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Over the last few years, the rise of a particular individual in the UK electronic scene has mesmerised not only British followers but music fans around the world alike. With a solid foundation of work spiralling back almost a decade, the notable rise of one Sammy Virji has been fascinating to follow. A producer who holds no boundaries when introducing new sounds to his work, his consideration towards a plethora of genres, and influences, throughout the multitude of sets he plays is a testament to the musicality he possesses. In more recent years, his ventures into the UK garage world have seen him reach the very pinnacle of underground dance music, unquestionably placing UK electronic music at the forefront of a more global movement. The London-born artist has been responsible for some of the very finest UK garage and bass house rhythms of recent times. Over the years, there has been an abundance of household Virji tracks that hold great weight within the scene including ‘Daga Da’, ‘Find My Way Home’, ‘Never Let You Go’, and ‘Shella Verse’. With current releases ‘Moonlight’, ‘Goodums’, ‘Hot In Here’, and ‘Summertime Blues’ demonstrating a legacy that will only get stronger. These recent tracks have included notable artists such as Champion, Salute, Unknown T, and Flowdan exhibiting how desirable he is to work with as a producer. In what is just a tiny flavour of a wider discography that attacks a variety of musical genres, Sammy Virji fans are consistently treated to hit after hit – making him one of the most prolific producers in the game. From dubstep head to UK garage superstar, it has been a multifaceted electronic road he has followed to be where he is today. Many influences over the course of his musical learning, which meticulously include dubstep, bassline, garage, house, soul, and drum & bass, have ensured that we are witnessing an artist who can undisputedly curate DJ sets that live long in the memory. Although pinned as a UK garage artist, it would be unfair to label him into just one category. Any avid Sammy Virji listener knows his sets are full of variational flavour. His current productions may tick boxes within the UK garage genre, but if you consider his work over the course of his career it is effortless to identify a wide range of sounds that have forged Virji into the force he is within a wider electronic scope. A highlight from 2023 that has undoubtedly brought a deserved status within the scene, alongside his many forward-thinking productions, is his DJ Mag live set last summer – accumulating over a million views on YouTube. A real performance for the ages. This set dissects the brains of Sammy Virji to perfection, showcasing a wide range of UK garage, house, bass, and soul. Its R’n’B-influenced style created an experience that demonstrates a musicality that is undeniably distinctive. The way he carried himself throughout the performance was infectious to the crowd and this was really evident for the duration of the stream – bringing joy to so many people who have viewed it since. With a huge year in store which already includes more overseas touring around North America, as well as a return to Australia and New Zealand, it’s clear to see that Sammy Virji is truly making an impact on a more global scale. With debuts in Ibiza and Glastonbury coming up this year, on top of a colossal number of bookings, we predict another momentous period for the London-based artist. So talk to me about some musical inspirations growing up. My first obsession growing up was Michael Jackson, and with that came a lot of the other Motown stuff. In terms of electronic music, a mate of mine gave me a Rinse FM CD mixed by Plastician. It had all these tunes on it that are now so iconic like ‘3K Lane’, ‘Rhythm & Gash’ remix by Spyro, and loads of other cool dubstep bits. He gave me another one mixed by Skream, and that was my gateway into dubstep – which was the first genre of electronic music I was into. I was about 11 when I started getting into it, so it really wasn’t the sort of thing most of my friends were listening to back then. When I got to around 14 when ‘Sound of Dubstep 2’ came out, it started to become more of a popular thing to listen to amongst friends my age. It sounds like you knew from an early age you were into your electronic music. Did you try to make music during this period too? Yeah, so at the time I was also messing around on GarageBand. My Dad had Logic on his computer so when I went to his house I’d try to make dubstep tunes. He was a musician; a trombonist. He was able to teach me some basics of the software. He would produce some stuff for things like Channel 4 and other bits like that, so he knew his way around production. I made some terrible tunes during that time. They’re definitely somewhere, I might have to dig them up. Looking into your early DJing and production days, when did it become clear that you could make a go of it full-time, if at all? It was never my intention to end up producing full-time. I was just obsessed with making music and I was producing it all the time. It was only really when I was in my third year at uni that it started to seem possible. When my bookings started really picking up, I sat down and calculated that I could really make a go of this full-time. I really hated my biology course during my time at Newcastle Uni, so I was at the point where I was keen to do what I love instead. I always secretly wanted to do it, so I just went for it. My form of procrastination would be to produce so it really didn’t go well with my studies. When it became an actual reality that I could do the music instead of the degree, it was a bit of a no-brainer. What tracks do you think kickstarted your early career? I did a bootleg of Darkzy’s bootleg of ‘One Dance’ which was on DEEPROT that did the rounds. There was a group called Lengoland which was a big thing for me, their Facebook group in particular did a lot for me. Just after that, another massive tune that helped me was ‘Never Let You Go’ which did so well on Soundcloud. Both tunes really put me on the radar I think. Bassline was really popular during this period and I was riding that wave. What other artists were you looking at for inspiration during the early periods of your career? I looked at TQD a lot. Particularly Flava D. She was one of the first DJs I’d seen live, this was when I was at uni. It was mesmerising. When I saw her play, it made me really want to perform as well. I remember she dropped ‘In the Dance’ and that tune went off. It was special to witness once she wheeled it up. She was definitely a massive part of my musical influence at that age – so were Royal T and DJ Q to be fair. I would also throw DJ Champion in there, but honestly, there were too many to choose from on the bassier side of things back then. I was also making garagey stuff back then but I wasn’t too knowledgeable about it at the time. I got really into my old-school garage eventually. It was with my housemate Yemi who I DJed a lot with at uni. He would play house music and I would come in with the bass-heavy stuff. We decided to meet in the middle with garage and became obsessed with it. We listened to people like MJ Cole, Todd Edwards, Tuff Jam, and other artists like that. As time progressed you were able to touch upon this UK garage sound and it seemed Kiwi Records was a real turning point in that. For sure. I didn’t make it that big when I was in the bassline scene, it was a real turning point when I became involved with Kiwi Records. I always speak about how much I really appreciate Conducta for giving me the platform to do the vibier stuff. It was something I definitely wanted to do, but I felt a bit stuck at the time in terms of being in a certain scene. What is your view on the UK garage scene at the moment? Why has it been perceived to have increased in popularity from the period before lockdown to now? It is appealing to more of a younger crowd now, for sure. People are less shy to make a bass-heavy style of uk garage. Pre-covid, the crowd was a bit older. Its increase in popularity is probably due to bass-heavy garage and speed garage, through artists such as Interplanetary Criminal. I’d say that is the main difference. The important thing for me is that the garage-y drums are there. I try to not market myself as just a garage artist because a lot of the songs I make aren’t – even though many people would label it as that. The one thing that remains consistent with me is that they have these swingy drums in the tunes. And I have to say, it’s nice to see it creep into other genres too. How was touring around North America this year? Did you notice any differences between the UK and over there? Really fun. It’s really cool to see the garage sound reach North America. It seems to be a nice crossover between two popular genres over there; fast house and EDM. The fact you can’t rave till you’re 21 over there makes a massive difference to the crowd attending in comparison to the UK. I found that they were very open-minded to music. It was a nice contrast to be fair. Certain tunes didn’t go off the same as they would in the UK but also vice versa. I did have to switch it up from time to time. I played a festival at the end which was a house festival, so I played a bit lighter for that. In New York, I knew they were forward-thinking with music so I could go a bit more experimental. I had local artists play on my tour. On the whole, they were great. The warm-ups were playing really great garage sets. In Phoenix and Texas there were some wicked sets. In San Francisco, there was a guy called Jared Jackson and he was honestly one of the best DJs I’ve seen in my life. Real old school bumpy garage tunes which is my ideal warmup. Right up my street. It made me realise that garage is really spreading. New York, San Francisco, and Denver were my favourite shows. In LA I got to meet Chris Lake and do a session with him. We made a tune and he even came out on my LA show later that evening. It was a cool little moment. Wow, that sounds like so much fun. What about in Australia and New Zealand? It must be crazy for you to comprehend that they love your tunes halfway around the world! Yeah, I’ll never get used to hearing people sing my songs on the other side of the world. It was my second time going over to perform. It’s definitely got even crazier for uk garage over there. I remember my first time playing in Melbourne, it was such a cool experience. The tour lasted about a month and I could have definitely stayed out there longer. Last year was a really busy one for you with bookings. Were there any highlights that spring to mind? Reading festival was one of the maddest things I’ve done. I got to perform with my best mate MC Cunning. He was also MCing for me at Boomtown when I was back-to-back with DJ Q. They were both real highlights of my summer. If you had told me a few years ago that I’d be going back to back with DJ Q on main stage Boomtown I just wouldn’t have believed you. All the UK festivals I did last year were so good to be fair. And of course, my DJ Mag set was probably my favourite moment of the year. Yes! Bringing me nicely onto that DJ Mag set that captured the imagination of so many electronic dance music fans. Talk me through it. Thanks! Because of the tempo people labelled it a garage set, but there was a lot of bassline, house, bits of everything that’s influenced me over the years. After I finished I had a feeling it could’ve been the best thing I’d ever done. It was wicked. I knew I must’ve done well because the crowd reaction was unreal. I really didn’t expect the crowd to be as receptive as they were. And I definitely didn’t expect it to do as well on social media and stuff like that. I guess those 360 sets do the best on socials. I’m really grateful that I was given the opportunity to play that set. Before then, I was always itching to do one of these 360-recorded sets, so when it came through I was really, really, excited. I had to make sure I planned my set and on top of that I was in the studio making sure I finished off some tunes ready to go for the performance. Talk to me about some of your more recent releases… There’s my remix of ‘Counting’ by Hamdi. I made that specifically for the DJ Mag set. I asked Hamdi if I could get the ‘Counting’ stems. It had a real moment on TikTok and socials in general. Loads of people were asking for it to be released. Hamdi hit me up afterwards saying he was doing an official release remix pack of the song, which went out in February. Luckily, around that time the film ‘Saltburn’ came out and was playing that ‘Perfect’ tune which is the original song for the sampling of the ‘Counting’ track. Releasing the remix around that time definitely helped. With ‘Goodums’ I’d bootlegged Unknown T’s tune, also in preparation for DJ Mag. This one also had its moment online. I didn’t actually meet him. We asked if we could make it official and they agreed to it. Just by chance, on the day of the release he was touring in Auckland at the same time I was, so I actually did get to meet him in the end. He even came on my London show too – which was amazing.. Are there any plans to release a body of work such as an EP? I would hope to do a bigger body of work in the future. Right now, I’m struggling to crack on with tunes with all the touring and bookings. When I’m not playing I need to catch up on sleep. I’ve got time off planned and I’m going to knuckle down and spend a good chunk of time producing some new music. I do make music when I’m touring but a lot of it I won’t put out because it needs to meet a certain standard. I guess I just need to continue doing what I’m doing. I would like to play out a little bit less. The schedule can be very taxing. Ultimately for me, it’s about the music that I’m making. I’m slightly hindered at the moment in terms of producing because I’m always tired due to shows. But once it calms down a bit I can start to look at getting a body of work out. It would be so cool to get an album out maybe. What two collaborations stick out for you in your career? And are there artists you’d still like to DJ/produce with in the future? Salute is up there. The track we have ‘Peach’ is one of my personal favourites. Conducta is another one. I’ve done the most back-to-backs with him and he’s a real good mate of mine. I would love to work with Skrillex and Four Tet in the future. They’d both be really cool to work with. Maybe Skrillex is a bit far-fetched. Four Tet has some forward-thinking ideas and I think we’d work well. I’ll also throw Disclosure in there as well. You’ve had a career filled with top-draw releases. Can you name any standouts? ‘Daga Da’ is definitely one because of all it’s done for me. Hearing it on that Strongbow TV advert was so weird. I don’t know how it got on but it was insane, when I found out it felt surreal. One I don’t really speak about in interviews is my remix of Piri and Tommy’s tune ‘on & on’. It’s one of my favourite productions. One of my more recent ones ‘Moonlight’ is also in contention. It might not do crazy numbers, but when I made the song it felt like I’d put my stamp on it. And finally, ‘Find My Way Home’ and ‘Shella Verse’, they’ll always be considered in my top releases. What exciting talents are you rating at the moment in the UK Garage scene? Bakey for sure! He’s one of my favourites. He’s way younger than I thought. He makes the best two-step garage. A lot of people try to copy his sound, but just can’t quite get his sound spot on. isGwan from Melbourne is making some really wicked tunes at the moment. Skeptic is another one. Love him. And one more to add in is Prozak. He’s such a great producer. Just to wrap things up, we’re all intrigued to know what your top three events you’ve played at are. That’s hard. My top three events would have to be anything at Warehouse Project, Reading Festival, and Boomtown. And your top three cities? The top three cities I’ve played in are a lot harder to pick from. I’d have to go with Melbourne, Leeds, and for the third one I can’t decide so I’ll have to say it’s a toss-up between London, Sydney, and Nottingham.

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Tony McGuinness' upcoming album was finished and stowed away years before most of you were born. The influential producer and Above & Beyond member was not always an international headliner. Before he struck gold in the trance realm with bandmates Jono Grant and Paavo Siljamäki, McGuinness was a rock-and-roll artist inspired by legendary acts like Steely Dan and The Beach Boys. He ultimately created his first solo rock album, Salt. Despite working on nine tracks for six months, after he finished recording the album, he'd lock it away in his archives for close to 30 years. Now, after two decades of success with Above & Beyond and their label Anjunabeats, McGuinness is finally ready to show the world Salt. The album's lead single, "Biker Babe," was inspired by a short-lived romance with an American girl in the 90s, according to McGuinness. He said the story he wrote saw him placing himself and his muse into the world of David Lynch's television show Twin Peaks. The combination of his bittersweet, romantic lyricism and sun-dappled guitar riffs will remind you of those summertime drives where your parents picked what was on the radio, long before the days of Spotify. "Which is where the mention of The Roadhouse comes from and ran with that all the way through to the ending," he explained in a press release. "I knew she was gonna have to go back to America because she had no visa, and she had a flat in America that she didn't want to lose.” McGuinness also shared another new single, "Babydoll White," which may sound familiar to fans of Fingerprint, his deep house side project. He remixed his unreleased rock single for Anjunadeep back in 2020 and now, with help from Bob Bradley, fans can experience the sounds of the 90s in its original format. Fans can pre-save Salt here. View the original article to see embedded media. FOLLOW TONY MCGUINNESS:X: x.com/tonymcguinness Instagram: instagram.com/tonymcguinness/ Spotify: bit.ly/3XNVKsa

Renowned artist Le Youth, a regular feature at EDMTunes, has just dropped his latest single ‘every-little-part’ as part of his new series “Le Youth &”. This exciting release, available now on This Never Happened, marks Wes’ first collaboration with the up-and-coming talent, Otherwish. every-little-part The track begins with vocals performed by the talented LeyeT. Recognized for her work with Le Youth on ‘Feel Around You’ and ‘Hologram’, this track is a must-listen. LeyeT’s vocals convey the emotions behind lyrics that seem to express love for a partner who fails to appreciate it. The vocals are complemented by Le Youth’s smooth house production, with Otherwish’s unique musical contributions becoming evident at the 1 minute 20-second mark. The song features memorable hooks and uplifting melodies, taking listeners on an emotional journey. This release showcases the individual strengths of all three artists, making it a standout track in their discographies. “Le Youth &” Series Wes took to instagram to share his new series a week before this beautiful release. What we know so far of the “Le Youth &” Series is that Wes will be collaborating with incredibly talented artists who might not be on our radar yet. Does that mean it will be upcoming TNH artists or other rising stars from different labels? Time will tell. Le Youth mentions some of his favourite songs to listen to are collaborations. Working with artists has pushed him to find new sounds and ideas. Its a learning and always teaches him something new and pushes him outside of his comfort zone. Le Youth has been producing some of the best music in the melodic house world. I’m excited to see what this brand-new series has in store for us. If you’re a fan of Lane 8, this might remind you of Lane 8’s Cross-Pollination series. Give ‘every-little-part’ a listen and let us know what you think of this brilliant new release. Stay tuned to EDMTunes for all your dance music updates.” The post Le Youth Releases New Single ‘every-little-part’ appeared first on EDMTunes.

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While drum & bass in the United States has maintained a foothold for well over two decades, only now is it seeing a surge into the mainstream. Major stateside festivals have adopted the genre while social media sites like TikTok have helped it trend alongside a recent influx of drum & bass-influenced pop music. Although European artists have predominantly reaped the rewards up to this point, there are a handful of North American artists earning their keep as well. Bensley, Justin Hawkes and Kumarion are just a few to recently light the torch. Their new collaborative EP, Carry The Fire, is a a formidable showcase that weaves through a variety of drum & bass, from anthemic, mainstage-ready hits to jump-up heaters. Backing their star power is more than just raw talent, however. Their manager, Anthony Tedder, has given them an even bigger platform by providing them with a brand new place to release music: his new record label, BEACON. BEACON stands firmly by its name as a stable place for drum & bass artists to release music. "Out of all the mainstream dance music labels, there are a few that release drum & bass consistently," Tedder tells EDM.com. "One of the issues we frequently run into is scheduling and garnering interest in drum & bass tracks. All of those labels that release drum & bass only release a small percentage of their catalog as drum & bass. They’re releasing dubstep, bass house, 140, experimental or anything else. Our main goal is to create a space where drum & bass artists have a US imprint to get their music out in front of people." While some homegrown labels have thrived, such as Reid Speed's Play Me imprint, they tend to cater to the underground. BEACON, on the other hand, is looking to push a more festival-oriented sound. "The purpose of BEACON is to provide a modern context for drum & bass in North America and create an access point to help people deepen their love or discover drum & bass," Tedder continues. "We want to pay homage to what the scene has had to offer over the past 30 or so years. While the heads know, many don’t know drum & bass has been around in the US essentially as long as it’s been around in other places. It’s important for us to acknowledge the cultural foundation that’s already been built." Further, BEACON looks to focus on North American talent as much as talent that hasn't been given as much attention across the pond. "We want to create an ecosystem for homegrown artists to flourish and garner the same success that international talent has gotten over here. We also want to extend opportunities to international artists who haven’t had the same exposure as some of the OGs so they can come over here, release music, get involved, play shows and create a footprint in the States." View the original article to see embedded media. Conceptually, BEACON doesn't simply end at a label. Tedder's ideas extend much farther and he hopes the brand evolves into a cultural phenomenon. "BEACON is more than just a record label," he explains. "It’s a music and lifestyle brand that also releases music. The brand is meant to be the foundation for the modern drum & bass community in the US. We’re going to have merch, we’re going to have events, we’re going to build out tours. I want our brand to be a source of positivity and use our brand as a place to further the culture." Tedder's desire to advance the genre's influence doesn't just come from the talent on his artist management roster, but from a passion deeply rooted in his own experiences in electronic music. "I was at Electric Forest 2013 or 2014," he recalls. "On that lineup were Wilkinson, Andy C and Noisia. I remember seeing those sets and thinking, 'Wow, this is cool.' It took me back to a time in 2011 or 2012 when I saw Rusko and Sigma on tour and loved the fast-paced music I was hearing. It unlocked another side of dance music that I didn’t really know anything about." View the original article to see embedded media. Tedder's vision for the label aligns with his vision of the future of drum & bass. "We’re seeing drum & bass booked at nearly every single festival in North America right now and with every additional one, it’ll just keep growing," he predicts. "I don’t see drum & bass as a fad or a sizzle in the pan. It’s something that’s grown slowly but surely after being supremely marginalized. I think that’ll compound until we see a full-on drum & bass festival in the US and more drum & bass artists playing the mainstage at festivals mixed in with other artists." Not only has the festival circuit contributed to drum & bass' rapid rise to popularity at festival stages around North America, but social media and pop music have also leaned into the genre as well. "One of the most telling things leading to drum & bass' growth is seeing the trend of sped-up pop songs," he continues. "They’re taking a 140ish BPM pop tune and speeding it up to 160 and it goes viral on TikTok. People are passively listening to faster music and I think that plays into it. I can see it becoming something bigger and better than it ever has before. A great example is 'Strangers' by Kenya Grace. After getting into it people seek out what they’re listening to and passively listen to it more. Drum & bass has something for everyone and that’s what makes it stand the test of time." View the original article to see embedded media. At the end of the day, the purpose of BEACON, Tedder says, is to serve the needs of the community. "The main reason we’re starting this is that we’re seeing needs. I’ve been given so much by dance music and drum & bass and I’ve enjoyed the culture so much that I want to help create a community, help it flourish, and create new ways for it to be accessible to people." Although BEACON is a fresh face on the block, Tedder and his team are well underway to developing something a blossoming North American scene desperately needs. He says more music is on the way throughout the rest of 2024. Artists interested in submitting demos to BEACON can find the label's form here.

We are thrilled to introduce Alex Kislov, a Chicago-based Producer and DJ who has quickly risen to prominence in the city’s vibrant Electronic Music scene. Known for his captivating blend of Deep House, Techno, and Experimental Beats, Alex Kislov has graced the stage at iconic venues such as Radius, Spybar, and The Mid, establishing himself as a noteworthy talent within the genre and one whose bright future marks him as a Producer and DJ to be watching closely. In this exclusive interview, Alex Kislov sits down with us to share insights into his musical journey, process, and future aspirations. So, join us to delve deeper into the creative force behind Alex Kislov. Hi Alex Kislov, how are you? So far, so good! The first half of 2024 has been filled with work and projects that I am excited to see come to life in the second half. Can you tell us about your journey into the world of music and how you first became inspired to start a career as a DJ and Producer? My journey dates back to my childhood when my sister and mum would play Electronic Music in their cars and at home on the radio. Essentially, I was born into it. Listening to different styles and genres over time, I found myself curious about DJing; I would always end up playing at all of our high school basement parties. I think I was around 18 when I started getting into production more seriously, but I always played some guitar and drums. I was actually able to pay my college tuition by DJing at local bars around and producing whenever I could find the time. After college, I decided to go all in as a DJ and producer. It was pretty frightening at first, but I never looked back. How would you say your music and DJing style differ from others on the scene? That’s a hard question to answer since I am very subjective to the sound that I am inclined to. I suppose I am not as Tech House as some of the Artists I am friends with, but I’m also not as Downtempo and Organic House as some of my other Producer friends are. I find myself in the medium between Deep/Progressive House and Deep/Tech House, so in a way, I think I’m more Deep Tech / Progressive. That’s as far as production goes. My DJing is different because I started with vinyl/turntables and then immediately hopped onto CD-J 800s and the original Denons, and possibly gear from even before that, like the iDJ. I don’t know if anyone remembers the old CDJs, but they’re very different from the ones today. This impacted a lot of the way I mix now; they naturally gave more room for the track to come in and out. I learned to ALWAYS trust my ears first before my eyes. Having been immersed in the Chicago dance scene, can you tell us how your experiences and exposure to the culture continue to impact your work? There is a good quote among Producers and DJs here in our ecosystem: “You either make it in Chicago or you make it everywhere else.” Our city is flourishing with incredibly talented Producers, and even more so with DJs. House music is the supreme genre in most capacities alongside Blues and Hip Hop. There must be something in the water as you can see with the incredible artists that come out of the city such as Green Velvet, Frankie Knuckles, Ron Carroll, John Summit, Fall Out Boy, Common, Chance the Rapper, and a host of others across different decades and genres. This type of environment produces lots of opportunities as well as competition. You have to be at your best to go with some of the top in this city, and the promoters and the fans dictate your standing, so you’re constantly grinding. It’s the best type of environment to test your ability as an Artist. It pushes you to your utmost limits, and then some. This forces you to release all boundaries that hinder creativity while also having a supportive system of Artists to fall on when you need it. If there’s anything to say about Chicago and how it impacted my work, it’s that it never stops driving. Could you share with us your creative process when it comes to producing new tracks? When I was starting out, a good way to get me “warmed up” was taking some of my favourite tracks and deconstructing them so that I could understand all the layers and sounds that went into them. This really helped me shape the direction of a track that I’m writing or the mood that I’m going for. Once in a while, nowadays, I love to pop an old Daft Punk vinyl on my record player, sit by my plants, and just listen to the album from top to bottom. It really puts me in a creative mood. You’ve had support from names like Nicky Romero, Morgan Page, and Pascal Junior. What career milestones are you hoping to achieve next? I feel very blessed to have shared the decks with hundreds of some of my favourite Producers and DJs. Even more blessed with some of them gracing my sets with their tracks. This has always been a huge milestone, to receive a salute from another producer that validates my work. I think another big milestone to work towards would be to get placement on some of the biggest festivals in the world and maybe someday to score a film. What do you enjoy most about music production? Is there a specific part of the process that you find most rewarding? My favourite part of producing is the creation and layering process. I love listening to different sounds and how they layer with other elements in the track. Once I got a better grasp of music theory, it was easier to understand how to change the mood and oftentimes how I feel translates to how I write. Your productions often draw from genres like Trance, Deep House, and Drum & Bass. What attracts you to these sub-styles, and how do you incorporate these influences into your tracks? Those are the genres that I grew up listening to; what my mum and sister would play on the radio or in the house. I love the arps and breakdowns in Trance, I love the groove and simple melodies in Deep House, and I love the vibe and lows of Drum & Bass. These layers find their way into my tracks naturally. How do you stay inspired and motivated to create new music? I have a dream and I will stop at nothing to try and see it come to reality. It is a natural drive, I suppose. I love what I do very much, and I am thankful every day that I get to do it, and that pushes me enough to get myself out there. I value progress and constantly seek to keep learning and becoming better at my craft. Lastly, could you give us a glimpse into your future plans? Are there any exciting projects or releases on the horizon? I just announced the release of my first album, ‘Dream Sequence’, which will be coming out later this year in October. I am also excited to sneak peek a few singles from the album throughout this summer—some of them feature incredible vocalists who I have dreamt of working with for a very long time. Alex Kislov’s journey into music production serves as a credit to his dedication and passion for Electronic Music. With a drive to push creative boundaries and a talent for blending genres, Alex Kislov seems poised to continue making significant waves in the industry, so, as we close this interview, we thank Alex for sharing his insights and look forward to his future projects. Stay tuned to Alex Kislov by following him across social media to keep up-to-date with his latest releases and performances. Alex Kislov Online    Spotify | Instagram | Beatport      The post Introducing Alex Kislov: A Rising DJ/Producer Making His Mark in Electronic Music appeared first on EDMTunes.

We’re already in the second half of the year, and time has been flying by. We’re grateful for all the amazing music our favorite artists have been creating. In the past week, we’ve been showcasing the best of Electronic music from 2024. First, we shared our list of the Best Albums of 2024 with Sultan + Shepard – Endless Dawn leading the pack. Now, it’s time to look back at the incredible tracks that have shaped this year so far. Our writers, editors, and team have picked the top 10 tracks for the Year in Tunes – so far. Before we dive into the list, our team considered a large number of tracks. Some standout songs that didn’t make our list include Martin Garrix’s ‘Wherever You Are’, Above & Beyond’s ‘Crazy Love‘ featuring Zoë Johnston, Sara Landry and Alt8’s ‘Heaven‘, and Swedish House Mafia’s ‘Lioness‘ which were all popular hits this summer. Without further ado, let’s get into our selections below. We hope you all enjoy the list! 10. Mau P – On Again Dutch sensation Mau P, who is breaking new ground in his latest release ‘On Again’ by showcasing his exceptional vocal talent in addition to his prowess behind the decks. The track also features the influential hip-hop stylings of Mike Dean, making it a must-listen. Mau P’s unique style combined with Dean’s masterful synth work has created a fan favorite that has earned Mau P one of his two spots on our list today. 9. Max Styler – Lights Out Max Styler’s latest release, ‘Lights Out’ on John Summit’s Experts Only label, made a memorable debut at the Miami Music Week 2024 at the Experts Only Factory Town party. This track showcases Styler’s unique style by combining a driving bassline with a captivating vocal hook, delivering a song with an irresistible European club vibe. 8. Mau P – BEATS FOR THE UNDERGROUND The track ‘BEATS FOR THE UNDERGROUND’ by Mau P has secured its second spot on this list. It has become a house anthem of 2024 and is expected to be heard throughout the summer festival season. It’s no surprise that this track is one of our top picks, as it grew into one of the most anticipated dance tracks of 2023. 7. Le Youth, Forester, Lyrah – Stay Still Our EDMTunes family is a huge fan of This Never Happened, so it should come as no surprise that Le Youth claims a spot with ‘Stay Still.’ Wes collaborates with rising star Forester to create a chill house track. The emotional yet danceable track features Lyrah’s vocals telling a love story 6. Charlotte de witte – Roar Charlotte de witte has been taking the world by storm with her global tour this year. She dropped ‘Roar’ the first track of 2024, under her KNTXT label. ‘Roar’ embodies power, action, adrenaline, and liberation. This high-tempo track stays true to her signature sound and has been igniting her performances all year. 5. Dom Dolla – Girl$ If you saw the Australian superstar at Red Rocks, EDC, or Coachella this year, you would have witnessed the crowd go wild when he performed ‘girl$’. The streams before the official release went viral. The inspiration for ‘girl$’ came from a conversation Dom had with friends who were all tired of bad dates and had decided to give up on dating. Dom wrote the lyrics based on a story a friend told him about a memorable night out. This is Dom’s only release of 2024, and it’s a powerful one. We hope you enjoy it as much as we do! 4. Adam Beyer, Green Velvet, Layton Giordani – Party All The Time Experience the electrifying rendition of Sharam’s 2007 classic ‘Party All The Time’ by Adam Beyer, Green Velvet and Layton Giordani. This track took Miami Music Week by a storm, setting the stage on fire as the certified party anthem. Now available via Drumcode, it has secured its place in the sets of industry heavyweights such as Armin van Buuren, John Summit, FISHER, and Oliver Heldens. 3. Skrillex, Hamdi – Push This highly anticipated dubstep collaboration, ‘Push’, by Skrillex and Hamdi featuring Argentinian rapper TAICHU, has been stirring up excitement among fans. Skrillex and Hamdi have been thrilling audiences with tantalizing previews of this electrifying track in their sets for over a year. 2. John Summit, Hayla – Shiver ne of the most popular names in electronic music right now is Chicago DJ and producer John Summit. He holds the top two spots on our list today, and it’s no surprise! At EDMTunes, we’ve been big fans of Summit for a while, as he has consistently secured spots on various of our Top Tracks lists over the years. The second spot goes to ‘Shiver,’ featuring the beautiful vocals of Hayla, marking their second collaboration following the successful ‘Where You Are.’ During Summit’s recent Comfort Of Chaos Tour in Toronto and New York (Madison Square Garden), fans were treated to a live performance of this track with Hayla joining Summit on stage. 1. John Summit, Sub Focus, Julia Church – Go Back At the top of our list today is ‘Go Back’, a perfect blend of house and drum and bass. John Summit collaborates with Sub Focus to release one of the top tracks of 2024 featuring the beautiful vocals of Julia Church, one of the best voices in the dance music industry right now. This release, along with a few others from John, gives us a sneak peek into his upcoming debut album, Comfort Of Chaos. ‘Go Back’ combines high-quality melodies of house and drum & bass. This track has us hitting the repeat button, and we hope you enjoy it as much as we do while we eagerly await the album to drop. Pre-order the vinyl here. There you have it – our picks for the Top 10 Tracks of 2024 so far. For more on all things dance music, be sure to follow EDMTunes on our socials. The post EDMTunes Top 10 Tracks Of 2024 So Far appeared first on EDMTunes.

The event, in collaboration with Stranger Than, marks the start of a new chapter for Mayan Warrior Continue reading...

CultureFires is a relatively new and exciting pair in the world of indie electronic music. They come from the lively music scene of San Diego, California. This skilled pair, made up of Robb Urden and Robin Canfield, brings something new to the genre. They blend indie, electronica, house, and techno sounds into captivating electro-organic soundscapes. CultureFires musical style is different. The duo: CultureFires Who is CultureFires?⁣ Besides being your newest favorite electrorganic music group, CultureFires is:⁣ ⁣ ⁃ A group of talented multi-instrumental musicians who collectively play over 25 instruments⁣ ⁃ Classically trained music nerds⁣ ⁃ California natives and transplants⁣ ⁃ Really cool people⁣ ⁣ We can’t wait to meet you all and share our music with you! The two musicians, Urden and Canfield, are both professionally trained and can play more than 25 instruments between them. That’s why they can make a sound that is all their own by skillfully balancing organic and computer elements. In 2023, Robb Urden had life-changing experiences at the famous Burning Man and Envision Festivals. These events were the start of CultureFires. After taking a break from making music for a while, Urden went back to the studio with a renewed desire to make music. Early this year, the project picked up speed when Robin Canfield joined, adding his sound knowledge and energy. The arrival of Canfield has made both their live shows and studio recordings much better. the song: The Glow at Burning Man “The Glow,” CultureFires’ first song, is a great introduction to their style of music. This song features their signature mix of live and electronic instruments. It also injects pop-influenced lyrics and melodic vocal harmonies. As the title suggests, Urden got the idea for “The Glow” from his time at Burning Man, where he felt a deep connection to light, love, and dance in the desert. At the beginning of the song, a soft kick drum beat and shimmering synth sounds create an airy mood. Soon, warm piano notes join in, adding a delicate melody. The voices then bring in a mellow, dance-oriented indie sound. The track builds with quick instrumental hits and shuffled beats, and the voices add sweeping melodies. This mix makes a sound that is both a catchy alternative pop song and a happy dance music experience. As “The Glow” goes on, it adds bright orchestral touches, soft voice samples, and a beat that gets stronger. All of these things work together to make CultureFires’s first album a great success that makes them an act to watch in 2024 and beyond. With their unique mix of musical styles and strong debut, CultureFires has become one of the most exciting new acts in the indie electronic scene. The post CultureFires’ Debut Single “The Glow” appeared first on The Groove Cartel.

Time and time again we’re shown how timeless Tim’s legacy truly is. Recently, the internet saw another clip in which time held its breath: Avicii, the legendary Swedish producer, playing at, what would become, one of the limited gigs he’d play along his tragically short life. The ten-minute clip features his set at the Tallriken in Malmo, dated August 2016, and shows him performing four tracks: ‘Without You’, ‘Hey Brother’, ‘Shame On Me’, and ‘You Make Me’. The footage, initially an Avicii Experience tribute museum exclusive, has now been made accessible to a wider audience. Prior to his passing in April 2018, Tim was an icon of Dance music, learning to innovate through thick and thin. “Innovating” is a word that is so cheesily used these days, but trust me, Avicii was miles ahead of the curve, even receiving backlash on his most successful ‘Wake Me Up’ for a never-before-seen blend of Country and Dance music. That same song, along with other four of his discography, have now scored more than a billion streams on Spotify alone. Klas Bergling A BBC interview was directed towards Avicii’s father, Klas Bergling, in which he opened up about the times and events surrounding his son’s death. “I miss him every minute“, he says. “I talk to him every day. But, I admit, I get angry at him sometimes. Why did you do it? Why did you leave us?“. The interview shows Klas like never before, revealing memories and moments from Tim’s story that often happened outside the fire-filled stages and joyful social media posts. Avicii’s father talks about his point of view whenever Tim went touring, how substances sometimes became his son’s escape to the trying times he was going through in between shows, and, ultimately, reflects on events following his decease, such as the release of Avicii’s posthumous album, Tim, and a concert held in his memory, among others. Read the full interview right here. We miss you, Tim. The post “I Miss Him Every Minute”: Avicii’s Father Opens Up About Tim’s Passing appeared first on EDMTunes.

As refreshing as a Pina Colada enjoying the summer breeze, Dance music maverick Gryffin has revealed his newest single ‘Dance Through The Night’ with fellow producer Whethan and singer-songwriter Norma Jean Martine out now via Virgin Music. The single arrives as part of Gryffin’s anticipated upcoming third studio album PULSE due this Summer. ‘Dance Through The Night’ With a rather strong choir-like beginning, Norma Jean Martine’s vocals entice you into another dimension. Hallmarked by catchy hooks and uptempo rhythms, ‘Dance Through The Night’ captures the uplifting energy and magnetic spirit that continue to propel PULSE. Moving through deep verses, progressive builds, and melodic drops, ‘Dance Through The Night’ resonates with Gryffin and Whethan’s roots in 2000s and 2010s dance music while referencing a spectrum of vibrant house and techno sounds. “‘Dance Through the Night’ is one of my favorite tracks on my upcoming album PULSE. I’ve been a huge fan of Whethan’s for a while and I couldn’t wait to get into the studio with him. It was refreshing working with a young DJ/producer who is able to bring a whole new perspective to the record. Then, the song truly came to life with Norma Jean Martine’s powerful vocals. I can’t wait for you guys to listen to this one!” Gryffin “I played one of my first shows ever with Gryffin back in Chicago when I was just starting out in 2016 and I’m stoked to be here today releasing a collaboration that we both love and feel is a representation of our sounds.” Whethan “I am so excited and honored to have been asked to collaborate with Gryffin and Whethan on this record. Dan is an American EDM legend, and the song is written by one of my favorite writers and friend, ALIDA. After having so much success in the European dance market, it feels very full circle to be coming back home and collaborating with Gryffin in the US.” Norma Jean About Gryffin Japanese-American producer, instrumentalist, songwriter, and DJ, Dan Griffith has built a breathtaking catalog of melodic, lyrically-led dance originals and remixes as Gryffin. His platinum and gold-certified discography features collaborations with crossover acts like OneRepublic, Tinashe, MØ, Carly Rae Jepsen, and Aloe Blacc, as well as electronic contemporaries including Kygo, Gorgon City, and Seven Lions. In 2019, Gryffin released his stunning debut Gravity, with his sophomore album Alive following in 2022. ‘Dance Through The Night’ serves as the latest taste of PULSE, following previous singles ‘LAST OF US’ with Rita Ora, ‘MAGIC’ with babyidontlikeyou, and ‘MAGNET’ with Disco Lines and MAX, and Gryffin’s performances at Ultra Music Festival, Coachella’s DoLaB Stage, and EDC Las Vegas. About Whethan Whethan quickly rose to prominence in the electronic music scene in the 2010s. Then, the Chicago-born tastemaker became the youngest producer to debut on Australia’s Future Classic label. Subsequently, leading to him working with artists such as Oliver Tree, Dua Lipa, Joji, The Chainsmokers, Kygo, Megan Thee Stallion, Meghan Trainor, and Charli XCX. His diverse discography champions his impressive versatility as a new-age dance music attaché, from the sunny vibes of his debut album Life of a Wallflower, Vol. 1 to his dance-pop LP Fantasy, into singles such as R&B-infused ‘ROOM IS ON FIRE’ ft. Snakehips & AG Club and the recently viral hit ’MONEY ON THE DASH’ off his forthcoming album Life of a Wallflower, Vol. 2. Summer ain’t over yet! let’s all ‘Dance Through The Night’: The post Gryffin, Whethan, Norma Jean Unveil Sizzling Hot ‘Dance Through The Night’ appeared first on EDMTunes.

The festival has confirmed the changes to its sponsorship model beginning in 2025, following an artist boycott due to the US military ties with Israel Continue reading...

The exhibition lands in Manhattan this month, coinciding with the 55th anniversary of the Stonewall riots Continue reading...

All profits made from the new track, which is now live on Bandcamp, will go to Operation Olive Branch Continue reading...

Spotify CEO Daniel Ek recently made some controversial comments about “the cost of creating content”. Those words have sparked a wildfire of backlash from artists and fans alike. Deadmau5, the Ontario-born DJ and producer, has now entered the fray, threatening to pull his catalog from Spotify in response to Ek’s remarks. The DJ made his stance clear in a fiery Instagram post featuring a screenshot of an article discussing Ek’s statement. The Cost of Content Creation In his post, Deadmau5, 43, didn’t hold back. “Incorrect,” he wrote, “The cost of creating content was 25+ years of my life and much of those proceeds going to your company, you complete f–king idiot. @spotify.” His words highlight the blood, sweat, and tears that go into creating music, contrasting sharply with Ek’s assertion that the cost is “close to zero.” Furthermore, Deadmau5’s frustration is palpable, reflecting a broader sentiment among musicians who feel undervalued by streaming services. Threatening to Pull His Catalog Deadmau5’s indignation didn’t stop at a single post. Responding to a fan’s comment about their disdain for Spotify, the seven-time Grammy nominee hinted that he might remove his music from the platform altogether. “I feel that,” he replied, “I’m about to pull my catalog from these f–king vultures, enough’s enough.” Despite these strong words, as of now, Deadmau5’s catalog remains available on Spotify, where he boasts nearly five million monthly listeners. A Complicated Relationship with Spotify This isn’t the first time Deadmau5 has voiced strong opinions about Spotify. Interestingly, less than a year ago, he thanked the platform for featuring his work on its “Dance Favorites” playlist, acknowledging the significant promotional push it provided. This gratitude underscores the complex relationship many artists have with Spotify: while the platform offers unparalleled marketing potential, it also draws criticism for its royalty payments and business practices. The Bigger Picture Deadmau5 is not alone in his criticism of Spotify. The recent reclassification of Spotify’s main music packages as bundles in the U.S. has led to a double-digit decline in mechanical royalty payments, prompting outcry from the National Music Publishers’ Association (NMPA), the Mechanical Licensing Collective (MLC), and others. Despite the rollout of music-only plans, many stakeholders remain dissatisfied, adding to the growing chorus of voices calling for change. Lastly, in the ever-evolving landscape of music streaming, Deadmau5’s comments add fuel to an already intense debate. In conclusion, whether he follows through on his threat to pull his catalog remains to be seen, one thing is clear: the conversation about the value of music and the cost of its creation is far from over. [H/T] – Digital Music News The post Deadmau5 Threatens To Pull Music From Spotify After CEO Comments appeared first on EDMTunes.

Ovava Music is excited to announce their debut release with label boss Ollie Mundy titled ‘Master Of The Ocean’. His latest release, a first for Ovava Music, brings together decades of personal human connection and experience relating to his travels across the world. Through this, ‘Master Of The Ocean’, tells a relatable story, delivered in a unique way. Opening with a light afro inspired drum sequence, the track builds a raw feeling of anticipation, cohesively layering tight percussive tones atop a low slung bassline. Soft, stirring vocals amplify the ascending melody, pushed forward by a lightly dusted classic piano progression that sonically helps the standout track evolve. ‘Master Of The Ocean’ truly captures a feeling of global travel and exploration. It’s an unadulterated journey that carries an equal balance of excitement with transient melancholy. Expect a residing emotional contrast that many feel when embracing a new journey in life. This is the start of the expressive journey for OvavaMusic. Although Ovava is fresh to the scene, Ollie Mundy certainly is not. Globally recognised for his powerful and highly emotive Melodic House and Techno productions, and his impressive DJ sets earning him centre stage at some of the world leading events including Burning Man, Secret Garden Party and the iconic Back To Mine in Ibiza. Ollie has become synonymous with creativity and actively pushing the envelope. As a producer Ollie Mundy’s trajectory is on a similar path. Recently signing deals for impressive imprints Sondela and My Other Side of The Moon which has further cemented his position within the industry. With Ollie at the helm, expect Ovava Music to swiftly become a home for well crafted artistic expression. A true space for new stories to be told. Expect a vibrant fusion of Melodic House & Techno with Afro House influences, all taking inspiration from every corner of the globe, and procreating a sound that is unique to the label. Prepare to hear more from Ovava Music and Ollie Mundy in 2024. ‘Master Of The Ocean’ is out Thursday 1st of August, spearheading a run of fresh releases from the UK artist and friends. Find Out More & Follow: Ollie Mundy: Linktree The post Ollie Mundy Releases Ovava Music’s First Single ‘Master Of The Ocean’ appeared first on Electic Mode.

The festival saw a number of acts at smaller stages affected by safety concerns over the weekend Continue reading...

Carl Cox is one of the most in-demand DJs in the world, multi-award winning, with countless club dates and festival appearances every year. One of the most charming DJs in the business. A British musical ambassador and a veteran of acid house, a champion of techno, a dance music pioneer, label owner, King of Ibiza – you name it, Carl’s been there and done it, never losing sight of his passions – playing music, breaking tunes and celebrating life with a career that spans over four decades. He now distils his life’s work in a limited edition artwork entitled ‘Carl’ in collaboration with British photographic artist Mark Vessey to be launched at Enter Gallery (Brighton) on July 20th. This new artwork is an extremely personal window into the history of the legendary Carl Cox and dance music as a genre in which he continues to play such a pivotal role. Through his personal vinyl collection which exceeds 150,000 pieces, he has chosen some of the records that are most important to him. Many of these were played by Carl from his beginnings as a mobile DJ and then onto the rave scene where he became known as the ‘Three Deck Wizard’ and still find their way into his headline festival and stand-alone show sets. Showcasing his well-thumbed, worn and regularly played vinyl, 12-inch singles and long players, during lockdown he turned these tracks into ‘musical medicine’, helping bring people together and reaching out across inaccessible borders. Through the pandemic, Carl broadcast 52 episodes of his ‘Cabin Fever – The Vinyl Sessions show where he went through his personal collection and showcased different genres, the very special tracks he wanted the world to hear and his iconic tribute show to his late father where he played his father’s actual records that inspired a young Carl to become a DJ. This artwork includes some of those tracks featuring releases by varied artists including Run DMC, Carrie Lucas, Fleetwood Mac, Duran Duran, Lil Louis Doug Lazy and many many more. Carl has a unique story as a DJ, from growing up in the 60s and being heavily influenced by his Barbadian father’s modest record collection, he eventually took ownership of it and further established a collection of his own. Built upon the pillar of his father’s musical legacy incorporating Rhythm & Blues, Country & Western, Reggae, Soca and Jazz. Shaping his musical universe and allowing him to understand music at a tender age which he now considers his superpower. “Every single one of these records are not promos, I literally went to the record store and stood there and went through the music… this collection is the best of the best”. Carl Cox Screenshot The passion and spirit of this collection have been captured visually by artist Mark Vessey, a rising star, known for exploring and celebrating icons of contemporary pop culture, he lovingly curates, the subjects of his images which include magazines, books and vinyl records that have had special significance within the popular cultural heritage of the 20th and 21st Centuries. This new print and photograph follows on from his critically acclaimed work with Norman Cook aka Fatboy Slim and Founder of Defected Records Simon Dunmore continuing his DJ and vinyl music theme. “It has been an honour to work with Carl Cox, to have his trust and time to explore his archive. Carl Cox is unique in sewing together multiple generations through his passion for music. That passion and love has been shared and absorbed by him through his vinyl collection, each one of his vinyls holds its own piece of his story. My hope in photographing them together is that they visually reflect his love and shared history back to us.” Mark Vessey Mark Vessey has previously created photographic works that showcase collections of dance music subgenres including House Music, and Funk ‘n’ Soul as well as collections inspired by Bowie and Kate Moss. He has also documented past covers of physical print magazines that we adore including Dazed & Confused, Mixmag, I-D and NME, covering music culture in an impactful and unique way, evoking the nostalgic emotions we have for different mediums. He has established himself on the artistic stage as an incisive celebrant and masterful documenter of popular culture. ‘Carl’ is a photographic print from a limited edition of 50 and comes with a certificate of authenticity signed by both Mark Vessey and Carl Cox. Carl’s Editions will be available in the following sizes: 80cm x 80cm, 95cm x 95cm, 110cm x 110 cm C-type Photograph The original mother piece a 150cm x 150cm photograph will be displayed at the launch Available to order via here The post Carl Cox selects his ‘absolute super star’ records for art collaboration with UK photographic artist Mark Vessey appeared first on Decoded Magazine.

Today marks the 23rd anniversary of the heart-tugging house music track, ‘If I Had Another Chance for Love’. Roger Sanchez poured his emotions into this song, wearing his heart on his sleeve, which resonated deeply with listeners. The single achieved remarkable success, peaking at #1 in both Romania and the UK, and earning Platinum certification in the UK. This track is widely regarded as Sanchez’s signature song, thanks to its soft, melodic beat and unforgettable music video. The video tells the touching story of a woman’s desire to be loved in return by “wearing her heart on her sleeve”. To experience the full emotional impact, I highly recommend watching the music video below.

The unlicensed party reportedly took place at Cala d’Hort viewpoint - a protected site in Ibiza Continue reading...

Ableton Live 12.1 is now in public beta. This free update for Ableton’s music performance and production software comes with significant additions and improvements to all editions of Live, including Live Lite, plus Push. Live 12.1 introduces auto-tagging, making it easier to find the right sound in your user library. New tags are automatically assigned to all samples in the library less than a minute long, as well as to VST3 and AU plugins. Auto Shift, Live’s new pitch correction and harmonization device, lets you manipulate and extract harmonies from vocals in real-time. Choose a scale for Auto Shift to follow, and play and make harmonies from any monophonic signal with the dedicated sidechain. Drum Sampler, Live’s new compact sample player, lets you tweak and enhance drum sounds on the fly. Limiter and Saturator have been redesigned, and the MIDI Editor now allows you to filter and select notes by time, pitch, or a number of other criteria. Two new MPE-specific MIDI Transformations – Glissando and LFO – let you create curves for the MPE parameters of selected notes. 12.1 also brings updates to Push. On Push 2 and 3, you can now map Macros, experiment with Macro Variations, organize Sets more easily, and take advantage of Live 12’s browser filters. Push 3 now lets you add groove instantly to all the MIDI clips in your Set with a single twist of an encoder, while Push 3 standalone adopts Live’s new sample auto-tagging feature. If you own a Live 12 license, you can join the beta program* to test Live 12.1. Once the beta testing period is over, Live 12.1 will be free for all owners of a Live 12 license. Ableton Live 12 is available for purchase from Ableton.com and, in some countries, through local retailers. Ableton Live 12 costs 79 EUR / 99 USD / 69 GBP for Intro, 279 EUR / 439 USD / 259 GBP for Standard and 599 EUR / 749 USD / 539 GBP for Suite. Owners of previous versions of Live can log in to their accounts to check upgrade pricing. Push is available now through Ableton.com. Push costs USD 999 / EUR 949 / GBP 879 and Push (standalone) costs USD 1999 / EUR 1899 / GBP 1669. Upgrade Kits are now available and cost USD 1049 / EUR 999 / GBP 879. The post Ableton Live 12.1 is now in public beta appeared first on Decoded Magazine.

With a lineup that reads like a who's who of the electronic music world, the organizers of the iconic Amsterdam Dance Event have unveiled the first wave of artists for the 2024 conference. ADE, a cornerstone of the global electronic dance music scene, has revealed over 300 artists set to entertain audiences this October. The announcement includes major names like Martin Garrix, Peggy Gou, Boys Noize, Four Tet and more, alongside a diverse array of talent from every flavor of the genre. Other major artists confirmed for appearances at ADE 2024 include Tiësto, Bonobo, Jamie Jones, Skream, Rebekah, Jeff Mills, Carlita, Marcel Dettmann, Marco Carola and EDM.com Class of 2023 star Indira Paganotto. Martin Garrix performing at his "IDEM" show a RAI during the annual Amsterdam Dance Event.c/o STMPD RCRDS ADE continues to serve as a seedbed of dance music culture and a crucial hub for industry professionals and enthusiasts alike. When all is said and done, the summit, renowned for its comprehensive slate of performances and panels, is set to feature over 1,000 events across Amsterdam, including high-profile experiences by Awakenings, Tomorrowland, AMF and so many more. With this first wave, ADE is once more setting the tone for what promises to be another unforgettable celebration of electronic music culture from October 16-20, 2024. The complete program will be revealed in the months ahead. You can purchase ADE Pro Passes here.

Amsterdam Dance Event (ADE), the world’s largest festival and business gathering for electronic music, today reveals the first wave of confirmed artists for ADE 2024. Among the confirmed artists to perform are Benga (GB), Brutalismus 3000 (DE), FJAAK (DE), Four Tet (GB), Honey Dijon (US), Indira Paganotto (ES), Jeff Mills (US), KlangKuenstler (DE), Major League DJz (ZA), Marlon Hoffstadt (DE), Martin Garrix (NL), Miss Monique (UA), Peggy Gou (KR), Rebekah (GB) and The Martinez Brothers (US). Over 300 artists and DJs have now been confirmed throughout 100+ events, marking the first 10% milestone of the ADE program — including special concerts by Awakenings Upclose, over 20 events at A’DAM Toren, a packed DGTL roster with 7 events, Tomorrowland presents Our Story, alongside AMF, HE.SHE.THEY., Into the Woods, Verknipt, straf_werk, Loveland, Speedy J’s STOOR, Dave Clarke presents, and much much more. The five-day gathering runs from October 16—20, 2024 and is the world’s most extensive festival and conference program for electronic music, representing all electronic subgenres and subcultures throughout 1,000+ events in 200+ locations spread across Amsterdam. Among the first 10% of artists and DJs are: 6EJOU (FR), 999999999 (IT), ALCATRAZ (DE), Anetha (FR), Anz (GB), Avalon Emerson (US), Azyr (GB), Barry Can’t Swim (GB), BELLA (NL), Ben Klock (DE), Benga (GB), Benwal (NL), Berkan V8 (NL), Bolis Pupul (BE), Bonobo (GB), Boys Noize (DE), Brutalismus 3000 (DE), Caribou (CA), Carista (NL), Carlita (TR), Chlär (CH), Cincity (NL), Cinthie (DE), Colin Benders (NL), Colyn (NL), Daria Kolosova (UA), Dave Clarke (GB), Dax J (GB), Dee Diggs (US), DJ Europarking (NL), DJ Fuckoff (DE), DJ Mell G (DE), DJ Spit (DE), DJ Tennis (IT), DMX Krew (GB), Doppelgang (NL), Estella Boersma (NL), Fafi Abdel Nour (NL), FJAAK (DE), Four Tet (GB), Funk Assault (DE), Gabrielle Kwarteng (US), Gerd Janson (DE), GoldFish (ZA), Honey Dijon (US), I Hate Models (FR), I. Jordan (GB), Indira Paganotto (ES), Jamie Jones (GB), JEANS (NL), Jeff Mills (US), Jennifer Loveless (AU), Kikelomo (GB), KiNK (BG), KlangKuenstler (DE), Kobosil (DE), Lola Edo (NL), Mahmut Orhan (TR), Major League DJz (ZA), Malugi (DE), Marcel Dettmann (DE), Marco Carola (IT), Marie K (NL), Markus Schulz (US), Marlon Hoffstadt (DE), Martin Garrix (NL), Mary Lake (NL), Mathame (IT ), MCR-T (DE), Mila Black (NL), Miss Monique (UA), Mochakk (BR), Motor City Drum Ensemble (DE), Narciss (DE), Nico Moreno (FR), NIKS (GB), Nils Frahm (DE), Octave One (US), Ogazón (LU), Olympe (IT), Pangaea (GB), Patrice Bäumel (DE), Patrick Mason (DE), Paula Tape (CL), Paula Temple (GB), Peggy Gou (KR), Philou Louzolo (NL), Rebekah (GB), Rødhåd (DE), Röyksopp (NO), Roza Terenzi (AU), Ruby Savage (NL), Sally C (IE), Salome (GE), Sama’ Abdulhadi (PS), San Holo (NL), Sarkawt Hamad (NL), Sasha (GB), Sedef Adasi (DE), Seth Troxler (US), Shanti Celeste (CL ), Shimza (ZA), Shlømo (FR), Skream (GB), Speedy J (NL), SPFDJ (SE), Spray (IE), Suze Ijó (NL), Tereza (DE), The Blessed Madonna (US), The Martinez Brothers (US), Tiësto (NL), Timmy Trumpet (AU), Tita Lau (GB), Todd Terry (US), Twiena (NL), Vuur (NL), Wade (ES), Yazzus (GB), Young Marco (NL) and many more. The complete program will be announced in the coming months. Individual tickets are available through ADE’s program, and the ADE Pro Pass is available here. The post Amsterdam Dance Event announce first wave with 300+ confirmed Artists for 2024 appeared first on Decoded Magazine.

Innate MC (Lewis Edwards) followed a path less travelled, in hindsight, the decision paved the way for a whole new chapter for the master of ceremony. He left familiarity behind to move abroad and make a name for himself in Amsterdam, The Netherlands, becoming the first and only UK MC in bass music to successfully do so. Roughly nine years on Innate MC very much managed to establish his brand, turning it into a household one by becoming the resident at renowned local events like Blackout, Korsakov and Curated By – his signing at MB Artists further underlining his impressive progress ever since. And with more than 15 years of experience on the mic – providing lyrical support to more than a hundred established names in the scene – there’s more than enough to cover in this exclusive interview for UKF. Hello Lewis, great to finally have this talk, let’s start at the beginning: what motivated you to become an MC? Hi, thanks for having me. I was introduced to jungle and early speed garage & UKG through my older sisters and cousins at a young age, and it was something that stuck with me. My friends and I would practice DJing and MCing and all pretty much stems from this. How did it evolve? At first, we were just messing around at a friend’s house, A.M.C, Kyrist, Slippy Skills and a few others. Then after a while skills progressed, and we started doing little local events in bars, function rooms and at an online radio too. This was around 2008 How did you find your sound? Back when I first started listening to event tape/CD packs, for example, Hysteria, Telepathy, Helter Skelter, the main MCs at that time were pretty much double-time and fast-paced. So at the time, when I was young, I thought it was kind of the only way. As I got older, things were a little different. Especially with the internet. Being able to find different types of music and different types of parties. sub-genres and all this kind of stuff. It really opened my eyes. Eventually, my friends and I started going to events like Renegade Hardware, Shogun, RAM… That’s mainly where I was introduced to other MCs that weren’t so constant and fast, but more about the whole hosting type of style; the bars in between. For me, there’s like a fine line between being a host and an MC. I tried to drift in between the two, and eventually, I felt like I’d found my way. You are the only English MC in the scene who moved to Holland. How did this come about? I came in touch with a lot of people internationally through things like hosting at Let It Roll, shows abroad and also being involved event-wise. I let some people know that I was thinking about moving to NL, and they were like: yeah, move here, we would definitely want to book you and have you as a resident MC. So yeah, I took my chances. You’re also signed with MB Artists these days Yes, after working with Neurofunkgrid/Enter the Grid, I was pretty much working alone, in the sense of taking on my own bookings and reaching out to promoters. After that, for a short time, my bookings were being dealt with via Korsakov. Once that came to an end, I was acting alone again. Then, around one and a half years ago, the guys who were running Compass Agency in the Netherlands did a business merger with MB Artists. They hit me up (big up to agent Alex (A-FLEX/ NCT) and asked if I would be interested in joining their roster after the merge. I was super excited because the agencies were both established with impressive rosters, so it was a huge privilege to be asked to join. Since being with MB, things have been going really well, and I’m looking forward to seeing what the future brings. Did it help to have that UK heritage as well, because you guys have a rich MC culture? To be honest, I’m not sure. Maybe it has added some authenticity to what I do, as the whole scene in general originated in the UK. But it’s a nice thought to think I’m bringing something over to another country and it being received well. How would you summarise the essence of your role as an MC? Personally, I like to make it about the DJ, the music, and the people as much as possible. I remember being at raves when I was young, and the MCs always did a good job of making everyone feel like they were part of something. Something big. There’s almost a tribal togetherness that goes on in the crowd when the vibe is right. That’s the vibe I try to create while using the lyrics here and there when I feel it’s the right moment to do so. What really motivates you to go up there and stand in front of crowds? Is it a certain feeling? Yeah, for sure! Seeing how much they’re enjoying it – being a part of that energy is something special. So what do you miss the most about England? Family and friends of course, but also being able to go into nature. That isn’t so easy here in The Netherlands. It’s nice and there are some beautiful places to go, but the countryside and forests aren’t really the same as at home. Inversion – you’re involved with that as well. Can you tell us something about that? We had our first edition in 2016, it was going really well for a few years and then the team were looking for a different venue, but then Corona hit… It’s been only in the past year or so that I got in touch with my friend here, who also worked on this. I suggested to him to just try and bring the party back, and we approached a few different venues. Then we ended up with a good response from Patronaat in Haarlem, which was nice, because they used to have Spektrum there a while ago. So we got a shot at bringing drum & bass back to Haarlem. Are any announcements worth mentioning for the upcoming months regarding Inversion? For now, I can’t say too much yet, but I can say the next event will be in October after the festival season. You mentioned earlier about actually spending some time in the studio again I have been trying to get back into this recently, but I have had so many other things going on in my personal life that studio stuff took a backseat for quite some time. Will eventually get a track done with a friend of mine Abstract from Breda, NL, who I got in touch with through TRIBE, while hosting some of their editions. And also with someone else, but I don’t want to say too much yet, because I’m still kind of waiting to hear back. All will be revealed in time. Just not rushing myself for the sake of having something out soon. Is there a certain night or event that stands out in your memory? Why so? Well, off the backend of doing Renegade Hardware while still in the UK and then Neurofunkgrid – getting involved with Blackout (drum & bass night at TivoliVredeburg, Utrecht) was a huge one. Working with the guys from Black Sun Empire, while being a fan of their music for years, is a milestone. Multiplex, who’s resident there, really helped me with that by showing me the ropes when I moved here and being really welcoming and a good friend in general. Do you feel like it’s a bit harder in the UK to become established, because there are so many MCs and there’s so much competition? Yeah, it’s a bit tougher to break into the scene, although it’s also easier to get your message out there these days with social media etc. We used to try and record the best material of our lives in my friend’s bedroom and then, you know, burn like 30 CDs and then take them to the club and hand them out as much as we could… and basically pray that one of those people was an artist from the night or the promoter! It’s easier to get your message across now, but there’s a lot of static on the line because everybody’s fighting for attention. So it’s also a matter of not only what you know, but who you know and properly networking. Yeah for sure, networking, being present and getting to know people within the scene is crucial I would say. Especially when starting out. It comes with experience and having that balance, but when being on the mic, are there moments when you get too excited and overdo it? I don’t know, it can easily become too (much) constant sometimes, you know, like, I also want to hear just the music. When someone constantly is emceeing, I want to see them step back a bit and let the DJ mix- see them interact with the crowd, big up people, and this kind of stuff. For me, as an MC you want to make everyone feel included. The ‘you are all in it together’ kind of thing. It’s not like I’m the big MC and these guys are below me or something like that, we’re all here for the same thing, the music. That’s my approach, anyway. Do you have certain goals in your mind for the future? More studio stuff for sure, to have some really nice releases out on some established labels would be amazing. I also really want to be in a position where I’m getting approached for a New Zealand, Australia tour, or something like that, with some DJ friends of mine that I’d really like to travel with. That’s something I’d want to work towards.