tri Angle Records producer passed away in 2023, a member of his family has confirmed Continue reading...

Debuted by Oliver Heldens and David Guetta together on the mainstage of the 2024 Ultra Music Festival in Miami – one of the festival’s most talked-about moments – their collaboration with FAST BOY, ‘Chills (Feel My Love),’ at long last sees its release July 26 on the renowned Ministry Of Sound Records. ‘Chills (Feel My Love)’ is available July 26 across all available platforms.- listen here Three superstars of songwriting, production, and DJing have come together to provide a masterclass in writing a summertime hit. Gorgeous, breathtaking, and inspiring are words that describe the feeling this bonafide smash exudes on the soul. Not only is this song the soundtrack for months of great memories to come, but it strikes the right balance between grooving on the dancefloor and all other leisurely settings. It’s a true singalong. All three artists will be touring throughout the summer – from the clubs to the biggest festival stages – in support of ‘Chills (Feel My Love).’ Fans in Ibiza will no doubt want to be in attendance at Ushuaia on August 19 when Oliver Heldens performs at David Guetta’s legendary “F*** ME I’M FAMOUS” party…simply unmissable. For the most current tour schedule for Oliver Heldens, David Guetta, and FAST BOY, please check the artists’ social media accounts below. The post Oliver Heldens, David Guetta, and FAST BOY: ‘Chills (Feel My Love)’ appeared first on EDMTunes.

Boxpark has been asked to close after almost 13 years due to development in the area Continue reading...

Kings Of The Rollers talk ‘Chin Swinger’ EP Back in 2016 Serum, Bladerunner, and Voltage embarked on a journey that would see them become a powerhouse collective within the world of drum & bass. Eight years on, their collective known as Kings Of The Rollers have shone in abundance, displaying a carefree yet pragmatic approach within the scene – which has seen them rise to the very pinnacle of the genre. Their standout sets full of variational flair and mastery behind the decks have ensured that this trio will go down as one of the very best to grace the electronic dance world. As a result, creating a loyal following that have sold out shows around the globe. Undeniably, their solo careers have been long and successful ones. Individually, they moderately differ in styles. Acclaimed in the scene by most, their hard-hitting rolling drums and jump-up influenced past features heavily in their DNA. Alongside this is an embracement towards their jungle roots. Creating this euphoric rush throughout the abundance of sets they’ve performed over the years. Having worked with some of the most influential voices in drum & bass such as Inja, Maverick Sabre, Katy B, and Chimpo we have watched some of the finest collaborations the genre has to offer. With what was a radio slot show that emerged by chance, the three DJ’s had separate slots with Rough Tempo on the same day but decided to join their sets together. The chemistry between the three was evident to see and the trio were sought after within a day of the show ending. Kings Of The Rollers were born. Fast forward eight years and this DJ collective has gone from strength to strength. Performances worldwide, an album, and several releases later, it’s safe to say we have already witnessed a legendary project within drum & bass. In 2018 they signed with highly distinguished label Hospital Records for a spell, marking a moment whereby one of the most prestigious labels within the community wanted to champion a different type of sound. A style that holds such variation, drawing inspiration from many sources throughout the world of music – the likes of which we rarely come across. Some would argue this has paved the way for even more cross sub-genre projects making the community even stronger and more accessible for a wide range of fans. In what seems like we’ve been starved of regular Kings Of The Rollers sets and productions as of late, we are now entering a new chapter for the legendary trio. Their latest EP release ‘Chin Swinger’ contains two tracks including ‘Chin Swinger’ and ‘War Of The Worlds’. Both numbers are extremely weighty and ideal for the massive rigs up-and-down the country. Close your eyes to these tracks and you’d be whisked away to a 250-cap basement enjoying the melodic yet hefty melodies on a thumping soundsystem. Experimenting on new rave-like flavours in these productions is evident. It’s their first time releasing on Serum’s very own Souped Up Records – could this be the first of many with the label? With an arsenal of projects behind them, and numerous shows in the pipeline for their loyal fans to look forward to, we thought we’d catch up with the boys and look back on what they’ve achieved so far, whilst also finding out more about the ‘Chin Swinger’ two-tracker which was released this month. Before we dive into the new releases, let’s to go down memory lane and take a look back at the beginning. Serum: It was a radio show that started it all off. We all jumped on an impromptu back to back. We all had a radio slot on Rough Tempo, which at the time was a big deal. There were the three of us with individual slots. I’d played with both Voltage and Bladerunner before so we thought why not just all play together. I’d been working with Bladerunner since 2005. We were kind of like a double act already – some of the biggest tracks we both had were written together. A bit further down the line myself and Voltage started working together too. We enjoyed that set so much, after the show we wondered if anyone would want to book that. The interest in booking us as a trio went crazy after that. Voltage: We actually all had the same agent too which was Jon at Urban Agency. So on that front, it made the process even easier. Once we agreed on the name I wanted to get the artwork done and get the brand launched. Two days after that radio show our agent got in touch and wanted to know what we’d done on that show because his phone hadn’t stopped ringing with people trying to book us as a trio. We told him to sit tight because we were about to announce the Kings Of The Rollers collective. And why the name Kings Of The Rollers? Serum: I guess the reason we’re called Kings Of The Rollers is because at the time those very stomping, regimented, kind of beats were the trend and we did jump up with that old-school flavour. A very Bristol rolling-type sound. Voltage: And we definitely injected our own twist on it. We were all very much on the same page with the 96-97 sound. We wanted to bring that back up-to-date and we definitely weren’t short of ideas. Throughout our solo careers, there’d been a couple of articles before we’d even played as a three referring to us as that. In the end it was pretty easy to agree on the name. We did actually ring up Doc Scott to see if he minded us using the name. He had an EP out under that name. He was also another DJ who was dubbed with the title. Luckily, he completely agreed with the name for us and said he couldn’t think of a better name for our trio. After the launch it went mental for us. The term rollers might mean something different depending on who you ask. Serum: Yeah. What some people feel rollers are now has really changed since we got involved with it. It has definitely become more of a vague term. Some people think it means the beats, some people think it’s those foghorn basses we’re known for. In the little place in time where we came into it, it was something we did that was different to everyone else. We sit in between a lot of genres, the music we make has been pretty varied. Voltage: Our sound definitely stuck out like a sore thumb. At the beginning we were just playing what we wanted at the many festival and club night sets we were getting. There was a space in the market for us. The ethos behind it was that we knew there was SASASAS doing their MC-driven project. They were doing huge things. We wanted to show the flipside of it and really push this DJ-driven collective showcasing a range of sounds that heavily featured rollers. Looking at how far you’ve come now from a DJ collective, did you expect to be releasing music together? Serum: The original goal was that it was solely a DJ project. At the beginning we didn’t feel we even needed to be releasing music. What the shows were about early on was us just going at each other on the decks. No real plan behind the sets. Just 3 songs each on rotation and you’d only really know what you were playing once you heard what the person before you finished on. Voltage: Exactly. We’d all individually make tracks and the next day play it on the set, surprising one another at all times. We just made it as much fun as possible and the crowd can really see it and that’s a powerful thing. It is nice to come together and make music. It keeps things fresh away from the solo work. Joining Hospital must’ve been a big moment for the group. Almost a marker that your unique style was accepted by the wider drum & bass community. Voltage: Yes, definitely. When we got the call from Hospital Records to make some music it felt really random. We’d all done our own things within different avenues but never touched the Hospital community up until that point in our careers. We definitely brought a new crowd to their events. Myself and Serum have built a big jump-up following over the years and Bladerunner was dominating the jungle sound – they all seemed to really take well to the Hospital events. This new crowd we built was really telling after the first Boomtown we did. They’d follow us everywhere. Serum: There was nothing bigger than Hospital within drum & bass at the time. Our music hadn’t really gone to that sort of crowd yet. As Voltage said, we had a lot of bases covered within drum & bass but Hospital definitely felt like new territory. I don’t think they had signed an act like us before so it really did feel like something new was being born at the label. I remember Hospital needed a tune fairly quickly. We finished this tune in a few days and it was ‘Burnt Ends’. It showcased this roller sound but with the huge foghorn-like noise, which reached this new area of the scene. This foghorn movement became such a big thing and caught so many people. Making the tune was a complete accident, but it worked. I think it’s safe to say you individually have different styles, but what influences the Kings Of The Rollers sound? Serum: I think a lot of non drum & bass stuff influences us. We always look out for influences in other styles of music. We listen to a lot of different types of music and try to figure out how to make it ourselves. It’s a good way to avoid sampling issues too. That jungle culture of fusing different sounds is something we really like to use. Going through the history of the genre is something we are passionate about. We are open to anything really. Voltage: There’s always something that hasn’t been done. We try to draw inspiration from a wide range of things because that way we are more likely to find the innovation we need for our sound. With longevity comes that bit of know-how when playing in front of a crowd, sometimes the crowd takes to what you’re playing and sometimes they won’t, but after so long we can kind of work it out better. And Inja! He’s been a man that’s toured with you everywhere and has essentially been the voice to your many sets. Serum: It’s just effortless! Every DJ has a few MCs they just work well with. Where you can just play to the MC and they know exactly the pace of the set. It just works with him. When we DJ with him as a group there’s this clear connection. We can all see where he’s going and he can see where we are going. He’s got bars for all of the big tunes we’ve got. We really are all just making it up as we go along though, so it’s great to see everyone believe that these are finely tuned, well practiced, performances. That’s partly down to how great Inja is and the way he can just make things up that goes so well with our mixing. Voltage: He’s an insane MC! We started with a few MCs on rotation. We had so many shows coming so it seemed like a decent idea to have a few options. We’d done a couple with Impact, a couple with Carasel, and a couple with Inja. But it just so happened that the promoters and the ravers were all requesting Inja. Every gig that came in was always asking for Kings Of The Rollers and Inja. It really took us no effort whatsoever. It was so easy to work with him. He makes it look like we’ve been practicing together for hours and hours. But it’s just not the case. He’s so attentive and in tune to the way we all mix. He knows which mixes and drops are landing in the rave. He just stores all these moments and executions in his memory. Making everything so cohesive So you’re all back in the studio together again moving forward? Serum: Yes, I’d been building up my label Souped Up quite a bit beforehand. I’ve enjoyed doing that. Now we have ‘War Of The Worlds’ out on the label. It’s a tune we wrote during lockdown. We’ve written a whole album worth over lockdown to be fair. We couldn’t really road test any of these at the time, and then as I said earlier we shifted our attention to our solo production. Now seems like the natural time for us to get back together and put out these new tunes we’ve got. Voltage: Yes, and we have started with ‘War Of The Worlds’. We’re all working very effortlessly in the studio together again. Just very natural. We’d just been missing that togetherness in the time we hadn’t been performing with each other as much. When we were constantly playing shows, we’d be together every day and when we weren’t performing we’d be in the studio making tracks. That’s the period we find ourselves in again. When you have that kind of flow you feel unstoppable. The ‘Chin Swinger’ EP contains two tracks. Your first release in ages. ‘War Of The Worlds’ is already out as you mentioned. Tell me about why you put this together. And on Serum’s label! Serum: We’ve got a lot of different stuff we could’ve released to be fair. I’ve built Souped Up to a point where I feel it can do us justice now. It’s our first time releasing on the label. Having been with Hospital they were naturally the bigger label to release with. I actually started Souped Up at a similar time to when we started Kings Of The Rollers. What my label does really well is rave tunes. So I thought why not put out a couple of club bangers to begin with. Now we’re no longer in an exclusive deal we can release where we want. So it made sense for these tracks to be released on my label. It really is a privilege to be able to pull this off. In the rave these songs really work well I think. On a really good rig they both ridiculously go off. One of the hallmarks of our collective is the big cinematic intros. I think these tracks show that off incredibly well. That’s probably the biggest difference between our individual productions and a Kings Of The Rollers production. Voltage: I completely agree with that. We do actually spend a lot of time on the intros. Obviously, there is that big drop culture where everyones just waiting for that moment, and we do deliver on that too. But tracks like ‘You Got Me’, ‘Somebody Else’, and now these releases really do show off our musicality on the intros. I believe the trance type of sound is really landing on the intros, just pushing a different type of sound onto the production really gives it an edge. And maybe this could pave the way for more releases on Souped Up? Voltage: Yes, for sure. Serum: Definitely. Now we’re not tied down to a deal. We’ve already started to do different things like the release of ‘Paradise’ with Katy B. That was such a different project to what we’re used to. How was working on ‘Paradise’ with the iconic Katy B? Serum: So cool. It was a very different experience to usual releases. We had our tune end up on the TV which was crazy to see. It had started off as a fairly typical tune of ours. But then morphed into something else. An instrumental version worked its way to her through Geenus who manages Katy – we’ve been working with him for a while. He was looking for tunes for her. We gave him a folder of stuff and she really liked that one. The release also showed us parts of the industry we’d never experienced before which was cool. The sound was still us but it was definitely more of a commercial track, something we’ve not really put out before. Voltage: Katy was wicked to work with. She has a mad talent. She’s got an iconic voice, it’s as simple as that. She’s been on so many iconic tunes that when you hear Katy on a record it already sounds sick. It was a nice feeling when she decided to put her vocals down on it as she hasn’t been releasing much – so she must’ve really liked the track. What’s your take on where the drum & bass scene finds itself at the minute? It has molded into a more global movement. Voltage: It’s in a very healthy place and it’s great to see. The sky’s the limit for sure. I guess there’s a risk of over-saturation with certain parts of the scene. I always reference when the scene peaked in 1997 you’d have people walking around with record bags on the off chance there was a set going round someone’s house. Now you have people on TikTok showcasing what they can do, and the power of social media has been able to explode this even more. The competitiveness of the scene definitely pushes people like us who have been doing this for so long. We’re always on our toes. Always trying to be better than what we did in previous years. Whether it be the kids on socials knocking out millions of views online or the heads who’ve been around for decades like Shy FX and Chase & Status still producing anthems, wherever you look in the scene everyones pushing each other. As I said, it’s great for motivation to do better, but it can cause a general over-saturation in my opinion. Serum: Yes, I mean there’s a lot of people going to see these drum & bass events, but like anything there’s winners and losers. The variation within the scene has suffered as a result. It can be difficult for us when we put on our nights because we love to show off diverse sounds. With all this competition means sometimes certain things won’t work out but you’ve got to learn how to take it on the chin and move on. We’d love to see more Kings Of The Rollers-led shows! Serum: We haven’t put on a show in a while. We’ve had a year of trying to figure out what’s next. We had shifted back to our solo stuff for a while now because that’s what feeds it all. Our act was primarily based on being a DJ act, just about getting together and playing unplanned sets – having fun. Just so everyone can enjoy us enjoying ourselves. We feel we can offer a full rave experience and play a whole event from start to finish. It’s alway been a battle of our dubs. Sort of like a clash. When we do a show again we really want it to stand out. As good as our last ones. Our favourite shows are one’s where we’re close enough to connect with the crowd. They’re the ones you remember. We love engaging with our fans and getting in amongst it. I guess for our next big shows we’d like to achieve that. Voltage: Yes, our sets are definitely like a clash. Although sometimes I’ll get to the end of a two hour set and feel like I could’ve played another four hours. We have so many tunes between us that cover so many bases. I think we’re coming back at a time that really suits us. People want a bit of personality from us at the rave. We can look back and appreciate that we’ve done the week in week out shows as Kings Of The Rollers, we’ve done the multiple hour sets, and played the big festivals. The next step for us is just trying to play shows that are constantly special for us and the crowd, if that means playing out less then that’s fine. Playing a good old fashioned rave setting is what we love the most. We put so much of ourselves into this brand and have made it become part of drum & bass history – no one can take away that from us. Talk me through your iconic Royal Rumble shows. I think they have etched you into drum & bass history. Voltage: It’d be mad to look out into the crowd. No matter what part you looked at, you knew their faces. They were just there all the time. When we started doing Royal Rumbles at Studio 338 was mad – that April one was incredible. There were these little moments where I’d stand back and think ‘this is very different’. The production from that event, and the Printworks event, was a notch up from what anyone had done up until that point. No ones got fans like us Serum: Yeah, that was pretty crazy. The Printworks event got rescheduled so many times we weren’t even sure if clubs were ever going to open at the rate it was going at. Once it began though, it felt like it was ours because we personalised it a lot and the rig was great. We will always enjoy events with the massive rigs because that’s what we make this music to be heard on. And can you say what’s next release wise? Serum: We’ve got a track called ‘Warrior’ coming out next month which has been doing the rounds at the parties. So we’re starting to get things moving along thick and fast. We’re getting in the mix again. Very exciting stuff. Voltage: Yes, that’ll be out on DnB Allstars. I feel like we are entering some exciting times. The mad thing is I can actually see where we’ll slot back in within the scene. Listen to the Chin Swinger EP here.

It’s new music Friday, out today is a Adam Beyer’s remix of a 1992 classic ‘Give It Up’. Originally produced by the legendary duo Chocolate Puma under their alias The Good Men. Give It Up Drumcode founder Adam Beyer transforms this classic track into a techno anthem. We are in peak festival season, and it’s safe to say this track lit the Tomorrowland dancefloor on fire. He has been playing his version throughout the summer. The original ‘Give It Up’ reached number one on the US Billboard Hot Dance Club Play Chart back in 1993. This track was named as one of the classic cuts. As if the original track wasn’t a percussive masterpiece, the remix has us knocking our boots off our feet. Adam Beyer has been having a kick ass summer with his recent collaboration with Sharam, Layton Giordani and Green Velvet on their successful release of ‘PATT (Party All The Time)’. This song dominated the dance floors at Ultra Miami and topped the Beatport Top 100 chart. Let’s hope these are two of the tracks he will play up at Tomorrowland weekend 2 starting today. If you’re not there stay tuned for the live stream timings. Let us know what you think of ‘Give It Up’. Enjoy festival season and keep up with EDMTunes for all your latest dance music news! The post Adam Beyer & The Good Men – ‘Give It Up’ appeared first on EDMTunes.

Calvin Harris and Ellie Goulding's latest anthem, "Free," reinforces the fact that some artistic partnerships are simply destined for greatness. Their consistent ability to create chart-topping hits speaks to an innate understanding of dance music's role in human catharsis. That competency reaches crescendo in "Free," where Harris' production expertise and Goulding's gossamer vocals form a perfect alchemy and once again turn emotions into danceable gold. Much like the duo's prior work, "Free" is a dopamine-fueled escape hatch. With anthemic production and head-over-heels songwriting, the new single, their fourth collaboration, was designed for the walk-on-air rapture of a singalong moment in unison. "When I'm with you I'm free," Goulding sings with lilting falsetto accents. The enduring success of their partnership proves that some artistic combinations are written in the stars. Harris and Goulding reunited last year to release their soaring track "Miracle," which the former said at the time marked the completion of a "trilogy" of bangers after teaming up for a pair of generational dance anthems: 2012's "I Need Your Love" and 2014's "Outside." Listen to "Free" below. Follow Calvin Harris:X: x.com/calvinharris Instagram: instagram.com/calvinharris TikTok: tiktok.com/@calvinharris Facebook: facebook.com/calvinharris Spotify: spoti.fi/3mmhsk7 Follow Ellie Goulding:X: x.com/elliegoulding Instagram: instagram.com/elliegoulding TikTok: tiktok.com/@elliegoulding Facebook: facebook.com/elliegoulding Spotify: spoti.fi/3qvpOEG

In a daring artistic dive, HAYLA embraces the tumultuous descent of love's uncertainty in her latest single, "Freefall." Collaborating with Grammy-nominated producer Carl Ryden, her latest release marks a significant step in her journey as she embarks on her debut album cycle, with an exciting Los Angeles debut performance set for this December. Lyrically, "Freefall" is a rollercoaster that mirrors the emotional highs and lows of a relationship on the brink. The song opens with rhythmic, percolating basslines that set the stage for HAYLA's powerful vocals, weaving a narrative of wanting to let go yet feeling irresistibly drawn back. Her lyrics echo the sobering realization that sometimes, no matter how hard you try, some things are just meant to fall apart. As the track progresses, its high-energy production beams to the forefront. Melodic synth leads shimmer through a tense mix, like finding fleeting moments of clarity in a rocky relationship. In the crescendoing chorus, HAYLA's voice soars above a melodic techno-inspired sequence. The intimate song, HAYLA says, was born from a personal place of realization. "This song's story happens after the love has gone—when the realization hits that no matter how hard you try to make something work you can’t," she reflects in a press release shared with EDM.com. "The chorus, however, asks the question of gravitational pull… maybe in another time it would bring you back together." "Freefall" is the final solo single to release from HAYLA's upcoming debut album, which she said will release sometime in November. You can find the track on streaming platforms here. Follow HAYLA:X: x.com/haylasings Instagram: instagram.com/haylasings TikTok: tiktok.com/@haylasings Facebook: facebook.com/haylasings Spotify: https://spoti.fi/41MXBgq