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After declaring himself cancer-free last December after his battle with a rare form of brain and spinal cancer, known as CNS Lymphoma, Michael Bibi is now focusing his efforts on raising awareness and funding resources for cancer patients. The DJ/producer will encourage attendees of his One Life London event this weekend to join the stem cell transplant register. One Life London will take place this Saturday, July 6th at Finsbury park, where 45,000 people are expected to attend. Bibi has invited Anthony Nolan, a charity centered on matching donors with patients in need of stem cell transplants, to set up a booth at the event to spread awareness for their cause. Attendees are encouraged to stop by the booth and consider joining the register, especially 16-30-year-olds, as research has shown that younger stem cell donors lead to more successful outcomes for cancer patients. Bibi will also sell One Life merchandise at the event to raise funds for the Royal Marsden hospital in London, which is where he received treatment himself last year. In a statement, Bibi said: “Last summer I was diagnosed with a rare form of cancer and given just a 30% chance of survival. Advancements in medical treatments like stem cell transplants gave me a second chance at life and are crucial in battling these conditions.” “Together, our community can make a difference. That’s why Anthony Nolan staff and volunteers will be at my homecoming show, ready to sign people up to the stem cell register. Anthony Nolan is a charity dedicated to ensuring that everyone who needs a lifesaving stem cell transplant finds a match. So, if you’re coming down to celebrate life in Finsbury Park, make sure you visit the Anthony Nolan stand. By becoming part of the stem cell community, you could give the gift of life.” -Michael Bibi After celebrating the end of his battle with cancer last December, Bibi has returned to playing a few select shows; however this weekend’s One Life party marks his biggest event yet since his return. The DJ/producer announced his One Life tour back in January, which will kick off this weekend in London before heading to several locations throughout Europe. You can get more info and purchase tickets for all events here. The post Michael Bibi Encourages Fans to Join Stem Cell Register At One Life London Event This Weekend appeared first on EDMTunes.

J Nikolé and Mike Acosta have joined forces for a new single, "Hype Lyfe," out now on Five6ixteen Sounds. Driven by a lyrical grenade that urges listeners to move their feet, the house banger is a pulsating invitation to the dancefloor. The vocal transforms into a full-blooded mantra, burrowing into your brain and shaking loose your inhibitions. On the production side, each razor-sharp drop chugs with a booming bassline and synths that slither through the mix, creating a club-driven arrangement that's both familiar and fresh. The bass throbs through your chest while crisp percussion keeps hips moving in lockstep. "Hype Lyfe" is a finely tuned party-starter, engineered to ignite crowds and keep the energy high until dawn breaks. Listen to "Hype Lyfe" below and find the new single on streaming platforms here. Follow J Nikolé:Instagram: instagram.com/jnikolethedj X: x.com/jnikolethedj Spotify: tinyurl.com/2r8bhntn Follow Mike Acosta:Instagram: instagram.com/MikeAcostaOfficial X: x.com/MikeAcostaOfficial

The removals have affected the band Lyube, as well as singers Grigory Leps, Oleg Gazmanov, Shaman and Polina Gagarina Continue reading...

‘Letters to a future Palestine’ features 23 different artists across 19 tracks Continue reading...

This new track by Buranello is an intense, textured sound, designed to create moments of tension and euphoria. DJs have had access to the track on Beatport since the 21st of June. Marika embodies Buranello’s progressive vision of groove, showcasing his ability to create music that appeals to both critics and the general public. His recently released EP, “Fading,” also received acclaim from major artists. “Marika” represents a notable achievement for Buranello, having been personally selected by the “Father of House Music,” legendary DJ and music producer David Morales, during a live online A&R session. Morales, along with Frankie Knuckles, is historically regarded as a pioneer of House music. “Frankie Knuckles was my older sister”, said David Morales to The Guardian once. Both have influenced a wide range of producers, leading to a new approach to music production, characterised by vocals and melodious arrangements. “Marika” has also garnered support from prominent artists such as Anthony Pappa, Ilario Alicante, Steve Lawler, and Paco Osuna. The track evolves continuously, beginning with an engaging melody and dynamic percussion, and culminating in a high-energy peak. The captivating melody and aggressive bassline are complemented by drum samples and synthesiser tones. Buranello utilised plugins such as U-He’s Diva and Arturia’s Pigments 5 to create a unique atmosphere. “David Morales heard my music during an online event where producers could submit their tracks for feedback from various artists. He was very impressed with ‘Marika’ and decided to sign it to his label, Diridim. In May, I had the opportunity to attend a music production retreat with David Morales, Josh Wink, Marshall Jefferson, and Funk D’Void. We met in person for the first time and developed a great chemistry. Since then, I’ve been in close contact with David and the label,” said Buranello. The climax of “Marika” is a moment of pure energy, where the combination of all elements creates a sense of euphoria. The progression of the music maintains the listener’s attention, building up to a powerful and exhilarating peak. In his statement to Mixmag Brazil, Buranello expressed his commitment to not being confined to a single production style. “I love the melodic and progressive, so my productions will always revolve around these styles. Some will lean more towards one side, others towards the other, and sometimes a blend of both. Each genre has its unique sounds, and I will always produce what I enjoy and what I want to play.” Buranello hopes his music evokes various emotions in listeners and creates unforgettable moments on the dance floor. With new releases and collaborations on the horizon, he is poised to continue surprising and delighting his audience. Buranello’s discography and new single Marika are available on Spotify Follow Buranello DIRIDIM Records The post Chosen From Over 700 Submissions, Buranello’s Marika Is Out On David Morales’ Diridim appeared first on Electic Mode.

'Legacy' will feature a number of the vocalist’s greatest hits, alongside new remixes and edits from the likes of DJ Spen and Sophie Loyd Continue reading...

Anthony Nolan, a charity close to the DJ's heart following his battle with cancer last year, will be on site to encourage partygoers to sign up to the stem cell register Continue reading...

Bass house queen Nostalgix returns to Dim Mak with ‘Don’t Keep Me Waiting,‘ a standout track featuring the talented UK singer-songwriter Mila Falls. It is an electrifying club banger charged with growling synths, powerful vocals and a thumping bassline. ‘Don’t Keep Me Waiting,’ bares more of Nostalgix’s soul than ever before, which can be heard in the captivating topline from Mila Falls and evocative production from Nostalgix. Listen here. “‘Don’t Keep Me Waiting’ is one of my favorite songs I’ve ever made. It’s the most emotional and raw record I’ve written and produced. It shows a different, and more vulnerable side of me as an artist which I’ve been dying to show. I wrote this song during a time when I was going through a lot of hardship and challenges in my life. I needed to find the will and strength to push forward to break my own limitations. — Nostalgix Following her debut Dim Mak single “Look At Me,” which came out earlier this year, Nostalgix’s second coming on Dim Mak marks the start of more emotionally-charged, powerful tunes from the unstoppable artist. Days after the release of this single, Nostalgix joins Dim Mak for their DTLA Takeover in Pershing Square on July 7th. Celebrating the release of the single and extending the long weekend’s enjoyment even further, Nostalgix is joined by Ookay, 2Deep and other label favorites and surprise guests for a free show from 3-10PM. Free RSVP available here. Additionally, Nostalgix will be taking her sounds international this year, with tour stops taking her through to Japan, Korea, Brazil, France and more. Catch her if you can. The post New Nostalgix: ‘Don’t Keep Me Waiting’ appeared first on EDMTunes.

Bass DJ Producer Luci has teamed up with the melodic mastermind Synymata for their double debut on Kannibalen Records with ‘Pretty.’ This heart-breaking anthem is kicking off a run of singles that will lead to a special project on the label later this month. Listen here. The track sees Luci give one of her best vocal performances. With the hook “yea you’re pretty, pretty ugly inside” she expresses the complex nature of a relationship gone bad. Synymata soars with his emotional production that climaxes with a riffy melodic drop that you can’t help but to connect to. The duo connect in a deeply just as summer arrives in full swing. Luci and Synymata showcase a powerful record that will echo the end of the many seasonal flings that are to be had this year. The post Luci & Synymata Collab: ‘Pretty’ appeared first on EDMTunes.

With their current smash ‘Hearts Up’ still in heavy rotation and championed by EARMILK, EDMHouseNetwork and We Rave You, and the Robbie Rivera and Lizzie Curious remixes being played by StoneBridge on Sirius XM BPM and DJ S.K.T on Kiss FM, Ashley Paul and Luv Foundation (UK) are showing no signs of slowing down with the release of their new summer dance smash ‘Dance (U Gotta)’ with the BootlegBoys. The single is a rework of BootlegBoys‘, aka Keith Mac and Matt Clayden, single titled ‘Euro Friendly’ released on the Labello Dance record label in October 1994. You may have heard elements of this single before, Mark from Luv Foundation (UK) goes on to say “I remember going to TRADE back in 1995, I was only 16 years old and heard this track played by the legendary late Tony De Vit in his set, I remember going into the record exchange shop in Soho, London and grabbing a compilation album called FLYING HIGH where the track was featured, it has been a huge part of my life and DJ sets and I regularly use the Original for GYM sets and cardio sets to this day”. It’s no surprise that Mark would reach out to Keith Mac and ask if they could rework this underground 1994 classic, and with permission to add a new vocal around the hook line of the original. Ashley teaming up once more with Lucas Marx have added a new verse and re-tweaked the original hook line and we have to say they capture something pretty amazing around the hook line, which will captivate you instantly. Mark from Luv Foundation (UK) came up with the concept of the artwork, social and lyric video, bringing a nostalgic feel using stickmen dancing with Sean Keepin bringing Mark‘s vision to life. Stream this single below.

During his sold out retro5pective: 25 years of deadmau5 shows at the Hollywood Bowl in Los Angeles and the Brooklyn Mirage in NYC this past spring, globally renowned electronic music artist deadmau5 dazzled his audiences for the finale with a debut of his new single ‘Quezacotl,’ and is continuing to play it in all sets from Bali to Helsinki. Now ‘Quezacotl’ makes its official release today via mau5trap. The track gathers a sense of melancholy, with a mix of melodies that resemble old deadmau5, but gather 25 years of evolution for the artist. Quezacotl For his first solo release since ‘XYZ‘ in 2022, the extensive instrumental takes the listener on a translucent sonic journey. Beaconing symphonic-like chords act as a call to arms as a barrage of melodic synths take flight. Endlessly, a true return to form with all the makings of a classic deadmau5 track. If you want to experience the og deadmau5, ‘Quezacotl’ is the song for you. An incredibly resonant melody that makes us think of ‘Raise your Weapon’, this track will keep you grooving. Soon we will listen to some ep, the new three-song deadmau5 EP set for release on July 19. deadmau5 Joel Zimmerman, more commonly known as deadmau5 (pronounced ‘dead mouse’), is one of the world’s most respected electronic music producers of modern times. Enjoying international chart success with his 2x platinum-certified single ‘Ghosts ‘n’ Stuff‘. He has also released seven critically acclaimed albums. The multiple JUNO Award-winning and GRAMMY®-nominated artist’s ability to push the boundaries of his talent grows at an equal rate to his fan base. His fan base counts over 15 million and more over his combined social media channels. His latest music offerings include ‘Pomegranate’ with The Neptunes, ‘Bridged By A Lightwave’ with Kiesza. More tracks include ‘Channel 43’ with Wolfgang Gartner, with REZZ ‘Hypnocurrency’ and ‘Infraliminal’ (as REZZMAU5). Furthermore, he released ‘When The Summer Dies’ with Lights, ‘Hyperlandia’ featuring Foster The People, ‘this is fine.’ with Portugal. The Man, ‘XYZ’ and ‘My Heart Has Teeth’ featuring Skylar Grey. Kx5 In 2022 deadmau5 teamed with longtime friend and collaborator Kaskade on new music project Kx5 releasing Top 40 smash and #1 dance music radio single ‘Escape‘ featuring Hayla. This lead into the release of their 2023 GRAMMY-nominated debut self-titled album Kx5. In the live realm, his 2019/20 U.S. cubev3 tour featuring production of his own design and implementation ranked in the Top 10 of Pollstar’s top tours globally. In 2022, he completed the ‘We Are Friends’ North American tour and as Kx5 headlined the Los Angeles Memorial Coliseum in December. In effect, the duo broke records as the largest single-day concert event headlined by an electronic music artist ever in North America. Billboard confirmed Kx5 at the Coliseum as the biggest ticketed global headliner dance event of 2022. His latest accomplishment in the live music space includes sold out performances at legendary Los Angeles venue the Hollywood Bowl and New York City’s Brooklyn Mirage. All in all, we can’t wait for deadmau5’s newest chapter, and we know ‘Quezacotl’ is just the beginning: The post deadmau5 Offers His Shapeshifting Soundscape With ‘Quezacotl’ appeared first on EDMTunes.

Be careful, it’s witch hour… The High Priestess of Hard Techno aka Sara Landry introduces us to her second single leading into her highly anticipated album. ‘Prisoner‘ featuring Alex Ferral is that magical prowess we love from the Austin-born self-taught producer. Arriving on her imprint HEKATE , ‘Prisoner’ offers a collaborative testament to Sara Landry’s passion for innovation, exploration and experimentation. Born from a moment of complete spontaneity, ‘Prisoner’ originated from a text Landry sent to Alex Farrell when he touched down in Amsterdam late last year. Within a few short hours – quite literally by the time Farell took the stage for his Verknipt set that same evening – the dynamic composition was completed. ‘Prisoner’ A masterful interplay between chaos and ritual, ‘Prisoner’ reveals itself as a visceral, yet transcendent experience. It demonstrates the tour de force’s intuitive ability to create ceremonial spaces amongst the highest of frequencies. The juxtaposition of the track’s unrelenting bassline and intoxicating vocal elements that weave throughout its frenetic pulse transport listeners on a cathartic odyssey where sonic and spiritual resonance collide, all at Landry’s command. The High Priestess An irrefutable powerhouse in the genre, Landry has quickly become one of the most captivating artists in today’s electronic scene. She is known for her dark, driving and divinely feminine brand of hard techno. The self-taught producer, audio engineer and DJ has earned a cult-like following at nothing short of a meteoric pace. Powerfully, she has amassed over 1 MILLION monthly listeners on Spotify. Moreover, she consistently sells out some of the world’s biggest stages with unprecedented fervor. She is specifically a conduit to otherworldly sonic realms. Each of Landry’s thunderous productions are deliberate, witchy and uniquely in a category of their own. Her dynamic sound and unbridled authenticity have carved out a singular niche for the phenomenon as she crafts fully immersive, safe spaces for audiences. Surrender yourselves to the recesses of her vibrations. Claiming the title of the biggest hard techno ticket seller in the world, Landry opened the year with a sold out ‘All Night Long Tour’ with shows in cities across Europe. Furthermore, she had a 9,000 ticket sold out headline show in Bogota and two sold out shows at 516 Anderson St. in Los Angeles. This July, she’ll become the first artist of her genre to play the Tomorrowland Main Stage. Descend into chaos, and let the ritualistic sounds of ‘Prisoner’ pave the way: The post Sara Landry Reveals Spellbinding New Single ‘Prisoner’ appeared first on EDMTunes.

In the world of electronic music, the possibilities are endless. Occasionally, a single emerges that truly pushes the boundaries, introducing a fresh style to the scene. Such is the case with the new release, ‘Lite Ride,’ by Acer Vantes and LiteBug. Drawing heavy influences from both tech house and electro house, Acer Vantes and LiteBug expertly craft a track that marries the groove and rhythm of tech house with the power and grit of electro house. The artists skillfully use a catchy vocal sample in each breakdown, ensuring the track stays in your mind, but it’s the drop that really makes ‘Lite Ride’ stand out. Rhythmic house drum samples maintain a captivating groove, while a thick bassline synth injects power and energy into the track. This collaboration marks the first time Acer Vantes and LiteBug have joined forces in the studio, and the result is truly special. Be sure to check out ‘Lite Ride’ for yourself. Stream this single below and on all other platforms here.

Tomorrowland is just two weekends away and the organizers are doing their best to keep the site ready despite wet weather conditions. Preparations for the highly anticipated Tomorrowland festival are in full swing, despite facing difficulties due to Belgium’s unusually wet spring and summer. While the weather improved last week, the persistent rain has saturated the ground, creating concerns for the camping and parking areas. Organizers are working diligently to ensure optimal conditions for festival-goers. Their efforts come after other Belgian festivals have experienced disruptions due to the excessive rain. With the festival kicking off in just two weeks, fingers are crossed for drier weather in the coming days to allow the grounds to firm up. The post Tomorrowland Fighting Water Saturated Soil Ahead Of The Festival appeared first on EDMTunes.

As we enter the 7th month of the year, Austrian talent Van Snyder offers up his 11th single of the year, an expectational single titled ‘Light My Fire’ created alongside Serena Bleu and TOROK via the Future Rave Music imprint. Van Snyder and TOROK are no strangers to working alongside each other, previously releasing ‘Come Around’ and ‘Love In My Heart’ along with both ‘NOW’ and ‘Witch Doctor’ which came earlier this year. For this single, the two artists link up with Serena Bleu for the first time and you can instantly say that it is a match made in heaven. Released on the Future Rave Music record label, you can imagine that this one is an anthem and after listening you wouldn’t be wrong. ‘Light My Fire’ is peak time mainstage at it’s finest, with Serena Bleu‘s vocals add to the catchy side of things while an infectious and rhythmic instrumental brings the energy and power. Subtly energetic and powerful synths are the main attraction of the drops and they top this single off perfectly. Stream this single below.

The trio have launched the tee, which reads "West Holts Full, Seek Alternatives," on their merch site following their Friday afternoon shutdown Continue reading...

Vilas Monnappa’s latest offering, “Techno Melody O India” is an 18-track compilation. It is a bold exploration of the intersection between India‘s rich musical heritage and the pulsating rhythms of modern electronic dance music. Monnappa is known for his innovative approach to music production. He has crafted a sonic journey that exceeds both time and geography. “Techno Melody O India” mixes two distinct musical traditions. It also creates an entirely new auditory experience. The album’s strength lies in its seamless integration of traditional Indian instruments with contemporary electronic beats. Listeners will find themselves transported by the haunting tones of the sarod and sitar, their strings weaving intricate melodies over driving techno basslines. The ethereal notes of the Indian flute dance through synthesized soundscapes. The violin adds depth and emotion to the electronic compositions. But Monnappa doesn’t stop at instrumental fusion. The addition of captivating vocals throughout the album adds a human touch to the electronic backdrop. They create a bridge between the ancient and the modern. These vocal performances, ranging from classical Indian styles to more contemporary approaches, add layers of meaning and emotion to the tracks. “Techno Melody O India” is able to honor both its roots and its futuristic aspirations. Each track feels like a carefully balanced equation. Neither the traditional elements nor the electronic components overpower each other. Instead, they exist in harmony, creating a sound that is greater than the sum of its parts. The album’s 18 tracks take the listener on a journey through various moods and tempos. Vilas Monnappa has crafted a vibrant, living testament to the power of music to unite, inspire, and transcend. The compilation has been chosen by Beatport Hype editorial staff. The post Techno Melody O India Blends Ancient and Future Sounds appeared first on The Groove Cartel.

The 20th edition of Defqon.1 Weekend Festival, the world’s largest harder styles festival, took place from June 27-30, 2024, in Biddinghuizen, Netherlands. This year’s event was larger than ever attracting 250,000 visitors from over 100 countries and featuring more than 500 artists across four action-packed days. Defqon.1 Weekend Festival has solidified its position as not only the biggest harder styles festival globally, but also the largest dance festival in the Netherlands. With four spectacular endshow experiences and a diverse lineup spanning 360 degrees of the harder styles, the completely sold-out event once again proved why it’s a must-attend for harder styles enthusiasts. Getting There Our journey began with a drive from Den Haag to a villa in Ermelo, about an hour and 45 minutes’ drive and then from the villa to the festival grounds, another 25 minutes. While camping has its charms, years of experience (and a few battle scars) led us to choose a more comfortable accommodation option. As this was my fourth Defqon.1, I was prepared for the long walk over the bridge (if you know you know) but was very interested to see how the festival evolved since my last time here in 2018. Getting to and from the festival each day by car was relatively straightforward, with one minor hiccup on Thursday when we accidentally found ourselves at the Walibi amusement park entrance. The walk from the parking lot to the campsite entrance took about 15 minutes depending on where you park. A cool feature this year was that the parking lot was organized by numbered rows (so if you or one of your friends remembered the row number you could find your car!). I can’t tell you how much of my life was wasted over the years forgetting where we parked. As rave veterans, we planned our arrival and departure times strategically to beat the crowds. Each day, we arrived early around 11:30 AM and left around 2:30 AM, ensuring we avoided the worst of the traffic while still enjoying full days of music and entertainment. Venue Defqon.1 takes place at the Evenementen Terrein Het Maaiveld in Biddinghuizen, located in the Flevoland region of the Netherlands. This expansive venue is known for hosting numerous large-scale events throughout the year. Despite its size, the layout is generally well-organized although really dusty so don’t wear white shoes! Food & Drinks Defqon.1 offered a wide variety of food options to keep attendees fueled throughout the long festival days. From international cuisine like tacos, Korean and Thai food, to more familiar festival fare such as Turkish pizza, chicken gyros, and empanadas, there was something for everyone (including vegan options)! Of course, no Dutch festival would be complete without fries – the late-night fries with mayonnaise at the campsite were a particular highlight for me, so salty and crispy! As most Dutch festivals, Defqon.1 operated on a token system for food and drink purchases. Tokens could be bought in bundles: – 5 tokens for €20 (1 token ≈ €4 or $4.29 USD) – 10 tokens for €40 – 15 tokens for €60 – 20 tokens for €80 – 25 tokens for €100 Prices varied, with beer and soda costing one token, while hard seltzers were a bit more and cocktails were priced at three tokens. For an example of the food prices, a portion of three chicken satay sticks could be had for 2.5 tokens. Of course, this is a huge price jump from the last time I attended Defqon.1 in 2018 but now living in the post-pandemic world plus inflation and having attended many festivals of similar size recently, the prices didn’t shock me. Stages Defqon.1 is renowned for its impressive array of stages, each dedicated to a different sub-genre of harder styles music. RED Stage The iconic RED stage is the center point of Defqon.1. This colossal structure takes nearly a year to design and three weeks to build. Featuring over 300 speakers, 1,472 light fixtures, and enough confetti to fill 192 waste containers, the RED stage is a sensory overload in the best possible way. This year’s design paid homage to Defqon.1’s legacy, showcasing five ‘Defqon.1 Gods’ on thrones, each representing a past stage design. From the Samurai (2023) to the King of Scrap (2011), these figures embodied the festival’s rich history and mythology. GOLD Stage The GOLD stage is a nostalgic journey through hardcore music’s golden era. Here, gabbers, ravers, and diehards unite to celebrate the roots of rave culture. This stage hosted legends such as Rob GEE, Panic & the Viper, and Charly Lownoise. YELLOW Stage For those who like their beats fast (I mean really fast), the YELLOW stage is the place to be. Hosting Uptempo, Frenchcore, and Terror genres, this is where the BPM never drops below 200. Since my first edition of Defqon.1 in 2015, this stage has always held a special place in my heart. It had the best vibes in my opinion and the best music. PURPLE Stage The PURPLE stage is where future stars are born. Many of today’s headliners, including Headhunterz and D-Block & S-te-Fan, made their Defqon.1 debuts here. I got a great view of the stage from the Ferris Wheel on Sunday evening! ORANGE Stage On Friday, the PURPLE transforms into the ORANGE stage, delivering pounding Psytrance beats to eager crowds showcasing the diversity that Defqon has to offer. GREEN Stage A new addition for Fresh Friday, the GREEN stage brought Hard Techno to Defqon.1 for the second time. Hard Techno is one of the most popular subgenres of electronic music today and the intersectionality between Hard Dance (especially reverse bass and Hard Techno as we know it today) makes it no surprise that Hard Techno was represented at Defqon.1 this year. UV Stage One of the largest outdoor stages, the UV hosted The Gathering’s end show on Thursday and was a beacon of light (literally illuminated the sky throughout the weekend). The center point of the UV stage was a giant purple Defqon logo with crystals on each side of the stage. The UV stage hosted a variety of different genres of music such as Wasted Penguinz, Brennan Heart, Dr. Peacock, and Darren Styles to name a few. BLACK Stage The BLACK stage has always been the home of hardcore at Defqon.1. This year BLACK was harder (and sweatier) than ever with some of the most insane acts of the scene today like Lil Texas, Major Conspiracy, and Dimitri K. BLUE Stage The second-largest stage at Defqon.1, the BLUE stage is the place to be for Rawstyle. Not to be confused with the Black Stage (that’s a blue tent), the BLUE stage was a large hangar with next level production including 441 light fixtures. At some points this stage was so crowded it was very difficult to enter and exist (even for a pro like me). MAGENTA Stage Celebrating hardstyle classics all weekend long, the MAGENTA stage is a time machine for electronic music lovers. If reverse bass is for you, then this was the place to be. From legends like Zany, to Tatanka, to Donkey Rollers, MAGENTA was a trip back in time to the early days. SILVER Stage For those who prefer more the underground, the SILVER stage delivers heavy Industrial vibes. The best part about the SILVER Stage was the wrap around stairs and decks allowing for various vantage points and an arena vibe. All Weekend Silent Disco A unique feature at Defqon.1 was the availability of silent disco headphones. For a five-token deposit, attendees could tune into five different channels from various stages, allowing them to experience different parts of the festival no matter where they were standing. Defqon.1 Theater New to the festival was the Defqon.1 Theater, presenting “Ghost Stories | The Twilight Ceremony.” This cinematic show experience, created by Q-dance and D-Block & S-te-Fan’s live act ‘Ghost Stories,’ offered free admission to multiple shows throughout the festival. The Monument: At the heart of Defqon.1 stood The Monument, a striking structure made from four 40-foot containers topped with a massive Defqon.1 logo. Surrounded by seating areas, this became a central meeting point and relaxation zone for weary warriors. Music The Opening Ceremony The opening of the RED stage is always a special moment for Weekend Warriors. Walking up to the RED stage for the first time is always breathtaking between the sheer amount of people and the level of production. Known for his hard-hitting tracks and high energy performances, Ran-D set the mood for the weekend. POWER HOUR Described as ‘the biggest organized chaos of the year,’ POWER HOUR is a Defqon.1 institution. This year’s edition featured the famous ‘left to right’ moment and a spectacular air show by the Red Bull Flying Bulls, who dominated the skies with historic Dornier Alpha jets. Rob GEE Rob GEE’s two sets on Saturday paid homage to the legends of early Gabber one on the BLACK stage with Marc Acardipane hosted by MC Alee and Tha Watcher and then later in the day a solo set hosted by MC Da Mouth of Madness and MC Da Syndrome taking the crowd on a nostalgic journey back to the ’90s. With classic bangers like ’98 to Piano, I like it Loud, and Ecstasy, You Got What I Need, these sets were the perfect homage to the legends to pave the path for the music we know and love today. Outsiders and Freddy Moreira: Sunday’s set by Outsiders and Freddy Moreira was a high-energy mix of classic ’90s tunes and contemporary hits, complete with dancers throwing panda bear stuffed animals into the crowd and an endless amount confetti cannons. Their set was a big mix of everything from classic 90’s music top hits of today like Ratata, to fun remixes like Tattoo and Take Me Away. 100% pure energy from start to finish. The End Shows Defqon.1‘s end shows are legendary, and this year was no exception. Each night concluded with a breathtaking display of fireworks and lasers, illuminating the sky and leaving the crowd in awe. The Sunday night Closing Ritual was particularly emotional, and included the iconic left right moment once again but now in the dark for the very first time ever providing a fitting end to an incredible weekend. Final Impressions Defqon.1 Weekend Festival 2024 was a testament to the festival’s continued growth and innovation. The addition of a fourth day (introduced in 2022) allowed for a more relaxed start to the festival experience. Beyond the music, Defqon.1 offered a plethora of activities, from the Warrior Workout to the new Orange Light District, ensuring there was never a dull moment. The festival’s attention to detail was evident in every aspect, from the Sneaker Sanctuary to the Bitterballen Bingo hosted by Holland Casino. I have to say experiencing Bitterballen Bingo from the perspective of an American living in the Netherlands for eight years was so fun. Singing along to Dutch music, eating free bitterballen (deep fried balls of meat ragout) and watching breakdancers was so cool and unexpected. We even did the polonaise (Dutch version of a conga line) to exit the venue, it doesn’t get more Dutch than that! Navigating the festival was made even more fun with unexpected stages, such as one by the bathroom on Friday and various art installations. The only downside about getting around, was at points the festival was so crowded (especially Blue Stage on Sunday for Sickmode and Krowdexx) that it was impossible to move. Also on Sunday, a few of the stages switched for example UV became Black, Black became UV and without using the Q Dance app (plus with the bad service the app did not always work), a lot of people missed out on sets or lost their friends. One tip for next year would be to have additional signage, cross post style signs that point in which directions the stages are and how many meters it is to walk there would be helpful especially when your phone dies or you don’t have service. It’s also extremely confusing that the BLACK Stage is in a BLUE tent! But taking into account how hot a black tent would become (even without the collective energy the hardcore enthusiasts create while dancing to the fast paced beats) one can only understand this decision. Defqon.1 is more than just a festival; it’s a lifestyle. It’s a family. The sense of community among the ‘Weekend Warriors’ is palpable, with attendees showing their dedication through tattoos and even weddings on site. It’s this spirit of unity, brought together by a shared love of music, that makes Defqon.1 truly special. As we left the festival grounds for the last time, tired but elated, one thing was clear: Defqon.1 remains the ultimate celebration of harder styles music, and an unforgettable experience for electronic music lovers from around the world.

Dive into this short film of Max Cooper earlier this year at London’s Barbican Theatre (a favourite venue of ours) Max Cooper has carved a unique space as an audio-visual artist with a science PhD and an international reputation as a leading electronic musician. His work carries an emotional resonance and sensory immersion, often focusing on humanity’s place in the world. He merges electronic music and visual art with scientific enquiry through installations, live performances, immersive audio-visual experiences, a range of digital media and award-winning music videos. Unspoken Words is Cooper’s 6th studio album and the latest in an impressive back catalogue that dates back to 2007 when he juggled studying Computational Biology with being resident DJ at a local techno club. He recently supplied the music for a powerful video narrated by Greta Thunberg and Pope Francis and played at COP26, urging world leaders to consider climate and environment in Covid recovery plans. Last year, he became the first techno artist to play at the Acropolis in Athens, Greece. Other work includes commissions from The Barbican, France TV, AND& festival, Waltham Forest Borough Council, and collaborations with Zaha Hadid Architects, The Babraham Institute, and L-Acoustics alongside musical reworks of contemporary classical musicians including Philip Glass, Nils Frahm, Terry Reilly and Michael Nyman and pop artists Hot Chip and Moby. His label, Mesh, is keenly placed to explore the intersection of music, art and science through interdisciplinary creative collaborations that blur lines between art, mathematics, film, choreography, sciences, architecture, psychology and spirituality. The post Max Cooper – Seme Live at the Barbican (A short film by Wilderthorn) appeared first on Decoded Magazine.

The venue cited “rising costs” and the demands of running a “full-time club” Continue reading...

Ten albums in three years. That’s still the cosmic mission of the Berlin post-kraut trio YELKA with Daniel Meteo, Christian Obermaier, and the namesake Yelka Wehmeier. With the album “For,” there was a Label change. After releasing three albums in 2023 with Maurice Summen, head of Fun In The Church they passed the label responsibilities to Karaoke Kalk. Karaoke Kalk is a friendly label founded in Cologne known for establishing the Berlin post-wende scene (fall of the wall scene). The trio’s fourth album was also created with Arne Berger at Popschutz Studio, and the team is definitely well-rehearsed. Instead of recording the planned tracks, the band decided to improvise the session, and all tracks, except for the krauty Doors cover “The Crystal Ship,” were created in 5 days in the studio, mostly on the first or second take, but with significantly more overdubs – keyboards, backing vocals, second and third guitars, percussion, and piano. The sound of “For” has become warmer, and the album begins with a kind of 60s-Kinks feeling. Overall, the current record has become much more exuberant – like Alice in Wonderland, YELKA seems to want to restore innocence to things in the opener “Smile (Into Skies),” resulting in an uplifting hiking song for experimental outdoor bohemians. The follow-up piece “The Boar” speaks to everyone from the north, south, west, and east and here YELKA encounters a horde of wild boars on their travels, before the vocals become hardly understandable and ghostly spooled in reverse, suddenly sounding like Damo Suzuki from CAN at the height of Tago-Mago times. YELKA‘s version of the Doors`”Crystal Ship,” simply sails away with the wild boars into remote 4D worlds between the Cocteau Twins and X-Mal Deutschland. In the first instrumental of the album “Is this enough?”, the band reverse tracks like Jimi Hendrix in his Electric Ladyland, and we dive deeper and deeper into the endless sky until YELKA finally arrive on newly trodden sound paths with “MM” to their beginnings on their debut album “Nowhere Jive.” At the popular intersection of post-rock and jazz, where guest singer Bela Hagel also likes to linger for a moment: “Sie wissen” (They know), he knows that too! Surely Rolf-Ulrich Kaiser would have had a lot of fun with his shamanistic singing on his “Kosmische Kuriere” label. The guitars sound like a desert, and the reverb reminds us of the expansive space in the opening track “Skies.” Finally, we land in America, or rather, YELKA, and ponder the melancholic question of whether anyone still wants to travel to America with them, to the land of unlimited possibilities, the haven for artist souls all over the world. “Do you wanna dance?” Yelka Wehmeier finally asks, while a chorus in the best Sun Ra manner mantra-like repeats “Cold dogs, cool cats.” The whole band sings. Everything sounds good. Pre-order here The post Yelka’s “For” available now on vinyl appeared first on Decoded Magazine.

Ross From Friends (aka Felix Clary Weatherall) returns to Brainfeeder under his new Bubble Love alias, breathing fresh life into two classic RFF tracks: “Love Divide”, from 2021’s ‘Tread’ album; and “The Knife” from his 2017 debut ‘Family Portrait’. On “Love Divide (Bubble Love Remix)” Weatherall retains all of the emotional heft of the original whilst ramping up the four-to-the-floor elements to deliver a peak-time remix that elevates the track from its worthy status as one of the highlights of his live shows to something equally at home on a packed-out dancefloor — as evidenced by its use as the opener on his recent Boiler Room show. The release comes backed with “The Knife (Bubble Love Remix)” — recorded live in Newcastle, UK — which sees Weatherall taking a more radical approach to the reworking, transforming the downtempo original into a 160BPM Jungle-infused roller, which also references vocals from another Ross From Friends live show fan-favorite “The Daisy”. Originally conceived as a way of bridging the gap between the energy of the Ross From Friends Live shows and the late-night club DJ sets Weatherall was enjoying playing, much of the initial music that would eventually become Bubble Love was written spontaneously and fast — in stark contrast to the meticulous production that goes into the mainline Ross From Friends output — and often played out to fans the same day it was written. “This was super fun initially, being able to just fire stuff out at the last second and watch people go ape,” says Weatherall. “That pure fury and rawness is, to me, what a lot of dance music is all about.” At the same time though, he found himself struggling with what he felt was the “hollow” nature of making music this way. “Quite a massive part of me eventually found making things disposable like that really meaningless,” he says. “I felt like I was abandoning a side of me that loved spending time working on details, and loved to try and think really hard about certain parts of tunes.” Fortunately, he found a way to reconcile these conflicting feelings whilst whiling away some of the hours on a long train journey: “I came up with an experiment,” he explains. ”I told myself, ‘Let me try making a tune as if there was a digital character instructed to carry out the very first idea that came into my head.’ For example, if I had the idea that I wanted a horn section, seeing as that was the very first idea that came to my head, as per the rule, I had to carry it out without any judgment. It might sound far-fetched, but I love coming up with these kinds of games when I’m in a bit of a creative rut., and eventually I found myself just absolutely firing away making tunes like this. It was almost like a total epiphany – I realised I could bypass any self-doubt and confused voices and replace them with this character who was just mindlessly carrying out all of these tasks for me. Like I could just set up this algorithm and let it run.” “As I started making more and more stuff like this, that digital character started to become clearer and clearer. It started gaining actual characteristics, a voice, a personality. Whenever I’d make a creative decision I’d quite literally imagine this little character carrying out these tasks for me, and it just became more and more vivid. As the character kept growing, that hollowness associated with making music in this disposable way started to lift, and it actually started to gain all this meaning. It’s like I could now allow myself to enjoy making music in this way if I imagined it wasn’t me doing it. It’s easier to picture this digital geezer just pressing all the buttons instead.” “In a nutshell, that digital geezer is Bubble Love. He’s extracted all of that drunk, decisive, hedonistic energy I’ve got somewhere in me and spat it into my music. He’s what’s been the main driving force behind my DJ sets lately, and he can be a proper troll so watch out.” “Love Divide / The Knife (Bubble Love Remixes)” are out now on Brainfeeder, and keep an eye out for Ross From Friends / Bubble Love touring throughout 2024. Stream / Download here The post Ross From Friends returns to Brainfeeder under his new Bubble Love alias appeared first on Decoded Magazine.

In this exclusive interview, we sit down with the talented Electronic Music Producer and DJ, Craig Oram, to discuss his exciting projects for 2024. From his methods to creating energetic DJ sets to his plans for the upcoming festival season, Craig shares insights into his latest productions and the inspirations behind his unique sound. As he prepares to release new tracks and remixes, Craig talks about his creative challenges, collaborative efforts, and how he plans to push the boundaries of his music. Join us as we delve into the creative mind of Craig Oram and explore what the future holds for this dynamic Producer and DJ. Hi Craig! How are you doing? Hello! I am doing great, thank you. I just got back from MINT Festival in Leeds, and it was bloody good fun. Some of the tunes were seriously good. Can you tell us about any exciting projects you have lined up for the upcoming months? At the moment, I am blasting out some guest mixes for various music culture websites like ‘6 am’ and ‘Magnetic Magazine’. If you want to hear some fresh, funky belters, have a look at my SoundCloud as they emerge. Most importantly, we have the festival season coming up, so the Campsite Kings will be out in full force. Noisily Festival in Leicestershire is next. Of course, I have several new tunes I cannot wait to release, and they will be out soon. What has inspired your latest productions and what can listeners expect from them? My last few tracks have been heavily influenced by Indie Dance wizards like Shagy and Jacob (IL), and some of the underground heroes of the Egypt music scene like Proof and Mooh. My tune ‘Stabby with Knives’ started out completely different to how the finished project sounds. After putting enough time in, you create your own inspiration. I also often take inspiration from my closest friends, as they can have great ideas for a track which I do my best to bring to life. I love that it feels like a wee challenge. With my tracks, you can always expect a good progression and the wait for the final drop to pay off. You can expect psychedelic-inspired sounds or rhythms, and I’d like to think you’d want to party when you hear them. Do you have any plans on releasing new remixes? What do you look for when choosing a track to remix or rework? I am always up for a remix; some of the best inspiration comes from hearing a rhythmic vocal. I am in the middle of a remix of a Nine & Dex single, a funky Rap track from a duo in England. I usually only like to take the acapella and then make all the instrumental myself, not using any of the original stems. Are there any collaborations in the works that you’re particularly excited about? I have been networking with some of my favourite artists, and I am hoping to get the chance to work with them. However, life is busy and gets in the way. If anyone likes my tunes and thinks we could make something great together, my email is on SoundCloud. How do you plan to challenge yourself creatively in the coming months? I guess the social media side of things is where the creation is lacking. Unfortunately, nowadays, the social media presence is where things really kick off. I am constantly in music production mode, and it’s easy to get stuck in the same routines and methods of music creation. I have bought some new hardware synths and some VST synths that I’d like to explore. Sometimes I feel my tracks can be lacking some atmospheric depth and sounds. This is an area I’d like to study more and bring a more professional sound to my projects. What role does experimentation play in your music-making process and how do you push the boundaries of your sound? Experimentation is everything, and my tracks always get to the point where I have several main sounds that I am toying with, and it can sound quite busy. Once I have played around and added the right saturation and grit or found the groove I am really after, that’s when I know I am on the path I want to be on. As a DJ, how do you curate your sets to keep them fresh and engaging for your audience? Often, I will go through any new tracks I have found – either new to me or just generally recent releases. I will always make a new folder on Rekordbox and categorise tunes, going from funky to more energetic towards the end. Between my friend circle, we get chances to practice together, and of course, our music tastes vary a bit. However, we all still appreciate a very well-made tune and a good mix. This gives me great confidence in the tracks I select and my own ability to play out the track in the best way possible. Are there any specific festivals or events you’re looking forward to playing at this year? I’m yet to be asked, but I am hopeful to finally see my name on the line-ups and show the crowds what amazing tunes are out there if you dig for them. But as I said before, I am still so happy to attend festivals. I will be partying at Noisily Festival in July and likely a couple more later in the year. Looking ahead, what are your long-term goals as a music producer and DJ, and how do you plan to achieve them? Honestly, my goal really is to just be able to make music my full-time profession and get out of the oil and gas industry. Time goes by far too fast when working a month at a time. I am the happiest man alive when behind the decks, and I can’t wait for the day that I realise I can do it for a living. Ideally, my long-term goal is to play a whole set using all my own tunes to the people who want to hear them. I don’t want to be the biggest and most famous, but I’d like to be reputable enough that the public will know they won’t be dissatisfied with my gigs. We conclude our interview with Craig Oram by thanking him for sharing his plans and creative insights for 2024. With a passion for music and a drive to continually evolve his sound, Craig Oram is set to make his mark on the Electronic Music scene this year; as he navigates sonic exploration, new releases, and potential collaborations, his dedication to his craft remains evident. Be sure to follow Craig Oram on his musical journey and stay tuned for the innovative sounds he promises to bring by keeping up to date with him via social media. Craig Oram Online Spotify | Instagram The post Inside Craig Oram’s Year Ahead: New Music Releases and Festival appeared first on EDMTunes.

Cristoph has teamed up with the legendary dance music icons Pete Tong and Paul Rogers in remaking the latter duo’s ‘Where’s The Music Gone’. This remake of ‘Where’s The Music Gone’ has arrived on Above & Beyond‘s world-famous Anjunadeep label and it arrives nearly 13 years after the original hit song’s release. During those 13 years, Pete Tong has made ‘Where’s The Music Gone’ into a beloved classic amongst fans worldwide, especially at his must-attend Ibiza residencies. Fast-forward to 2024, the remake is here for anyone who loves progressive house music with a passion. Click ‘Play’ the Spotify link below to stream the phenomenal remake, a tune that resonates through the atmosphere and airwaves alike, just like how the original tune had done many years ago. ‘Where’s The Music Gone’ remake brings out sunshine vibes alongside melodic rhythms Sometime in the mid-2010s, the melodic techno/deep house maestro that is Cristoph began playing his own edit of ‘Where’s The Music Gone’ in his own unique sets. Now that the remake is out, fans can get to enjoy the piano melodies, vocal samples, synth leads, and drum beats wherever they may be. Additionally, the release of this remake comes after Cristoph released his latest six-track EP, FaCet Vol. 3. The post Cristoph, Tong, and Rogers Remake ‘Where’s The Music Gone’ appeared first on EDMTunes.

The Mayan Warrior team have announced a new car concept, ‘Mayan Warrior Galaxyer’, which will participate in their Halloween event in Los Angeles. The event will take place on October 26th and its organizers are “Stranger Than”, an exciting indie event collective that is also from Los Angeles and also one of the Mayan Warrior’s long-time partners. Additionally, the Halloween event will be the first off-playa appearance of the ‘Mayan Warrior Galaxyer’ since it debuted at the most recent Burning Man. Since the original art car’s tragic demise last year, the Mayan Warrior team have continued amplifying its resilience and dedication to ensuring that the new car concept retains the original spirit. Original Mayan Warrior Art Car / Photo Credit: Nicholas Hess ‘Mayan Warrior Galaxyer’ and its innovative designs The new art car beautifully blends ultra-modern technological aesthetics with ancient, traditional artistry. This innovative art car has designs that resembled a Mayan spaceship and an altar stage, which the team has promoted for its previous art car throughout the many years. The ‘Mayan Warrior Galaxyer’ also provides the fans to experience and feel the emotions of the Mayan Warrior itself as it moves through space, time, and cosmos. Additionally, this art car’s founder, Pablo Gonzalez Vargas, cooperated alongside Alvaro Manzo for the conceptual design, Paolo Montiel on the lasers and lighting systems, and Daniel Coello for the industrial design and build. When to see the new art car Tickets for the LA Halloween event will go on sale on July 10th at 12 p.m. PST. Furthermore, the additional Mayan Warrior dates for Miami and Tulum will come out soon later this year. The post Mayan Warrior Announce New Art Car For Halloween Event in LA appeared first on EDMTunes.