Ravebot

Titled Deckades, the zine will feature 42 pages of photos, interviews and commentary — with a limited run of 1000 copies Continue reading...

New York City is getting a new music festival this fall as We Belong Here unveils its highly anticipated three-day festival. Taking place from October 4-6, 2024, at the iconic Wollman Rink in Central Park, the festival will feature headlining sets from electronic music powerhouses Fisher, Kaskade, and Monolink. This marks the first time the festival is venturing outside of Miami, where it has already established itself as a premier destination for electronic music fans. Kaskade doesn’t need much of an introduction. The Grammy-nominated dance music legend, will make his Central Park debut, bringing his signature sound to one of the city’s most beloved landmarks. Joining him is the Berlin-based producer Monolink, renowned for his captivating blend of melodic techno and emotive soundscapes. Amongst his many impressive accolades, he holds the most viewed full-length performance ever from Burning Man, amassing over 23 million views on YouTube. Rounding out the headlining trio is Australian sensation Fisher, whose high-energy sets have solidified his status as a global dance music icon. He recently played three shows earlier this month at the Brooklyn Storehouse. Presale tickets for We Belong Here will be available on Friday, August 2nd at 12 PM ET. Fans can sign up for the presale now HERE. General ticket sales start on Tuesday, August 6th at 12 PM ET. Here’s what the organizers had to say about the festival: “Our intention is to create truly one-of-a-kind experiences by bringing world-class artists to beautiful and historic locations. To see Fisher, Monolink, and Kaskade perform in Central Park is something we dreamed of as dance music fans. Now, with an amazing team, we are able to bring it to life for the people of New York and the greater community of music lovers to enjoy together,” said Justin Dauman, Co-Founder of We Belong Here. “ We Belong Here recently welcomed over 10,000 guests to a series of pop-up events in New York this summer, from Governors Island to Pier 16. After three successful Miami festivals, this is the first time We Belong Here is bringing its renowned boutique festival experience and signature 360-degree stage to the heart of New York City. Wollman Rink has served New York City as an iconic skating destination for locals and tourists alike, reopening in 2021 under Wollman Park Partners—a joint venture between Harris Blitzer Sports & Entertainment, Related Companies, and Equinox—with a new mission of creating a year-round, vibrant, diverse, and inclusive space for all New Yorkers and visitors. The post We Belong Here Announce Fisher, Kaskade, and Monolink for Central Park Festival Debut appeared first on EDMTunes.

If you watched every video in the Tomorrowland 2024 playlist start-to-finish, it would take you over five days to finish all the sets. Just days after the iconic Belgian festival closed out its second and final weekend of the year, its organizers compiled a massive playlist comprising some of the best performances. While sharing recorded sets after an event is nothing unusual, Tomorrowland took things to the next level by sharing 125 complete performances. Included in the playlist are performances from Tomorrowland 2024 headliners, stars of the future and even musicians who rarely permit live recordings. Fans can watch Swedish House Mafia, Hardwell, David Guetta, Armin van Buuren, Anyma, NERVO, Alesso, Amelie Lens, Afrojack and many more superstars perform at the landmark 20th anniversary event. And in an effort to crank the Tomorrowland FOMO to maximum levels, REZZMAU5 (Rezz and deadmau5) and Solomun B2B Four Tet are also included in the mix, among other rare performances. Check out a handful of Tomorrowland 2024 highlights below and peruse the full playlist of sets here. In addition to the YouTube recordings, there are a number of sets available on Apple Music and the official Tomorrowland app. FOLLOW TOMORROWLAND:X: x.com/tomorrowland TikTok: tiktok.com/@tomorrowland Instagram: instagram.com/tomorrowland Facebook: facebook.com/tomorrowland

On October 11 and 12, the iconic nightclub will bid farewell to the 2024 season with two days of partying, featuring more than 30 artists and a B2B lineup from start to finish. Years ago, the Amnesia closing was a date known only to the most intimate on the island. However, over time, the voices of experience have echoed, turning this into one of the longest and wildest closures, reflecting the true spirit of Ibiza. Those who have experienced it know it’s the party that puts the final touch on all parties. This year, the nightclub has upped its own game. Has any other Ibiza nightclub ever held a festival to celebrate its closing? Has any other dared to multiply it? Dancing not one day, but two. Has any other gathered more than 30 artists, presenting a lineup that runs from start to finish with exclusive B2B sets? The answer to all these questions is clear: there has never been anything like this, but there will be, on October 11 and 12 at the nightclub that has made history on the island and continues to do so. The Amnesia Closing Festival arrives with the intention of surpassing its own limits and breaking all barriers. That’s why this year it adds an extra day for all those who want to feel the energy of Amnesia, multiplied. On Friday, October 11th, the lineup landed from the UK will be presenting in the Main Room: Ben Hemsley, Hannah Laing, Les Schmitz, and Malugi. Meanwhile, on the Terrace, people will dance with Claptone, Danny Howard, Sammy Virji, Sonny Fodera, and Jan. The real test for the bravest will be on Saturday, October 12, when something unprecedented happens on the Terrace. As the saying goes, unity is strength, and strength will abound with a B2B lineup from start to finish, featuring Adam Beyer B2B Marco Faraone, Cuartero B2B Manda Moor, East End Dubs B2B Mar-T, Londonground B2B Manu Desrets, Hot Since 82 B2B Rossi., Sidney Charles B2B Caal, and, repeating the success of the 2023 closing, the resident DJs of the iconic nightclub, Jamie Jones B2B Joseph Capriati, who will delight us with a Sunrise Extended Back to Back Set. As part of the deployment of its new brand identity, Amnesia has executed a total blackout on its social media, reinforcing the meaning of its own name with a powerful message: memories are overrated. The Amnesia Ibiza closing festival invites clubbers from around the world to forget everything to be truly free. These will be two days to focus on the present and nothing else. The season ends, and it’s all about leaving that last drop of sweat on the dance floor, gathering all the energy of the crowd and the magic of the white island. Website | Instagram Tickets: https://store.ticketing.cm.com/Amnesia-Closing-Festival-2024 Date: 11th and 12th of October The post Amnesia Is Prepared To Make History With The Amnesia Closing Festival appeared first on Electic Mode.

Today, ARC Music Festival, Chicago’s flagship House and Techno festival, has revealed the ARC After Dark festival afterparty lineup for its 2024 edition taking place from August 30th to September 1st. Into The Arc After Dark Auris Presents leads After Dark programming. The series of afterpaties will run five days from Thursday to Monday. Furthermore, they will be showcasing a variety of uniquely curated parties. These include featuring artist aliases, special back to back sets, label takeovers, plus select acts outside of the festival lineup. Trust us, you will not want to miss these raging parties. The after party series spans over 13 venues, 30 parties, and 100 artists. The afters are exclusively available only to ARC festival pass holders. Artists include Gesaffelstein, Disclosure b2b Armand Van Helden, Green Velvet b2b Skepta, Carl Cox, Sven Väth, Charlotte De Witte, The Martinez Brothers, Dom Dolla, Kaskade, Purple Disco Machine, Carl Craig, Moodymann, Sara Landry, Shaun J. Wright + more. ARC will take over the city with its wide-reaching after party programming across iconic Auris and ARC partner venues. These include Cermak Hall, Smoke & Mirrors, RADIUS, Concord Music Hall, Metro, Smartbar, and PRYSM. No9, Outset, Spybar, Soho House, Primary, Podlasie, and Masada all complete the roster. Returning to the heart of the city at Union Park this Labor Day Weekend, ARC’s fourth iteration will be soundtracked by the world’s leading house and techno selectors in the historic birthplace of house music. After Dark On Sale Wednesday July 31st at 12pm CT. Exclusively to ARC Pass Holders. The post ARC After Dark Parties Are Set for an Action Packed Labor Day Weekend appeared first on EDMTunes.

Following the announcement of his tracklist last week, which sent shockwaves through the music industry, Diamante Blackmon, known globally as GORDO, has released his groundbreaking debut album, DIAMANTE, via Ultra Records. The tracklist initially featured one blurred-out track, sparking much speculation. Now, GORDO officially reveals that the mystery track is a surprise collaboration with his long-time friend Drake, titled ‘Healing’, the second collaboration with Drake featured on the album. “There’s nothing I would change; I suppose that’s why it took four years—to make sure I could look at it and know it’s perfect,” GORDO reflects on the 16-track album released today. “This album is dedicated to my grandmother, my family, friends, and loved ones. I hope you enjoy what I believe to be some of the best music I’ve ever created.” This album represents a pivotal moment in GORDO’s career, blending his Nicaraguan-American heritage with a diverse array of musical styles, including Dance, Hip Hop, Pop, Reggaeton, Indie, and Jazz. After more than four years of dedicated production work, DIAMANTE showcases GORDO’s evolution from a prolific DJ, producer, and collaborator to a visionary artist pushing musical boundaries. Featuring an impressive lineup of collaborators, including Fuerza Regida, T-Pain, Leon Bridges, Rampa, Larry June, Nicki Nicole, and Maluma, this album is a testament to GORDO’s ability to create a cohesive and genre-defying musical journey. Although they had been friends for over a decade, GORDO and Drake’s musical collaboration didn’t begin until Drake’s dance-infused album Honestly, Nevermind, released in the summer of 2022. On ‘DIAMANTE,’ Drake’s vocals blend seamlessly with GORDO’s production, creating a powerful synergy on tracks ‘Sideways’ and ‘Healing’. In exploring GORDO’s current role in the electronic music scene, he’s collaborated with an impressive array of DJs and producers. On ‘Guard Down’, the Nicaraguan-American artist teams up with &ME for a surprisingly contemplative introduction, where trickling melodies and a subtle rolling beat complement inspired vocal harmonies. Despite its layered sound, GORDO reveals that the track features the vocals of one artist, Alice Aera. There is a lot more to discover from GORDO’s debut album, and you can now listen to it on all available streaming platforms. Stay tuned for more news! The post GORDO Officially Releases Debut Album “DIAMANTE” appeared first on EDMTunes.

On Saturday, July 27th, Secret Garden Party’s 2024 Roots Edition delivered an unprecedented show which perfectly encapsulated their creative contribution and legacy. After 25 years, the Secret Garden Party announced to festival-goers that this would be their final year in its current guise, marking their farewell and the end of an era not only for SGP but for the countless festival-goers who have attended over the years. In true SGP style, the spectacle conveyed a deeper message to fans, culminating in a state-of-the-art drone show, designed by Celestial in collaboration with SGP, a creative production of founder Fred Fellowes and Secret Design’s Nick Carter, titled ‘Creativity Unchained.’ This was followed by a ‘That’s Showbiz, Baby’ extravaganza, produced by SGP in collaboration with Acme FX and Immersive International. The spectacle underscored the impact of corporate takeovers and greed, which have made it difficult for independent events and artists to thrive in today’s scene. It delivered a powerful message to inspire, protect, and preserve creative expression from corruption and the stranglehold of major players in the music industry. The extravaganza peaked in spectacular fashion, with the symbolic ‘Burning of the Main Stage,’ an urgent call for immediate change, signifying that from the ashes, something new will grow in the garden. This year’s event was a true showcase of collaboration, with independent festivals and event promoters uniting in support. Shindig, NTIA, Cirque du Soul, and many others provided additional backing in the weeks leading up to SGP. Ren’s fans from Australia to the USA purchased and donated tickets to those who couldn’t afford to attend. This has become a global movement to save our music scene, demonstrating the love and unity of people rooting for a cause that matters deeply to them through positive connection and creative self expression. Following the recent international festival crisis, Secret Garden Party will undergo a transformation this year which is set to redefine the festival model, emphasising the need for collaboration and unity amongst independent organisers. In response to the increasing number of venue closures and festival cancellations, Secret Garden Party aims to foster a collective effort by inviting other events and promoters to the SGP site in the festival’s absence, to join in their vision with an aim to revitalise and strengthen the festival scene together. Fred Fellowes – Head Gardener & Founder highlights “At this point, we’ve said everything that needs to be said. We’ve done what we said we would do. That’s the party we created, and that speaks for itself.” Reflecting on the successful event, the programming and performances were hailed as groundbreaking. Ren’s first show in five years was a resounding success, featuring a two-part, two-hour performance by the award-winning artist. The show included live strings, theatrical performances, and a unique collaboration with Chinchilla and Romain Axisa joining Ren on stage. The Secret Garden Party’s final soiree upheld their reputation as purveyors of all things curious, with an eclectic schedule that featured something for everyone looking to unwind and let loose. From the LED hula-hooping of the fire show and midnight playground to the life drawing class in the Bohemian Artist Studio and Mermaid school on the swimming lake, there were plenty of options for those looking to stimulate the senses. And while this year’s festival saw them commit to the Drop a Headliner campaign, a movement launched to support independent artists, there were plenty of exciting acts and standout performances, including impromptu sets from more familiar faces such as Plump DJs in the Oasis. As far as encores go, SGP’s was one that will live long in the memory as they continue to strive for a united, sustainable festival scene moving forward. For updates stay connected through Secret Garden Party The post Secret Garden Party Concludes Final Event With Iconic Spectacle appeared first on Electic Mode.

Cascade Equinox’s sophomore edition returns to Richmond, Oregon this September. And Dancing Astronaut has teamed back up with the festival for a second year in a row to provide one deserving DJ with the opportunity to become a part of its 2024 lineup. This year’s Cascade Equinox Festival boasts an incredibly eclectic group of artists that span across all genre lines from electronic to funk to disco to jam to soul to bluegrass, including the likes of CloZee, Liquid Stranger, Barclay Crenshaw, and plenty more that will head to the state of Oregon during the summer’s final days from September 20 – 22. All contestants have to do is submit a 30-minute DJ mix to be entered to win an opening slot at the festival at the Deschutes County Fairgrounds in Redmond. Click here to enter. The submission deadline is August 28th at 11:55pm PT and festival organizers will collectively vote on their favorite mix. The winner will receive (2) three-Day Festival Tickets, (2) Inner Circle VIP Upgrades, a car camping pass, and a $100 travel stipend. If you’re the chosen winner, you’ll be notified via email by September 7. If you have a friend who’s an aspiring DJ and deserves their chance in the spotlight, don’t hesitate to share this chance with them. Who knows, if they win, maybe they’ll invite you along for the trip of a lifetime. Featured image: Cascade Equinox The post Enter to win a chance to play alongside CloZee, Liquid Stranger, and more at Cascade Equinox [DJ Mix Contest] appeared first on Dancing Astronaut.

It's tough to believe Above & Beyond have never released music on their own Anjunadeep label, but nearly two decades later, here we are. The legendary trance trio today released Palermo/Fractals, a two-track EP produced in collaboration with PROFF, a longtime Anjunadeep staple and deep house luminary. Above & Beyond had never dropped original music on the imprint, an offshoot of their iconic Anjunabeats label, prior to today's release. The EP feels less like a departure and more like unearthing buried treasure. Instead of soaring atop the familiar neon-tinged skyscrapers of their trance anthems, we find ourselves in a lush, palpitating ecosystem of house rhythms and organic textures. They kick off with "Palermo," where PROFF's dazzling production entwines with tinctures of Above & Beyond's vintage trance leads to guide us into a shimmering deep house coda. Then comes "Fractals," which unfurls like a digital origami flower as twinkling arpeggios beautifully contort through a hypnotic arrangement. True to its name, the track unfolds like a haunting time-lapse through a kaleidoscopic dream sequence. In other Anjunadeep news, it's been a big year for the storied label, which in May aired the 500th episode of its weekly mix showcase, "The Anjundadeep Edition." They then launched a brand-new imprint, Anjunadeep Explorations, to unearth "the next generation of electronic music talent." Listen to Palermo/Fractals below and find the new EP on streaming platforms here. Follow Above & Beyond:Instagram: instagram.com/aboveandbeyond X: x.com/aboveandbeyond TikTok: tiktok.com/@aboveandbeyondofficial Facebook: facebook.com/aboveandbeyond Spotify: spoti.fi/3fHhX1z Follow PROFF:Instagram: instagram.com/proffmusic X: x.com/proff_music Facebook: facebook.com/proffofficial Spotify: tinyurl.com/bdstvvt7

Tributes for the late artist have been pouring in from the hip hop community such as Ice-T, Big Daddy Kane, Eric B and more Continue reading...

Cody Chase drops his latest Techno track, ‘We Don’t Welch’ via his label Chasin’ Records. With this newest production placing his dynamic signature style in the spotlight, offering relentless energy, driving beats, and layered sound, ‘We Don’t Welch’ appears poised to become a standout track within his discography, raising the bar of his collection with its unique energy and compelling arrangement. Building on the success of his previous releases like ‘Ellipsis’ and ‘By My Side,’ Cody Chase continues demonstrating his evolution as an Artist, innovating and finding fresh ways to set himself apart on the scene. Having graced numerous stages around the US, connecting with listeners as he puts forward his unique style, Cody Chase keeps refining his approach. With his signature blend of Tech House and Techno giving way to engaging sonic experiences, Cody Chase extends his creativity into various other pursuits, including as boss of his record label, Chasin’ Records, and host of his radio show, ‘The Chase.’ As he keeps carving out a distinct place within the genre, Cody Chase’s passion, motivation and pursuit of sonic originality continue to culminate in innovative music, and this latest release appears no exception. With ‘We Don’t Welch’, pounding beats and distinct sonic hits start the listening journey, as pulsing synths join the mix, adding to the growing momentum. As the energy climbs, with intensifying details and rhythms, the drop brings back the thumping kick, incorporating a driving lead, punchy elements, and pulsating pads. An engaging listening experience from start to finish, bringing dynamic moments with intricate synth work and layered grooves, ‘We Don’t Welch’ highlights Cody Chase’s technical skills, delivering a track that showcases his ability to innovate and maintain his sonic originality. As he brings yet more unique-sounding music into his catalogue, Cody Chase shows his versatility as a Producer all the while remaining true to his artistic vision and signature sound. A track that exemplifies his original approach, offering a soundscape detailed with distinct elements, Cody Chase’s ‘We Don’t Welch’ appears as the ideal listen for fans to immerse themselves further in his sonic world. So, stay updated with Cody Chase by following him across social media and don’t miss out on ‘We Don’t Welch,’ out now via Chasin’ Records and available to stream and download across all major platforms. Listen and Buy ‘We Don’t Welch’ Now: Beatport Cody Chase Online Website | Instagram | Soundcloud Chasin’ Records Online Website | Beatport The post Hit Play on Cody Chase’s Brand-New Single ‘We Don’t Welch’ appeared first on EDMTunes.

Nathassia presents her new Melodic House single, ‘Tall,’ via ArchangelUK Recordings. This empowering production dives deep into the complexities of body image and self-acceptance, drawing inspiration from Nathassia’s personal journey and experiences growing up. With an impactful message, combined with Nathassia’s unique blend of elements from Eastern and Western cultures, ‘Tall’ seems poised to resonate with listeners globally, captivating them with its mesmerising sound. Known for her musical originality, Nathassia has crafted a sonic identity that seamlessly blends her diverse influences, culminating in a distinct signature style whilst cementing her place as an influential ambassador of multiculturalism. With a rich heritage, half-Dutch, half-Indian, Nathassia leans on her background in her creativity, developing a unique approach that has garnered her numerous opportunities throughout her musical journey so far. Notably, Nathassia made history as the first Electronic Music Artist to perform live inside the Luxor Temple in Egypt and continues to expand her reach further with her radio show, Goddess Is A DJ; now broadcast to nine million listeners worldwide, the show consistently showcases her eclectic musical tastes and expertise, growing her reputation with each episode. Having had David Guetta, Tiësto, Kryder, and Lucas & Steve, among others, all support her work, Nathassia keeps impressing, fast becoming a significant figure on the Electronic Music scene. ‘Tall’ no doubt appears as a powerful addition to Nathassia’s discography; as the lyrics address societal pressures surrounding female appearance, specifically the theme of height, Nathassia’s emotive vocals weave amongst the dynamic instrumental arrangement, translating the narrative of overcoming insecurities and finding strength in individuality. Featuring ethereal melodic lines, energetic beats, bouncy details, and shuffled rhythms, ‘Tall’ evolves into an immersive soundscape, bringing in filtered elements to keep the listening experience engaging. A journey through moments of full-bodied sound and introspective, tension-building breakdowns, ‘Tall’ highlights Nathassia’s original musical approach, reflecting her commitment to creating music that inspires and empowers. Nathassia’s ability to blend her cultural heritage into bold productions whilst addressing universal themes through her lyrics continues to cement her as a unique voice on the Electronic Music scene, and her new track, ‘Tall’ only reinforces this further. So, be sure to discover the compelling sound of Nathassia’s latest release for yourself, out now via ArchangelUK Recordings, and stay tuned to her journey by following her across social media. Listen and Buy ‘Tall’ Now: https://push.fm/fl/nathassia-tall Nathassia Online Website | Spotify | Instagram  ArchangelUK Recordings Online Website The post Nathassia Drops ‘Tall’: a Compelling Production Showcasing Her Originality, Talent, and Sound appeared first on EDMTunes.

Andrew Canlon has landed on the Electronic Music scene, determined to make his mark as he sets about integrating his Classical background with contemporary electronic sounds. Known for his evocative soundscapes and thoughtful lyrics, Andrew Canlon has fostered a unique approach that supports his creation of dynamic music and engaging sonic experiences. With the recent release of his single, ‘Gemini Man,’ alongside Dmitry Libman, Andrew Canlon added a compelling production to his discography, offering a track that showcases his distinct signature sound and diverse talents. So, today, we’re looking forward to sitting down with him for this exclusive interview to delve into the story behind ‘Gemini Man,’ discovering more about his collaboration with Dmitry Libman, his process, and what fans can expect next from this innovative artist. Hi Andrew, how are you today? Congratulations on the release of ‘Gemini Man’! Thank you so much! I’m doing well. Staying busy! What was the inspiration behind ‘Gemini Man’? Did any specific experiences or ideas spark the concept for this track? Man, that’s such a good question. I think I’ve always been kind of enamoured with the concept of duality. I think it’s possible to be a good person but to sometimes fall short of your ideals. We are living in a time in our society where, for some reason, it’s really important to people that you choose a side. I’ve never been inclined to brand myself one thing or the other. I tend to be very moderate in my thinking. But I am, in fact, a Gemini, so I think that just lends itself to having a certain affinity for characters and narratives that try to understand that everyone ultimately has two sides to their personality. That doesn’t mean you’re good or bad. It just means that you allow yourself the opportunity to express the positive and negative aspects of who you are. How did your collaboration with Dmitry Libman come about? Can you share a bit about your creative process together? This is the 5th single I’ve worked on with Dmitry. We’ve known each other forever. We were in a band together back in 2008-2009. He drove in from Philly and would crash on the floor of my Washington Heights apartment and we’d roll to band practice together. He would produce all of the band’s tracks back then, and I always thought he had an amazing knack for recording. I started pursuing a solo career in 2016 and approached him again to produce my singles. We’ve been working together ever since. There’s such a great chemistry when we work together. He just likes what I like, and we’re both not shy about wanting to release songs that are pop-forward and really give the audience the payoff that it wants. Can you describe the initial stages of creating ‘Gemini Man’? Which element did you start with and how did the track evolve from there? I definitely know I was in an emotional place when I wrote the song. I remember shutting off all of the lights in my studio and lighting it up in neon. I was in a moody place and wanted to create an atmosphere that would really allow me to dig into the emotional side of things. I remember writing the chorus first, including the lyrics. The piano riff came next, and then it just started spilling out. I started to understand what I wanted to do sonically, which was to take it back to the ’90s to Moby’s “Porcelain,” one of the formative tracks from my youth. The strings are a direct tribute to Moby and “Porcelain” because that song has been playing in the back of my head for the past 20+ years. How did your background in Classical Music influence the production of ‘Gemini Man’? It always comes in handy in terms of creating the song structure, the orchestration, and the dynamics of the song. With that said, I’m not trying to impress people with my music theory skills. The truth is I keep things very simple. I’m just trying to write songs people can relate to. Can you share the process for integrating the vocals into the production? How did you work towards balancing the instrumental arrangement against the vocal line, and what was your approach when it came to mixing the different elements? Vocally, it was really important for me to feel comfortable to really belt this one out. My studio at home is in a cramped New York City apartment, so it’s not the best environment for vocal production. I actually rented out a performance space with amazing acoustics and set up a makeshift vocal booth. That really paid off because there is a level of conviction in there that I’m so happy about. That was a pretty surreal experience. I’m looking out the window at NYC skyscrapers recording the vocals of a song that I’m about to deliver to Dmitry so he can work his magic on it. Sometimes you’ve gotta stop what you’re doing, look around, and remember that making music is awesome. How did you and Dmitry Libman ensure that your individual styles blended seamlessly? What about ‘Gemini Man’ would you say exemplifies your signature sound? Damn. Another good question. The truth is that we have a bit of a shorthand. Dmitry knows what I like, and he likes what I’m writing these days, so I’m always happy that he likes the material and he’s eager to work on it. I don’t really give Dmitry a brief. I trust that he knows what is best for the song. I’ve never been let down. I feel like it reflects both of our styles equally. The track features various melodic elements like atmospheric pads, piano lines, and synth hooks. Can you tell us about the sound design process for these elements? What was the compositional process behind these details? I knew I wanted “Gemini Man” to be lush and full of dramatic elements. I love the classical-contemporary feeling that you get from the strings during the intro. Actually, here’s a fun behind-the-scenes insight… The horn that plays during the bridge is a bit of a nod to my Staten Island roots. There’s a little bit of a Godfather vibe to that part of the song that I kind of knew was happening when I put it there. I think some producers might have thought it was too much or taken it out completely, but Dmitry left it in there. That’s what’s awesome about working with him. He takes what you give him and makes it even better. What was your favourite part of the production process for this track? After I recorded the vocals, I started to get really excited. It’s been an exciting process from start to finish, but that was the moment I knew I had something really cool on my hands. Can you share what’s next for Andrew Canlon? Do you have any more releases you can tell us about now? Yes! I’m excited to say that “Gemini Man” is going to be getting a remix very soon, so please keep an eye out for that! I’m also working on a 60-minute electronic set that will be filmed on location on a rooftop here in NYC. That is scheduled for mid-August and will be released via my YouTube channel. Aside from that, I’m always playing regularly here in NYC, so feel free to check my Instagram page for those announcements! Lastly, my goal is to be able to start touring very soon, so I look forward to sharing those updates with you in the near future as well. Thank you guys so much for your time! Having taken us on a journey through his process with ‘Gemini Man,’ we thank Andrew Canlon for taking the time to share his insights and providing us with a behind-the-scenes look into the track’s creation: offering a sound that is both nostalgic and fresh, Andrew Canlon seeks to captivate listeners far and wide, and this latest release no doubt showcases the originality of his sonic identity and cements him as a talent to watch closely. So, with a boundary-pushing approach, make sure to stay tuned to Andrew Canlon and keep an eye on his social media to be updated on his upcoming releases and live performances.   Listen to ‘Gemini Man’ Now:  Andrew Canlon Online  Instagram | Spotify  The post Andrew Canlon Shares a Behind The Scenes Look at His Latest Release ‘Gemini Man’ appeared first on EDMTunes.

The long-standing gig space has said that it hopes to reopen in September, describing the reason behind shuttering as "multi-faceted" Continue reading...

Back in the day, only the closest people on the island knew when Amnesia‘s closing party took place. But as time has gone on, the words of experience have become louder, making this one of the longest and wildest closures, which shows what Ibiza is really like. Some people have been to it and know that it’s the party that ends all parties. The club has stepped up its game this year. Have any other Ibiza nightclubs ever had a party to celebrate their closing? Has anyone else been brave enough to multiply it? Two days of dancing. Has anyone else put together a lineup of more than 30 acts that goes from beginning to end with exclusive B2B sets? All of these questions have clear answers: there has never been anything like this before, but on October 11 and 12, it will happen! The goal of the Amnesia Closing Festival is to go beyond its own limits and break down all walls. Tickets for the Amnesia Ibiza’s closing party are on sale now. The lineup for the closing party October 11th The UK-based artists Ben Hemsley, Hannah Laing, Les Schmitz, and Malugi will be performing in the Main Room on Friday, October 11th. People will dance with Claptone, Danny Howard, Sammy Virji, Sonny Fodera, and Jan on the Terrace at the same time. October 12th = B2B The real test for brave people will be on October 12, when something on the Terrace has never been seen before. It is said that when people work together, they are stronger, and that will be true for the whole B2B group, which includes Adam Beyer B2B. Cubero B2B Marco Faraone Dan Moor and East End Dubs Market-T B2B, London Ground B2B Manu Desrets, Hot Since 82 B2B Rossi, Sidney Charles B2B Caal, and, just like at the end of 2023, the regular DJs of the famous nightclub, Jamie Jones B2B Joseph Capriati, who will entertain us with a Sunrise Extended Back to Back Set. No more social media As part of launching its new brand identity, Amnesia shut down all of its social media accounts. This sends a strong message that memories are not as important as they seem. For the two days of the closing, you should only think about the moment. Before the season ends, it’s all about getting that last drop of sweat on the dance floor and soaking up the magic of the white island with the crowd. The post Amnesia Ibiza announces 2-day festival-like closing party appeared first on The Groove Cartel.

Ukrainian activists said they see it as “a lack of awareness, ignorance and greed” Continue reading...

The globally acclaimed club series return to Depot Mayfield, Manchester this Autumn – new WHP24 season shows just announced featuring: Patrick Topping presents TRICK – 11.10.2024 UP YA ARCHIVES – 01.11.2024 PAWSA – 02.11.2024 Gorgon City & Dom Dolla – 08.11.2024 Haçienda – 07.12.2024 New Year’s Eve – 31.12.2024 Manchester, UK – 30 July 2024: The highly anticipated season announcement from The Warehouse Project has landed ahead of their return to Depot Mayfield, Manchester this Autumn. Following the release of initial shows including Repercussion, Black Coffee, Disclosure, Boiler Room and more, the club series has revealed their full programming for 2024. Patrick Topping presents TRICK returns on Friday 11 October. The award-winning DJ and Producer has invited the likes of Eats Everything, Cloonee, Boys Noize, Prospa, and more. Mercury Prize nominated artist Nia Archives is set to present the second edition of UP YA ARCHIVES at The Warehouse Project on Friday 1 November. Another stellar line-up has been curated for this season, including the likes of Goldie b2b Special Request, Casisdead, Girls Don’t Sync, Interplanetary Criminal and more. Following the major success of his two sellout Concourse shows at The Warehouse Project in December last year, PAWSA returns this season on Saturday 2 November with special guests to be announced. Electronic duo Gorgon City and Grammy-nominated Dom Dolla are joining forces for a curated show on Friday 8 November. The show welcomes some of electronic music’s big names including Eliza Rose, SG Lewis, Denis Sulta, and more. The legendary Haçienda returns on Saturday 7 December. The annual celebration features a vast array of residents and guest DJs who have given The Haçienda its distinctive musical styles over the years, with headliners such as Orbital, Armand Van Helden, Kerri Chandler, Groove Armada (DJ Set), David Morales, and more. Seeing out the 2024 season and welcoming the new year in style, WHP’s annual New Year’s Eve show returns on Tuesday 31 December with line-up to be announced in the coming months. The full line-up for WHP24 season shows – Patrick Topping presents TRICK, UP YA ARCHIVES, Gorgon City & Dom Dolla, Haçienda – are now announced below. Pre-sale ticket sales go live from 10am on Thursday 1 August. General ticket sales go live from 10am on Friday 2 August. Sign up at www.thewarehouseproject.com/signup for pre-sale access. Full WHP24 calendar here: www.thewarehouseproject.com/calendar. WHP24 shows include: Repercussion featuring Jungle, Bonobo + many more – 14.09.2024 Sonny Fodera – 20.09.2024 [Sold Out] Sonny Fodera – 21.09.2024 [Sold Out] Hannah Laing – 27.09.2024 Welcome to the Warehouse – 28.09.2024 [Sold Out] Boiler Room – 05.10.2024 [Sold Out] TRICK – 11.10.2024 Overmono – 12.10.2024 [Sold Out] Disclosure – 25.10.2024 [Sold Out] Black Coffee – 26.10.2024 UP YA ARCHIVES – 01.11.2024 Gorgon City & Dom Dolla – 08.11.2024 Worried About Henry – 23.11.2024 XXL – 30.11.2024 Haçienda – 07.12.2024 New Year’s Eve – 31.12.2024 /// Patrick Topping presents TRICK Friday 11 October Times: 20:00 – 04:00 Patrick Topping Eats Everything b2b Skream Cloonee Boys Noize Prospa Paul Woolford Dusky Morgan Seatree Daire Azzecca Danny Bond Testpress Raphi Lopez Pangölin /// UP YA ARCHIVES Friday 1 November Times: 20:00 – 04:00 Depot Nia Archives Goldie b2b Special Request Interplanetary Criminal b2b Bakey | Sherelle HiTech | Cheetah Special Guest: Casisdead Concourse Girls Don’t Sync (A-Z) Ahadadream | Arthi Dr Dubplate | Main Phase | Oppidan p-rallel | Y U QT Archive: Hit & Run (A-Z) 4AM Kru | Ama | Clipz Dwarde b2b Sully B2B Tim Reaper Lady Shaka | Mantra Rich Reason b2b Lucidik | Sicaria MCs Fox | Navigator | Sparkz | Strategy | T-Man | Truthos Mufasa /// Gorgon City & Dom Dolla Friday 8 November Times: 20:00 – 04:00 Gorgon City | Dom Dolla (A-Z) Airwolf Paradise Bellaire Denis Sulta Eliza Rose Flight Facilities (DJ Set) Gina Breeze Jaguar Lili Chan Matrefakt Sarah Story SG Lewis Storm Mollison Tibasko (Live) /// Haçienda Saturday 7 December Times: 16:00 – 03:00 Orbital Armand Van Helden | Carl Craig | David Morales Groove Armada (DJ Set) | Inner City (Live) | Kerri Chandler Arthur Baker | Chad Jackson | Colin Curtis | Erol Alkan b2b DJ Paulette Graeme Park & Mike Pickering | Greg Wilson | Guy Williams | Herbie Saccani | Hewan Clarke Jon Da Silva | Justin Robertson | K-Klass (Live + DJ Set) | Kath McDermott | Kevin Saunderson Luke Una | Mark XTC | Marshall Jefferson | Peter Hook | Russ | Tom Wainwright The post The Warehouse Project 2024 Season Revealed appeared first on Electic Mode.

Patrick Topping's TRICK, Nia Archives UP YA ARCHIVES and Haçienda​ are among takeovers planned for the Depot Mayfield this Autumn Continue reading...

Martin Garrix and Bebe Rexha collaborated to create a wave in the EDM world seven years ago with their song ‘In the Name of Love’. This song was a manifesto wrapped in electrifying sounds and strong vocals, not just a tune. Bebe Rexha‘s resounding opening line, “If I told you this was only going to hurt,” gives away right away that this is more than just a dance song; it is a dive into the depths of audacious love. Being a master of the decks already, Garrix chose ‘In the Name of Love’ to change up his usual high-energy bangers into something more melodic and enticing. The song’s subdued yet powerful drop demonstrated that, in the world of electronic music, simplicity might be just as important as complexity. The song’s impact was undeniable, charting impressively around the globe. It hit the top 10 in the Netherlands and achieved top 40 status in several other countries, including the US where it peaked at #24 on the Billboard Hot 100 and climbed to #1 on the Dance Club Songs chart​​. In the UK, it lingered on the charts for a solid 22 weeks, reaching a peak position of #11​. The global appeal of ‘In the Name of Love’ was what set it apart. It was not just for the festival goers; it was for everyone who has ever thought about risking all for the whisper in their heart. The collaboration between Martin Garrix and Bebe Rexha, paired with the track’s resonant lyrics, transformed it into a dance anthem with universal appeal. Both mainstream listeners and die-hard dance enthusiasts quickly found a permanent spot for it on their playlists. Eight years later, the song continues to showcase Martin Garrix‘s adaptability and vision. It is a song to live by rather than just dance to, as there are moments when living is the only way to fully experience life “in the name of love.”

You would be almost forgiven if TMSV doesn’t ring a bell straight away. But with more than fifteen years in the game, tours in Europe, the United States and Canada, this Dutch artist knows a thing or two about the crafting (and grafting) of soundscapes that leave an undeniable impression on one’s brain. For some of you, recalling his thoroughly rinsed deep dubstep tracks, like ‘Haze’ and ‘Modification’ is sufficient. More recently, the Utrecht-based TMSV, who also releases jungle and drum and bass, is responsible for the Perfect Records imprint, and still is laying down the law with the undeniably gripping basslines in ‘Unforeseen Consequences’ and the frantic, yet so sonically appealing ‘Lizard Brain’ together with Danny Scrilla. In anticipation of the second compilation from Perfect Records, coming August 2, we discussed TMSV’s mindset on writing music and running a label. Read on for an extensive piece with valuable and relatable insights, offering perspective on how to stay relevant and grounded in a highly competitive domain. And thanks to TMSV’s honesty, little to nothing is left unsaid. How are you doing now? You have been on holiday recently… Yes, I was with my partner, our daughter, my friends, their partners and children. We were all on holiday- camping and sitting in a cottage, hanging out in France. Yes, going out into nature for a bit too? Yes, a bit. With kids, you’re a bit limited in your movement. So you relax a little more, and that’s fine too. What you do regularly hear from people with kids is that you get a kind of external motivation. Because your own ego doesn’t bother you so much any more. Is that recognisable? Yes, the funny thing is, when she was born, from that moment on I started to feel things a lot more. Emotions became much stronger. That, combined with having to do a lot of things that come naturally – taking care of a child. It comes naturally; you get up, have sleepless nights and so on – the priorities involved – also translate to the rest of your life. The combination of those two things: I know much better what I want and do not want. I think more about that and am much more proactive about it. And ultimately that does have a positive impact on your work too… Yes, at the beginning, of course, in terms of time and energy, it’s not very conducive. But it is a bit clearer now, where my motivation comes from. There is also more to draw from in terms of inspiration. Not so much directly from my daughter, but life gets a bit more real. You mentioned that finding the right balance between work and personal life has become more important to you… Well, I also have a job now that’s not freelancing. It’s part-time. Because of that, I have learned this year for the first time to go on holiday without sneaking into work and being on social media and things like that. It’s very nice. To have some peace and quiet, and also listen to music without having to think about how that music relates to me as an artist or to my career. And being able to really take that time to decompress for a while, to completely relax. To not be at work at all – and be able to live life, without that weird kind of half online, half by yourself in the studio, where you mostly have the input of those things, instead of the input of real life. Can you remember the moment when you really knew: ‘I’m going all the way with making music’? What triggered that at the time? The funny thing is: I didn’t realise that until later. I fell into making music professionally. And it happened by accident. That led to releases and some level of recognition. I wasn’t very well known then, but it was natural for me to get into that scene and get gigs. I wasn’t prepared for that at all, somewhat pulled in by what happened, without knowing what I really wanted in life. Furthermore, I was studying law then. Eventually, I finished law school, I got my master’s degree in Public International Law. And after that, I thought: wait a minute, I’m going to keep making music. And I’m going to take it seriously by getting my visa for America; at least making sure I can keep doing this in my life. So with varying intensity that did stay. At one moment I had a job on the side, and at another moment I didn’t, or I freelanced. But at least there’s been gradual progress. I can’t remember the moment I realised it, but I can remember a period when I thought how stupid it was that I didn’t know this about myself sooner. Even though, at times, I also felt like: who am I to do so? Or how did this come to be? The imposter syndrome? Yes, I think it’s also inherent in the musician. And creative arts… questioning everything… Yes, and also, the moment you’re not successful, some people might think you can do this, but then you can’t do it at all. And the moment you do have success, then it’s like: who am I to have that success? Because it could well be over just as quickly. You sound very down-to-earth… Yes, I think for music or for art I’m a bit too down-to-earth at times. Perfect Records, the second compilation, will be out soon. Does it resonate with focusing on the strategic view meanwhile, while staying relevant? How do you see that? On the one hand, sure, it’s the slightly cynical factor of re-releasing things, so that they can be included in the algorithm again, for example, on Spotify. That’s what people often do. And I figured I should give these tracks another chance. Not for streaming revenue, but to get them heard. Together with Yuri, my label manager, we decided to do a summer break for once. To have some time to think about the direction of the label, give artists, myself, but also Danny Scrilla and Arkham Sound, the space to think about the directions and work on new things, without these necessarily having to be mastered and finished the week after. And those compilations are a good way to make sure that people do still have something to listen to. Because I’m really under no illusion that everyone has heard everything on Perfect Records, you know? Even if they know the label. On your ambitions as label boss. How did that come about? Firstly, because it’s pretty difficult to have an ongoing thing with labels in the genres I make. Sure, there are some people who are with labels for a long time and have regular contacts there and release something regularly. It never really worked out that way for me. Whatever level you’re at, though, you shouldn’t really count on an answer from a label or from a big DJ or whatever. It’s not that I’m resentful or don’t feel appreciated, but I don’t have the attention span and the brain to have a list of tunes just waiting until others decide to do something with them. Those tunes hit oblivion because then I’m already working on the next one or on a whole different style. So they never come out, or maybe after five years on Bandcamp one-off. So at a certain point, none of it gets released for a while. Or very little, anyway. And then I don’t have control over what my sound is, because once a tune comes out on a label, and people like it, I might already be working on very different things. And on Perfect Records, I have the outlet to completely decide what I finish and what comes out right after. It helps me to define myself as an artist, for better or worse, but at least while keeping my output consistent, because that’s important too. What have been the valuable lessons from being a label boss? The valuable lesson is mainly that it doesn’t matter what the reaction is to an individual release. I think that’s a good lesson for any artist. Anyone who wants to start their own thing or has doubts about it: one of the nicest things about having your own label, or at least releasing your music yourself with branding and artwork, is knowing you’re doing everything you can before it goes out into the world. And if nobody listens still, it’s very good to have something at least half-finished for the next month. Or even having many months in advance planned out or completely finished. Then, if the response isn’t what I’d hoped, I don’t have to pull the motivation out of my toes to do it again next month. Maybe the month after that will be a little better, and the month after that could be much better, or worse. But you’re putting out your art. Even then, when the releases don’t pan out, it doesn’t matter as much, because you had already planned for it, and your creative output is a lot less dependent on motivation and your self-image as an artist. Surely, a piece of your heart, soul and time has been poured into that Yes, if you keep starting from scratch, you just keep running into that wall. Because, for an artist in this day and age, self-managed or as a solo artist, it’s demotivating all too often and for almost everyone. And you’re such a small fish in such a big sea, so much so, that you don’t have to count on people paying attention to your music. And that sucks, but that’s not a reason not to do it, because literally everyone has to deal with that. There’s so much music being made. You can’t count on people paying attention to your music specifically, no matter how good you are. You don’t have to force motivation. Through experience, you learn when to let go instead of pushing creativity too hard. It’s not like building muscle, where more effort always means more strength. Sometimes, you need to give yourself space to process things unconsciously and get into a flow But comparing it to strength training is also useful because, as an artist, you need to keep creating and releasing work to develop. You have to stay active, but also know when to rest. You need to understand your body, career, style, and mind well enough to recognize when you need a break. Deciding to rest before burnout is crucial; it should be a proactive choice, not forced by exhaustion. You’re juggling a lot of things, and now your time has become much more important, so what has helped you lately to be able to take that next step for yourself? Well, look, lately my life has revolved in large part around being a relatively new father. And part of that is that at some point you can come to the conclusion: I want to combine my creative outlet and being an artist with more stability. That felt like a huge L to me at first. You give up some freedom. It feels like saying, I’ve failed as a full-time artist, or that it’s less serious now. But I’ve come to realise that I can ask myself the question more often: what do I really want? And to what extent can I now switch my mindset to making music and releasing things I like and support, without always having to think about, how does this fit into a DJ set, or how does this relate to what I did before, for instance? Can you say then that you are now more grounded in your feelings and intuition rather than time? Yeah, I guess you can say that. I’m also kind of at a moment now where I actually have the luxury of having the time to think about my music and what I enjoy about making it. The way I usually work is I make nothing for a while then when I’m about to miss the deadline Yuri and I have set, I suddenly get motivated and inspired to finish a few of the approximately one million sketches I have lying around. And most often, those turn out to be very club-focused and functional. And most often, those turned out to be very club-focused and functional. I really like a lot of it, but it also hampers me, because I then only have such short periods and that motivation is only in such short bursts. This also causes me to have less space to develop myself and think about your ulterior artistic direction of things. I feel that now I can create a bit more overview and say a bit more of, this is how much time I have, this is what I’ve been doing recently and this is what I want to do most. And I can do that now, because I’ve arranged my life so that I’m not 100% dependent on making music and releasing it and gigs and things like that. You mentioned that the focus for now mainly will be on Perfect Records. Can you give us some insights into your plans? Well, I’d prefer, but that’s a relatively new idea, for at least the rest of the year, I do want to spend a lot of it trying new things. And hopefully, make an album out of that. Which could then also come out on Perfect Records. That’s the number one contender for output, of course. And new things, what may that mean when you say new things? Well, I try to divide my production a bit into two directions now. The club direction and the somewhat more listening direction. And I want to experiment a lot more with what I can already do and what I already know. And see if I can expand my musical identity a bit more. But without necessarily going to increasingly functional, better-mixed club music. It can be sound system music, but it can also become accessible music that normal people can dance to, who are not necessarily into underground stuff! You know what, there is so much to discover, for which I need some time and some freedom. There’s a lot of music I listen to that has nothing at all to do with all the dark, serious stuff that usually comes out of me. And it’s broadening my horizons and actually turning that into a project like an album or an EP. I like the idea of that. Whether I will do that as TMSV or under another name, I have yet to see. But that’s not important for now. Can you shed some light on the upcoming EP with Danny Scrilla? As for working with Danny, sometimes we do that very quickly and sometimes very slowly. Right now we’re doing it fairly slowly for a while. One thing we like when we collab is come up with a specific way of working, to make things as easy and frictionless as possible for ourselves. Last time we did that by sending stems back and forth with all the drums in one file, all the bass in one file, all the mids in one file and so forth. And cutting and editing that and making tunes out of that. That worked really well, because it allowed us to make things at lightning speed. And now we made a template in Ableton with exactly the same software, exactly the same settings and things like that. So that we can always work on projects in sync. Because then we can, no matter how much or how little time we have, always work on things very quickly and easily. So hopefully within a few months we’ll have a new EP. I love working with Danny, I think we make good stuff together. In the end, I think it’s that control or freedom not to put a date on it right away. That, on the other hand, sometimes has a motivating effect? It can indeed be very counterproductive if you set a date, and it doesn’t happen. Or there is very little time or space or motivation. Then it becomes very difficult to make it happen. Because at some point you hit a wall. Or you stop calling each other. Because it always has to be about work or something. So take it easy. And of course, I shouldn’t forget to plug Arkham Sound either. Because we’re also working on a new EP for him. He had taken a break from making music for a while, and now he is back in full production. And there are some really cool tunes in between. So we’re working on a new EP again. Anything else on the cards for Perfect Records for the near future? More music from myself, the usual suspects and maybe a few new additions to the roster – that’s all I can say for now. If you’re not familiar with the label, check out the new best of compilations, called MISC 001 and MISC 002 and make sure you follow us everywhere to stay in the loop. Are there really recurring moments when you really turn everything off for a while? Yes, I do really need that. At least, my life does hang together with strategies and attempts to give my head some rest. For myself, for the people around me, and also music. Going on holiday and not being on a phone and checking things all the time helps a lot. That’s also a bit of an eye-opener. Last year I went to Edinburgh with some friends. Then we realised, when we were on the road for an hour and a half, that I had left my phone at home. Then I spent a long weekend without my phone. That was also really amazing. I felt so much better. What I do in particular is periodically pay a lot of attention to my health. Which often includes going offline for a while or doing as little social media as possible. I took very good care of myself for a while, and lost 20 kilos. I went to the gym a lot, too. Watched my diet very carefully. Of course, with that also comes a kind of peace of mind. A kind of pride and certainty about your own existence. It’s a lot of things like that, but my brain is not very suited to routine. It’s always a new idea I have to follow up on. I think many people will identify with that. You have to keep looking for new motivation and a new app in which to manage your life. A new diet and a new way to exercise. Let’s talk about something like a creative block. Is that still something you have at times? If so, how do you handle it these days? I deal with that these days the way I’ve always dealt with it: at first, to keep running into the wall. And thinking, why can’t I do this anymore? Have I ever been able to do this? What the hell am I doing? Why does anyone take me seriously? And why am I opening Ableton? And then I go watch YouTube tutorials or something and get motivated. But it still doesn’t work out. And then at some point, whether I realize it or it comes naturally, a solution pops up and that motivates me a lot. But it’s something that suddenly clicks in my head – not from total focus, more like from trying to find your way in the darkness. Until something shocks me, until that spark comes. And it all happens at once. All this experience and habits I have in producing. How to make a good tune. All the analysis and all the formal stuff then actually comes in second place. I always learn from it, but that’s never what ultimately brings me back from my creative block. It’s always something weird. But then again, totally letting it go instead, wouldn’t that be better at times like that? It’s a good question. Because, if I were to let it go completely. Then maybe it will never come. Because then I’m never on it. That’s also really one of those things famous writers and artists advise, which always appeals to me. You have to sit at your work table or your studio. And you have to start. And if it doesn’t work, whatever. But if it suddenly does succeed… Then you are there and succeed. You have to give yourself that space. Your inspiration – you can believe that you create it yourself. Or that it touches you. But whichever of the two: when you’re at your studio computer and motivation strikes, you’re there, and you can work with it. If inspiration comes, while you’re in the car or away, then you can’t do anything. And when you’re back at your desk, it can be gone… You mentioned waiting for other labels, for example. That you are more conscious these days on when to draw the line. It is and remains human work. Because on the one hand, you have your principles. But occasionally situations do require you to be flexible. Where do you stand on that? I am always flexible. But also aware of the limited time I have. And I easily forget things when they’re not right in front of me. So I have to do more things as they happen. So when I finish some music, and I want to put it out there. Then I have to do that. Because I feel that way. And I’m proud of it, it makes me go the extra mile. And actually finish it as a project, it is more significant work. When I send a tune to a label, it’s always sort of stuck in the demo stage a little bit. Even if that’s just in my head. It’s not as finished as it could be, because who knows if it’s ever going to get a full release. But if I can have this music online in a few days or weeks, there is a deadline. It has to be what I want it to be. That’s why I spend my time differently. It’s been a long time since I got tired of making tunes, sending them to a label and not hearing anything back. The opposite is true, too, by the way. Plenty of labels have asked me for music, and they never got a reply, because sometimes I’m unable to reply to an email, and it gets lost in my inbox. Either way, I’ve realized this isn’t the way I want to spend my time as an artist. I want to have a degree of control over what I release. Ultimately, it’s also a matter of self-respect Yes, absolutely. Insightful stuff. On to a few statements – to see what your opinion is: ‘Dubstep is making an international comeback.’ Do think America plays a role in that. A lot of guys from America who have come up with the brostep side are very much into combining that with the deep side. And combining a bit more of the LA beat sound design with old school dubstep and making references to that. But also, there are quite a lot of young talents who are doing all kinds of cool stuff too. I have to say that I don’t keep a super close eye on dubstep, but I do notice that when I do start listening to new dubstep, that between the standard, say 1,000 promos with boring stuff, there’s really pretty cool shit in between. So you could well be right, but conclusively I can’t say. Another statement, can you relate to this? ‘At this point, I actually can’t imagine life without music’ I find that difficult because I cannot imagine a life without music. And not in the sense that it would become very depressing, but more due to my relationship with making music, and therefore also with listening to it, it is complicated, so to speak. I do very often have very mixed feelings when listening to music because there are a lot of kinds of analysis and feelings involved. Which are not necessarily very good or very conducive to enjoying the music. This isn’t always the case, of course, I spend plenty of time enjoying music without thinking about how it relates to me or my career. If music suddenly stopped existing, I think I’d survive. For a little while at least. I’d probably realize how important it actually is to me after about two weeks of just listening to podcasts. I’d also have way too much free time if I had no reason to be in the studio, and that can’t be good. Thank you for your honesty. One more to wrap it up: ‘You don’t always get exactly what you strive for. But being able to be at peace with that is the key to being happy.’ Yes, I think so. I had my own disappointments, of course, like my Visa for the US expired during COVID. I also had a lot of moments where I waited for years for a very important release, which then turned out to be quite disappointing. Moments when you set yourself up for some kind of recognition, esteem or appreciation and some kind of renewed motivation for music. Or a huge release doesn’t go through and doesn’t do well – or a collaboration doesn’t turn out as awesome as you’d hoped after all. All in all, there are only a handful of things that I look back on thinking ‘damn, that sucked’. But in general, I think independent artists have to deal with an unlimited supply of tiny disappointments. If you can’t shift your mindset to dealing with that, then at some point you still have to pick it up. And if you won’t, you don’t last as an artist. You so often don’t get royalties paid out. So often things go wrong, contracts being breached and so on. So often things don’t work out musically or artistically or whatever. At some point, you have to assume that things don’t work out. And that really sucks. That really doesn’t work well for your motivation and how enthusiastic you are about making music. But you have to deal with it. Anyway, my personal experience is that I couldn’t care less about how things should work out for me in comparison with others. Or how it should traditionally work for an artist. That letting go, that has done me a lot of good. I think a lot of people are far ahead of me in that. But I also think a lot of people look back a lot more bitterly on their career in music. Which didn’t turn out to be what they wanted. Because, looking back now, I have to add, my career in music is actually exactly what I wanted. People listen to my music. And I found a way to have a very nice, stable life with my partner and my daughter. Great answers, you didn’t hold back. Any particular gigs worth mentioning? Right now, I have the rest of the summer off, but I have ADE this year and will be performing at the event by Love For Low Frequencies – the label from Nymfo. People can catch me playing there in October. Follow TMSV

The hard dance world is bracing for a seismic shift today as Q-dance, the masterminds behind Defqon.1, have announced the final edition of their beloved Qlimax event, aptly titled "The Final Prophecy." "Disciples, our final ritual awaits," reads a statement from Q-dance. "On November 16th, we shall forge a new reality during the last edition of Qlimax. After 24 years, the time has come to fulfill this long-foretold prophecy. Together, we shall unleash the power of the Dark Star once and for all. For this has always been our destiny." It's long been a cornerstone of the hard dance genre, drawing fervent fans from around the globe to the Netherlands. Each edition has celebrated the powerful influence of hard dance, establishing Qlimax as a beloved annual event in the hearts of fans and the Q-dance faithful alike. "Qlimax holds a very special place in the hearts of everyone at Q-dance, and we owe it to Qlimax, our scene, and its dedicated fans to end with an edition everyone will remember and cherish," the statement continues. Despite the bittersweet nature of this farewell, "The Final Prophecy" promises an unforgettable culmination of Qlimax's storied history. On November 16th, fans will bid adieu and celebrate not only the event's enduring impact, but also the unyielding spirit of hard dance music. Tickets are scheduled to go on sale to the general public on August 31st at 13:00 CEST. View the original article to see embedded media. Follow Q-dance:X: x.com/q_dance Instagram: instagram.com/q_dance TikTok: tiktok.com/@q_dance_official Facebook: facebook.com/Qdance

Semark returns with his new Dance / Electro Pop track, ‘Sweet Sensations.’ As a DJ and Producer with over a decade of experience performing at clubs and festivals across Europe, Semark continues to find creative motivation in his passion for Electronic Music, driving for his growth and evolution on the scene. With this new track embodying the energy and creativity that have become his signature, Semark adds a fresh production to his discography, seeking to capture the attention of genre enthusiasts and captivate them with his dynamic approach. Having honed his skills on the bustling club circuit of the UK, Semark has developed a diverse skillset that enables him to create engaging experiences, both behind the decks and in his studio productions. With releases on numerous labels like The Fat! Club and 2220 Records, Semark continues to work to build his reputation, focusing on creating emotive Dance music as he draws inspiration from genres like 90s House Music and the energetic club scene. A versatile and innovative Producer, Semark has previously worked alongside the gifted Artist Mollie Collins, producing work for her label, Right Good Records, including an official remix of her track ‘Better On My Own.’ As he remains on a promising trajectory, Semark brings yet more energetic music with ‘Sweet Sensations’, crafting a unique sonic journey designed to keep the energy high and listeners moving. Bringing uplifting vibes from the get-go, ‘Sweet Sensations’ opens with a pulsing synth line, catchy vocal, and intensifying rhythms, propelling into a mighty-sounding soundscape of thumping beats, infectious melodic hooks and a dynamic low-end. As a crisp lead adds a refreshing sound to the track, ‘Sweet Sensations’ keeps driving forward, taking the listener on an enthralling journey through lively beats and vibrant sound. An ideal addition to party-starter playlists, Semark’s latest track is surely poised to energise dancefloors with its bouncy energy whilst showcasing the innovation and creativity behind Semark himself. With Semark’s relentless drive and passion for his craft evident through each sonic creation, fans and new listeners alike are encouraged to discover his creativity and experience his sonic world for themselves. ‘Sweet Sensations’ is now available to stream and download across all major platforms here. So, out now, dive into the upbeat soundscape of ‘Sweet Sensations,’ and keep following Semark’s journey by staying up-to-date with him via social media. Follow Semark: Spotify | Instagram 

Amid the dazzling spectacle of Tomorrowland's epic 20th anniversary opening weekend, Hardwell delivered a fittingly nostalgic trip down memory lane. The origin of Hardwell's special throwback EDM set that captivated Tomorrowland's opening night on the Freedom stage was the product of a fan-fueled Instagram poll, whereby fans eagerly voted en masse for him to revisit the iconic big room and progressive anthems that defined the mid-2010s. Today, the Revealed Recordings label head is renowned as a leading figure in the mainstage techno movement, but this particular throwback set allowed him to reconnect with his roots. The performance featured a carefully curated selection of classics that propelled legions of DJs and producers to superstardom. The preparation for this performance was meticulous, with Hardwell investing significant effort into fusing together dozens of classic tracks. He revisited some of his own monumental hits, including "Apollo," "Jumper," "Countdown" and "Spaceman," while paying homage to fellow EDM titans by playing classics by Avicii, W&W, Showtek, Knife Party and Tomorrowland ambassadors Dimitri Vegas & Like Mike. Check out Hardwell's full performance below. FOLLOW HARDWELL:X: x.com/hardwell Instagram: instagram.com/hardwell TikTok: tiktok.com/@hardwell Facebook: facebook.com/djhardwell Spotify: spoti.fi/3s1xcJD

Google’s latest piece of technology shines yet again — as part of a leak. Recent leaks have revealed a new feature for Google’s successful venture into smartphone technology, Pixel. Through these leakes it was made known that the upcoming Pixel 9 will contain an editing tool called “Add Me“. This feature allows users to digitally insert themselves into existing photos, even if they were not there for the original shot. The feature works by combining multiple photos taken from one same location. While this technology is impressive, it also raises questions about the authenticity of images. Google has previously introduced photo editing tools like Magic Eraser and Best Take, which have blurred the lines between real and digitally altered photos. “Add Me” appeared in a leaked ad that was removed from YouTube a few days ago. The ad showed someone using a Pixel 9 to take a picture of two friends in front of a van. After snapping a shot, the photographer traded spots with her two friends, allowing her to get a picture in front of the van — only the Pixel’s display shows the phantom-like image of the two friends standing beside her. Her friend snaps a photo, and boom, she appears in the picture as if she were there the entire time. As with any new technology, it’s important to consider the potential implications. While “Add Me” could be used for harmless fun, there’s also the possibility of misuse. But for now, the great piece of news is, you won’t have to sacrifice that one friend to not be in the picture anymore! Google is set to unveil the Pixel 9 on August 13th, and it’s very likely we’ll learn more about the feature at that time. Stay tuned for more news! [H/T] The Verge The post Pixel 9’s ‘Add Me’ Tool Edits You Into A Picture You Weren’t Part Of appeared first on EDMTunes.

TikTok now has its version of Shazam. Music on TikTok has blown up in recent years with songs going viral on the app more than ever. It has led to a lot of people asking in comments “Track ID?” Well, TikTok has addressed that by adding a hum or sing search feature to find your favorite song you don’t know the name of. The tool will be called “Sound Search” allowing users to identify songs by singing, humming, or playing them. TikTok’s Sound Search is still in the testing phase and is available to a limited number of users in specific regions. The new tool could help users find and better understand current trends with TikTok’s song-based trends that change rapidly. To access Sound Search, users can tap the microphone icon in the TikTok search bar and select the corresponding option. Similar to YouTube Music’s song detection feature, Sound Search enables users to input a melody and receive song suggestions. However, TikTok’s tool goes a step further by directly linking identified songs to relevant TikTok videos. It remains unclear when TikTok plans to make Sound Search available to all users. The post TikTok Launches Hum or Sing Search Feature For Music appeared first on EDMTunes.