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Call Super, Chloé Caillet, DJ Tennis, and more are set to head to El Gouna this month Continue reading...

Earlier this morning, I was listening to this video while cooking some breakfast. The author, Mic The Snare, purposefully went an entire month without using any music streaming services — no Spotify, no Tidal, you get the idea — and resorting to CDs instead. I won’t spoil the video to you if you wish to watch it, and, thankfully, the seed that germinated this idea I’m about to propose came very early on. About fifty seconds into the video, Nick said something that got me thinking: “I figured that limiting myself to only physical media might force me to listen more consciously”. This fired my inner engines. As an artist (eeyup, I’m a producer and a DJ outside of journalism), I’ve always decided very consciously on what I want to listen to, because I believe I can learn from it. “But that’s not always the case“, I figured. Shook the thought off my head, kept cooking. But then, at exactly the 4:00 minute mark, the following line was printed into my brain: “It was nice to feel more of a reason to listen to an album all the way through or to treat them in my mind as just one cohesive whole”. Now that’s food for thought. Suddenly my stomach didn’t feel nearly as hungry as my mind. In a heartbeat, my attention went from “Don’t burn the food” to “What happened to the album experience?”. And that brings me to this very piece of text. Disclaimer: you are likely NOT to find any answers here, only questions. Tons of them, for that is my style of writing. So, yeah, there’s that. Albums: Ties, Analogies, and Romanticism Credit: Andrea Piacquadio I find the current vision on albums a bit like how wearing a tie feels in today’s era: they are often overlooked. They don’t feel like a must anymore, and, for certain industries or companies that are a bit more laid-back (“modern” as they claim), it’s even a bit odd. But they do have their fair share of romanticism to them. Matching a tie to your outfit elevates your look. It demonstrates you’re going the extra mile on complexity and you care about how you look, that you look after your IRL cover letter. Please note, “matching a tie to your outfit” as in “taking the time to put on a tie that goes well with the colour palette you’re wearing”. But even if you take the time to put an outstanding formal look together, nine out of ten people will not even notice it (source: me). So, does that make it a useless item? Does that make me a romantic for caring about the tiny, so-called useless details? (Ties, outfits, matching colour palettes… next thing you know I’m moving on to fashion journalism!) Back down to Earth. Albums seem to serve no purpose today. They’re only a collection of songs, and nothing else. You, the artist, take your time to compile a number of tracks and pour them onto a conveniently sized package, for what? For your audience to skip to song number 6 and play that and only that, then switch to TikTok for an hour of procrastination? Yeah, that’s our jam today. Albums Used To Be Milestones They still are, by the way, but only from a CV perspective. If you read about a given artist, and they have released albums — extra point there: albums are not the primary vehicle for delivering music anymore, as singles and EPs have taken that spot —, you WILL find out how many they’ve put out. But they don’t feel like accomplishments anymore, do they? On the artist’s side, it is of course a huge deal, because it is, at least, a large number of original tracks of your collection coming out at once. But the modern listener doesn’t care about that: an album is simply a packaging, a container. One very tasty, mind you, for the number of tracks included, but not much else. I’ll go as far as to say, without exposing names, that there are an alarming number of artists who don’t see the album as a product anymore, and just as a container. So, who should we blame? Back When — Back Whom — Albums Were Something Special Credit: Mati Mango Having a bit of an extensive background in Trance — which is a refined way of saying I’ve listened to way more Trance than I probably should have —, albums from 20 years ago felt much more special than today’s. The album was a product on its own. Yes, tracks were lifted ahead of time. Yes, you had your favourite pick(s). But the album was meticulously built to impact the listener. It used to be the standard that the album was a journey. The Album Was A Journey Looking back, Track 2 was meant to be there. Track 6 was meant to be there. The opening and closing tracks served a purpose. Everything served a purpose. I always come back to the one band which has impacted me the most: Above & Beyond. Let’s forget for a while that their ‘Blue Monday’ cover went massively viral on social media, and dive into the LPs. The first time I listened to their debut long play Tri-State, something clicked inside me. I won’t go into detail about how I feel when listening to it, but one of the crucial things I can recall from that experience, is that over half of the album went by before I realised I was listening to a different track other than the opening. And this still happens today, years after I hit ‘Play’ for the first time: I really struggle to pause the listening session at any time between the opening track ‘Tri-State’, and ‘In The Past’, the eighth track. If there’s something that really makes me think about this whole experience and journey concept I’m trying to portray is that very thing, the fact that, in my ears, that album is so perfectly crafted that I literally stress over when to stop listening. That’s where the bar is for me. And that’s what I would absolutely love to see come back in today’s era. The whole intention of this article is for me to try and get to the consciousness of my fellow readers and say “Hey, this is achievable!”, and “An album is much more than what we think of today!”. The Whys And The Hows The Whys Let’s make a little exercise here. Let’s assume a given artist does not believe in the way I see albums, and they only use them as a fancy way to promote their singles. Instead of putting out twelve singles a year, this artist decides they’ll just put everything inside a blender, seal it shut, and there you have it, an album a year. No roles for any of the tracks either, it’s just a collection of his most recent tracks. All fair and square. Why, Felipe. Why would you want an album to be a product by itself? Because it ups the experience by a thousand percent. An album with purpose makes you feel a closer bond to the artist who composed it. Now that tracks are expected to be under five minutes in length — a topic for ulterior discussion —, I really want to see artists put out hourlong content that can be your companion, your friend, and your confidant on your worst days. I make memories by listening to albums. When artists I love have put out albums (A&B, Marsh, Leaving Laurel, Paavo), I grab my ever-busy schedule and make a space to listen to that piece, from beginning to end. That’s why I put so much of me into reviewing them. I digest them as a four-course meal. No skips, no random order. I listen from Track 1 to Track N, in the order that they were meant to have, in full. I trust the artist and I like to think they thought every aspect of the compilation through, from beginning to end. So in short, I enjoy the ride, and I’d love others could do the same. The Hows Unfortunately, I have little to no answers here. How could we make a shift in the industry so that albums had their starring crown back? No idea. It’s a game of who to blame, and who should take the first step. Credit: Jessica Lewis This is the comfort zone. Why should one, as an artist, step out of it? On one side of the spectrum, artists might say “I don’t need to put in the extra effort if it won’t retribute me accordingly. It makes no difference versus just throwing in these twelve tracks and calling it a day. No need to risk it”. On the other side of the spectrum, the audience may say “I, as a consumer of their content, am not really inclined to ask them to change the way they pack their music. After all, I want music, they deliver music, and both parties are happy. I don’t need something new, I need more of what they’re doing now”. So, who is at fault? Hard to say, right? There are arguments for and against both. Risk and reward, doing something new when your current formula is working, not wanting to waste time better spent, and so on and so forth. My view on the matter is that change should come from both parties simultaneously, as a community. I say it because I see it. Living on the most emotional and open-to-feelings end of the Dance genres out there with Trance, Organic House, and so on, people often share their stories. People share the intimate stories they’ve had while listening to X, Y or Z artists, or W, V or U albums. This motivates the artist to produce content with a soul. But on the flip side, if an artist does it first, chances are, fans will be delighted. Final Thoughts It’s tough, I know. And the toughest thing of all is, perhaps, the only one making a huge deal out of this… is me. Maybe things won’t change at all. Maybe a couple of readers will leave this rant thoughtful, hopeful even. That’s my mission. I can’t change things, but I want you to think about what you consume, and how you consume it. Out of a passing fancy? Perhaps. But that fancy has forever changed the way music enters my body, mind and soul. And even if one person walks out of this post with a different mindset, that’s a job well done, and a pat on the back for yours truly. *Cover image credit: Kelly The post [EDITORIAL] The Album Experience: What It Was Then Versus What It Is Now appeared first on EDMTunes.

When Ezra Collective stepped up to the podium to collect the Mercury Prize last September, drummer Femi Koleoso was emphatic that this wasn’t just a win for the band, or even for jazz, but for something much bigger. “Ezra Collective represents something very special, because we met at a youth club,” he told the room. “This moment that we’re celebrating right here is testimony to good special people putting time and effort into young people to play music.” If the awards seasons from the past couple of years are anything to go by, Ezra Collective are far from the only artists to travel this route. Young Fathers – who earned three BRIT Award nominations and a spot on the Mercury Prize shortlist for their album Heavy Heavy – met at Lick Shot, an under-16s hip hop night in Edinburgh. The rapper Bemz – winner of DJ Mag’s Breakthrough MC/Vocalist at the Best of British Awards – is an alumnus of Intercultural Youth Scotland. The channel between youth spaces and era-defining music is demonstrably strong. Yet these same spaces have been decimated over the past decade. Funding for local authority youth provision fell from £1 billion to £408.5 million between 2011 and 2021, according to government research published last month. More than 4,500 youth work jobs have been cut in that time and 750 youth centres have closed. “It’s heartbreaking because someone like myself saw first-hand in HD how important they are,” Koleoso told Channel 4 News last September. “I understand why cuts happen, but I just don’t think it should be in that direction because I think the youth of the country, the youth of tomorrow, everything like that, is the most important thing.” This loss of youth spaces, as Koleoso points out in the interview, has huge ramifications for communities. According to last month’s government report, decreased spending on youth services was consistently followed by increased incidences of bike theft, shoplifting and posession of weapon offenses (including knife crime). Young people who were engaged in youth groups and spaces, by contrast, “were less likely to engage in anti-social behaviour and crime.” But the value of youth groups lies in far more than crime prevention. It is also about investing in the lives of young people, both on a personal and professional level – a mission that music is ideally placed to realise. More young people than ever are making music, according to a Youth Music report, with the proportion who play an instrument, sing and produce almost doubling from 39% to 67% since 2006. But what these young people lack is insight into the business of music. Youth Music has identified a gap between music education and the music industry which, if bridged, could help to ensure a strong and diverse pool of talent for years to come. Failure to make that connection, however, could allow music to fall into the culture sector’s old bad habits – namely, attracting a largely London-centric and affluent workforce. That is where charities like Young Urban Arts Foundation (YUAF) come in. Working from a portable media studio on a double decker bus, YUAF drops into communities living with varying levels of deprivation, where it trains local young people in skills like lyric writing, production and podcasting. Its YUAF Futures programme helps them turn those capabilities into the beginnings of a career, with a six week programme that demystifies the ins and outs of a professional life. “I do a lot of work with the young people to teach them how to network, how to write an email, or when’s it right to chase up? When should I ask for money? Should I ask for my travel?” says Laurie Charlesworth, YUAF Futures’ Project Manager. “All these things that you only learn through working in an industry.” These workshops are designed to give young people a sort of professional literacy, which allows them to advocate for themselves, make connections and, ultimately, get paid, before following up with work experience placements in the music, film and TV industries. “We’ve worked with everyone from SONY Music UK to Kiss FM and Hospital Records,” says Charlesworth. “We’re giving them almost a bootcamp-esque confidence boost, and then putting them in front of people where they can make a change for themselves.” Projects like YUAF Futures are especially crucial right now, when the cost-of-living crisis has made it tougher for young workers to break into, and stay in, creative work. Where unpaid internships and balancing side hustles for exposure were once the norm, now rocketing rents, food bills and transport costs have made these unaffordable. In a Creative Mentorship report, 95% said their current role in the creative industries didn’t pay them enough to live comfortably. Another 78% have taken on additional jobs to boost their income. Many are choosing to leave the industry altogether in search of more secure work. ”We know that people with skills that went to uni are struggling,” says Charlesworth, “so these young people are fighting against skilled people with experience, with money, to get jobs.” For the Soundsystem Project, a charity based in the Scottish Borders, increasing young people’s employability begins with showing them what’s possible in the first place. Teaming up with schools and youth groups in deprived areas all over Scotland, the charity introduces children to the graft behind running a sound system, including building a 12-volt battery-powered rig. “There’s not many examples of people who do this kind of work, especially not professionally,” says Tom Spirals, an MC and one of the project’s leaders. “It’s hard to imagine that you could do something like that if you can’t see it.” Whether they go into music or not, these workshops give young people a vital leg-up as they prepare for work or university. “They do all of the glueing and screwing and electronics. They see the whole thing come together,” says Spirals. “We make beats and write lyrics and get them performing their music, which they release on Spotify, and make music videos for their sound system and give them a sense that they can do something that they thought they couldn’t.” But The Soundsystem Project’s real value, he continues, lies in the pastoral care it enables. Its first-ever project was at Platform, a community space in Easterhouse in Glasgow, which supported vulnerable young people in transition between school and college. Very often, the participants were carers for their parents, or their siblings, or were shouldering mental health issues of their own, and had outgrown the school environment. The platform gave them a place to work on their qualifications away from the traditional strictures of the education system. “Kids in these areas, in my experience, don’t really have the space where they can be a kid, because they have to deal with adult things,” says Spirals. “Through sound systems, we can create an environment where these guys can relax and experiment or express themselves.” To keep the workshops free for their participants, the Soundsystem Project relies on a variety of different money pots, including Creative Scotland’s Youth Music Initiative – a chronically precarious setup, with multiple rounds of cuts besetting the funding body in recent years. More than once, Spirals tells us, rumours have circulated that the Youth Music Initiative could be scrapped – the last time being when the Scottish Government released their post-COVID emergency budget. “There was a period of three months where we didn’t know if we’d be able to continue doing what we do, with six different ongoing projects that would just stop,” he says. “It’s never stable, which is ironic because what we want to create for young people is something consistent that they can rely on to access music.” For now, the Youth Music Initiative is safe, though with Creative Scotland recently announcing that demand for its funds has swelled, the Soundsystem Project’s future is far from assured. “We are very lucky and we’re able to work this year,” Spirals tells us. Next year could be different. Other groups have been less fortunate. In another round of funding applications, the Young Urban Arts Foundation learned that its budget would be cut, leaving it unable to continue its YUAF Futures programme. “There’s just so many people that need it,” says Charlesworth. “We met other people that have funding and there were so many projects, from LGBT projects to refugee and asylum seeker projects.” The solution, she suggests, lies in governments and local authorities digging deep and restoring spending for youth services. “More funding and more opportunities, that’s what we need,” she says. “But also, the work needs to stop falling in the hands of charities and youth workers that are going above and beyond and being paid very little money to run these projects.” With government provision for youth services in such short supply, it’s groups like YUAF and the Soundsystem Project that are propping the sector up. It seems a cruel irony, then, that the very same cost-of-living crisis they are helping to tackle is also threatening their survival. “I’d love to be able to do it for free,” says Charlesworth. “But unfortunately, the amount of young people that we help, which has been, I think, over 350 so far across the three years – that’s one-to-one work, meeting every week – that just won’t be a thing anymore.” Losing the services that help young people into employment is bad enough. Without them, we stand to lose a valuable pipeline for tomorrow’s artists, where young musicians might become inspired (and even form award-winning bands). But as Spirals points out, even those who only choose to dabble in music have much to gain from a meaningful investment in youth spaces. “How important music is as an adult for community is just the same for them,” he says. “We need to create real spaces for young people to have real interactions together, especially when times are hard.”

deadmau5 has launched "retro5pective: 25 Years of deadmau5," a series of shows honoring his remarkable quarter-century journey as a pioneer in electronic music. Set against the iconic backdrop of the Hollywood Bowl on April 27th, followed by the Brooklyn Mirage May 2-3 and a doubleheader at Colorado's iconic Red Rocks Amphitheater November 1-2, the series promises an all-encompassing chronicle of deadmau5's influence. We attended its kickoff performance at the Hollywood Bowl performance and can attest—it's an unforgettable experience. deadmau5 performs at "retro5pective: 25 years of deadmau5" at The Hollywood Bowl on April 27th, 2024.Jake West Kicking off the night was an electrifying performance by Meute, a techno marching band whose dynamic act set the stage for an extraordinary evening. Following their stellar performance, deadmau5 took center stage alongside his longtime friend, Steve Duda, for a special DJ set under their BSOD alias. The longtime friends cracked open some beers together and performed while memories of the pair projected behind them. The sudden appearance of Tommy Lee and DJ Aero transformed the stage into a rare quartet performance as WTF?. Tommy Lee, DJ Aero, deadmau5 and Steve Duda perform for "retro5pective"at The Hollywood Bowl.Stevo Rood/Live Nation Hewitt Silva After WTF?'s performance drew to a close, deadmau5 returned to the stage, ready to mesmerize atop his iconic Cube. Over the course of three exhilarating hours, he treated us to an incredible show, dropping classics such as "I Remember," "Strobe" and "Ghosts 'n' Stuff." Joined by a lineup of talented vocalists, including the high-energy SOFI for "Sofi Needs a Ladder" and the kinetic Kiesza for "Bridged By a Lightwave," the atmosphere crackled with excitement and energy. Longtime collaborator Lights graced the stage and captivated the amphitheater for a scintillating performance of "Raise Your Weapon" and later reappeared to sing "drama free." Hayla's hypnotizing performance of the hit Kx5 track "Escape" further enraptured the audience while Meute's brief return added an unexpected twist to the show. deadmau5 even previewed a new track, "The Truth with the hip-hop group Coast Contra. Hayla performs with deadmau5 for "retro5pective" at The Hollywood Bowl.Jake West deadmau5 flaunted an array of different mau5heads, each one bringing a new dimension to the performance. Meanwhile, the art on the Cube transported us into a vortex of trippy imagery, including imagery of past performances and an array of dazzling visuals. At one point, deadmau5 delighted fans with a nostalgic nod to his early career by seamlessly weaving in the iconic 2008 HARD Haunted Mansion "Ghosts 'n' Stuff" intro. Deadmau5 playing the Ghosts N’ Stuff intro edit from Hard 2008 bringing back all the feels >>> pic.twitter.com/DfGZMU4VeQ — Proximity (@ProximityM) April 28, 2024 In a poignant moment towards the show's end, deadmau5 invited the audience to raise their lights, transforming the amphitheater into a twinkling sea of stars as he delivered an emotive live rendition of "Strobe." This introspective, stripped-back performance was one the concert's most surreal, an aching homage to the enduring legacy of his music. At the time of this article's publication, Friday's "retro5pective" show in New York is sold out and few tickets remain for Thursday, May 2nd, when deadmau5 will also make an in-store appearance at Rough Trade NYC. Fans can keep an eye out for further updates by subscribing here. Follow deadmau5:Facebook: facebook.com/deadmau5 X: x.com/deadmau5 Instagram: instagram.com/deadmau5 Spotify: spoti.fi/3otTHVp

Above & Beyond, one of the world's most influential trance acts, is returning to the iconic Red Rocks Amphitheatre this fall. Scheduled for Friday, October 25th, the trio's return comes almost exactly a year after their doubleheader last fall. Joining Jono Grant, Tony McGuinness and Paavo Siljamäki in Colorado is a cast of talent who have all been featured on the group's Anjunabeats label family. Attendees will be able to take in the sounds of Alex Sonata & TheRio, Amy Wiles, anamē and Genix before the label bosses take the stage just days before Halloween. In other Anjuna news, the venerable imprint and its sub-labels recently released three "planet-inspired" mixes to celebrate Earth Day. Royalties from each compilation will be donated in perpetuity to the Ocean Conservation Trust to support the environmental advocacy nonprofit's efforts to protect our oceans. Tickets to Above & Beyond's 2024 Red Rocks concert will go on sale Thursday, May 2nd at 10am MT. Check out their announcement below and register for the pre-sale here. Red Rocks Amphitheatre, we return on Friday, October 25 🪨 We'll be joined by our friends @sonata_therio, @amywilesmusic, @anamemusic and @GenixDJ. Pre-sale begins Thursday, May 2 at 10am MT. Sign up for access: https://t.co/vufful43QU pic.twitter.com/34XdPa0CDl — Above & Beyond (@aboveandbeyond) April 29, 2024 FOLLOW ABOVE & BEYOND:Instagram: instagram.com/aboveandbeyond X: x.com/aboveandbeyond Facebook: facebook.com/aboveandbeyond Spotify: spoti.fi/3fHhX1z

Grammy-nominated producer Jon Hopkins has announced RITUAL, his seventh album. The follow-up to 2021's Music For Psychedelic Therapy, the next album for Hopkins will be a 41-minute-long, continuous story spread across eight chapters, according to a press release issued by Domino Recording Company. Hopkins also released the album's first single, "RITUAL (evocation)," a hypnotic track that was "designed to give listeners a window into the full experience." The music video features an aerial performance by Bryony Louise Fowler as she glides through the sky to Hopkins' bass-heavy, darkened soundscapes. Hopkins said he goes into the recording process with an open mind and no goal or objective, ultimately hoping to generate a unique experience for each listener. "I have no idea what I'm doing when I'm composing. I don't know where it’s coming from, and I don't know where it's going, nor does it seem to matter," he explained. "I just know when it is finished. So all I can really do is feel my way to the end, then try and retrospectively analyse what might be going on, and try and figure out what its purpose is. What is clear is that this one has the structure of a Ritual. I know what that Ritual is for me, but it will be something different for you. It feels important not to be prescriptive about what this Ritual actually is." Those looking to experience RITUAL before its summer release will have the opportunity to attend a special listening event at London's Institute of Contemporary Arts later this month. He will also preview the new album with fans at Glastonbury in June. RITUAL is slated to arrive on August 30th, 2024 via Domino. You can pre-save the album here. Follow Jon Hopkins:X: x.com/jon_hopkins_ Instagram: instagram.com/mrjohnhopkins Facebook: facebook.com/johnhopkinsmusic Spotify: tinyurl.com/2dfkdthx

“DJ Khan is available for bar mitzvahs, weddings and birthdays,” the incumbent mayor joked Continue reading...

The residency will take over the Bermondsey nightclub for 10 consecutive nights this month Continue reading...

In a delightful twist for fans and soon-to-be-wed couples, DJ Gryffin, known for his electrifying electronic music performances, has recently expressed his interest in playing at a wedding in the near future. This unique offer came shortly after he performed at the wedding of Erika Hammond and Ankur Jain, a spectacular event that highlighted his versatility and broad appeal beyond traditional concert venues. Gryffin, whose real name is Dan Griffith, took to Instagram to share his excitement and a snippet of his performance at the Hammond-Jain wedding. The video not only showcased his ability to adapt his high-energy style to a more intimate setting but also served as a heartfelt invitation to his fans. Accompanying the video, Gryffin wrote a caption that extended a warm offer to his followers: “So grateful that my tracks can be a part of so many people’s special days—maybe even yours. Tag anyone you know that’s getting married soon (enter as many times as you want) and I’ll pick an upcoming wedding to perform at.” The post has since garnered significant attention, resonating with his fans who dream of adding a superstar touch to their special day. It reflects a growing trend among artists who seek to connect with their audience in more personal and memorable ways. Gryffin‘s approach not only amplifies his presence in the music industry but also builds a unique bond with his audience, making pivotal life moments even more magical with his music. Aspiring couples and wedding planners are encouraged to tag their engaged friends or even themselves in Gryffin‘s post, hoping to win what could undoubtedly be termed as a once-in-a-lifetime musical gift. The opportunity to have Gryffin perform live, with his hits like ‘Feel Good’ and ‘All You Need to Know’ potentially part of a wedding playlist, is an alluring prospect for many. This initiative by Gryffin stands out as an innovative way for artists to engage with their fanbase while providing an unforgettable experience that goes beyond the music itself. It’s a testament to his dedication not only to his craft but to creating profound experiences that resonate on a personal level with his audience. As the responses continue to flood in, it remains to be seen whose wedding will next feature this talented artist.

The singer said her deepfake will interact with fans and journalists to allow more time to focus on music Continue reading...

If approved, it would be the DEA’s “biggest policy change” in the last 50 years Continue reading...

If approved, it would be the DEA’s “biggest policy change” in the last 50 years Continue reading...

Last month, French producer Ceas rocked Sinners‘ show at the famous Le Bikini venue. Now, he’s back on the prestigious label with his latest mesmerizing track, “Grain de Sable.” For those who don’t know, Ceas has put out a lot of great music over the years on important labels like Anjunadeep and his own Purified Records. His skill at creating lush, emotional soundscapes and expertly manipulating vocal samples is once again on full show in “Grain de Sable.” Deep, echoing piano chords set the mood for the whole song right away, making you think and feel reflective. As atmospheric pads build in the background, broken voice cuts hint at a human presence amidst the growing synthetic sounds. Ceas skillfully adds each part one at a time, like a wavy bassline, hypnotic arpeggio patterns, and complex percussion rhythms, gradually luring the listener deeper into the sound trip. The movie-like beauty of “Grain de Sable” really shines around the two-minute mark. The intimate warmth of the pianos blends perfectly with the beautiful vocal slices, all supported by a pulsing but stable groove. Ceas‘s sound design and musical arrangement skills come together to create an all-encompassing, emotionally powerful euphoria. It becomes clear that “Grain de Sable” is short-lived as the eight-minute journey slowly fades away. The name of the track comes from a tiny particle. It’s a short-lived spiritual experience that is beautiful in its temporariness. With tunes like this latest Sinners album, Ceas keeps building his reputation as a master at taking listeners to otherworldly soundscapes. “Grain de Sable” is a beautiful getaway and a great addition to Sinners’ discography. Do not ignore this. The post Exploring the Emotional Resonance of Ceas’s “Grain De Sable” appeared first on The Groove Cartel.

Making your debut in the electronic music world can be a daunting and challenging task, with many up and coming producers buckling under the pressure of forming a positive first impression. One artist who is taking that task and using it to springboard his career is sander baie. With the release of his EP, ‘SERENTY OF EARLY DAYS’, sander baie makes his debut in the world of electronic music and in the process makes the perfect first impression as this 5-track EP is not to be skipped. Consisting of 5 tracks, ‘SERENTY OF EARLY DAYS’ is a showcase of the sound that sander baie has been working on for a number of months. Each track with it’s own identity, but connected as a story, this EP was formed through both experience and reminiscence, inviting listeners into a serene and richly textured sonic landscape. The album is steeped in simplicity and nostalgia, each track meticulously crafted to evoke specific emotional landscapes. The use from sounds like nature reserves, busy roads and racing circuits subtly integrates sander baie’s inspirations from nature, alongside an homage to cultural touchstones like the Gran Turismo video games series, which resonate in the rhythmic precision and dynamic progression of tracks like ‘morning at sepang international’. ‘sounds of koel’, where the naturalistic elements are at the forefront, brings the listener to bask in the soothing yet complex layers of sound that mimic the calm and unpredictability of wildlife. ‘saturday in may 2012’ offers a reflective, almost introspective journey through sander baie‘s personal memories, when he experienced his favourite football player Dider Drogba scoring the winning goal for Chelsea in the Champions League final. ‘SERENITY OF EARLY DAYS’ marks a foundational position in sander baie’s discography. This release is soon to be followed by more dance-centric tracks later this year, hinting at an evolution from serene and introspective to lively and engaging. Stream this EP below.

Meet Samm, the young genius whose catchy beats, smooth transitions, and melodic, deep workings have quickly caught the attention of big names in the music business and music fans alike. Samm is ready to take his art to new heights now that he has signed with One World Artists, Tomorrowland‘s well-known management and booking agency. His official remix of Lost Frequencies and Bastille’s “Head Down,” which came out just weeks ago, is already getting a lot of attention from fans and reviewers. Combining afro-house with upbeat dance music melodies, Samm’s unique style has caught the attention of big names in music, like Solomun, who named the track they made together “Does It Matter” the track of the year. With help from big names in the business like Adriatique, CamelPhat, Keinemusik, and Themba, Samm’s rise is clear to see. That’s not all, though. Samm started Magnifik, a new record label and community. He is hosting his own ‘Magnifik’ stage at the Belgian festival Extrema Outdoor, including performances by Amémé, Sona, Avangart Tabldot, and more. Samm’s journey is just getting started. He is getting ready to play at some of the world’s best events and clubs, like Tomorrowland, Pacha Ibiza, and Extrema Outdoor. We sit down with the rising star for an exclusive chat to talk about his musical roots, how he comes up with new ideas, and his hopes for the future. So sit back, and enjoy our exclusive interview with Samm. How did you first get into producing music, and what inspired your unique sound? Fifteen years ago, I started my journey into music as a producer. I began experimenting with FL Studio and soon transitioned to Logic. Growing up in a musical family, there was always music in the air. I picked up a guitar at age 12, which led me to explore house music and other genres. For the past decade, I focused more on producing for other bands and acts. However, after my child was born, I felt a strong urge to create my own project. That’s when ‘Samm’ came to life. Can you tell us about the creative process behind your official remix of ‘Head Down’ by Lost Frequencies & Bastille? It was quite challenging because the original track has a very poppy, radio-friendly sound, so I needed to adapt it to fit my sets. To achieve this, I incorporated my signature bassline and added some chords. Next, I focused on creating a strong drum groove to keep the record going. Felix and Bastille’s vocal creation during the breakdown provided the perfect lift, bringing the energy back into the groove. Your music blends afro-house and melodic dance music elements. What drew you to these particular genres? I love percussion that’s not too basic, which is why I’m drawn to African and Latin grooves, but at the same time, I’m a fan of melodic elements like chords and harmonies. Can you share some details about your new record label and community, Magnifik, and your collaboration with Ajna? We both began our solo careers around the same time and wanted to create a party that reflected how we would like to party. We had been working on music, so it felt natural to take the next step and build a complete atmosphere around it. That’s when “The Magnifik” concept popped in our head. What defines us is our focus on warm vibes and our type of mellow, yet still clubby music. We aim to connect with our fans on a personal level. Our goal is to make it feel like we’re partying alongside them, not just performing. What are you most looking forward to about playing at Tomorrowland this summer on the Keinemusik stage? Since this is the first time Keinemusic will be hosting a stage, I’m eager to see what kind of crowd it attracts. Of course, I’m excited to the set as well. How did the opportunity to make your debut at Pacha Ibiza as part of CamelPhat’s residency come about? When Camelphat performed ‘Does It Matter’ and we heard they had an album coming out, they reached out to us for a remix. They’re super friendly and open-minded about discovering new talent, and we were excited about the opportunity. I think their label, When Stars Align, does a fantastic job of shining a light on other artists. Tell us about the experience of hosting your own ‘Magnifik’ stage at the Belgian festival Extrema Outdoor. Extrema was one of the first to recognize the potential in what we are doing so we’re forever grateful that they allowed us to curate a line-up like this. This year we have Moojo, Avangart, Tabldot, Sona, Mosoo, Bastin and Ameme on the schedule. We’re excited to see how it all unfolds! Last year, you shared the Atmosphere stage at Tomorrowland with artists like Black Coffee and Dixon. What was that experience like? The weather gods were very kind to me. It started raining so badly that everyone at the festival ran to my stage, giving me a packed house! It was my first big festival as ’Samm’ so I enjoyed it every minute of it. Despite the weather, or maybe because of it, the energy was incredible, and it turned out to be a fantastic experience. How do you approach crafting a setlist or a live performance? I don’t hahaha — I always look at the crowd and randomly put new tracks on my usb. This is what keeps me fresh as a dj and lets me adapt to the energy of the crowd. What’s the most challenging aspect of being a DJ/producer in today’s music industry? I believe consistency is key in the music industry nowadays. The days of releasing an album and then going quiet for four years are over. To stay relevant, artists need to maintain a steady presence, whether it’s through new music, live performances, or social media engagement. It’s all about keeping the momentum going and continuously connecting with fans. How do you balance the creative process of producing music with the demands of touring and performing live? It can be challenging, but I’ve developed some techniques that help me generate ideas quickly, allowing me to polish and finalize them later. Are you more of a hardware or software guy when it comes to producing music? What are some of your go-to tools or gear in the studio? I used to be more of an ‘in the box’ guy but I recently got myself the Project 6 which I plan to set up in MIDI mode to make my productions more expensive. As for in the box, I’m a big fan of Soundtoys and RC10 to tweak and give an analog feel. My favorite synth at the moment is Repro. Do you have a particular routine or process when it comes to writing and producing tracks? For example, do you tend to stay in the studio until you land on an idea you want to pursue, or do you wait until inspiration strikes and then head into the studio? Most of the time, I start with an idea in my head, which for me is already about 50% of the work done. If I’m stuck without a clear concept, I pick a random number from 1 to 12, which determines the musical key I’ll start in. From there, I let things evolve and see where the creativity takes me. How important is sampling and incorporating organic sounds or field recordings into your productions? Can you give an example of an interesting sample source you’ve used? I always add something ‘real’ to my productions to create a layer that sets the mood right away. This adds a sense of realness and prevents the track from sounding too computerized. Can you share any details about upcoming projects or releases you’re working on? The next release is called “Everybody Get Up,” a collaboration with my good friend Maxi Meraki. However, the exact release date is a secret—no one knows when it’s coming! Keep an eye out for it! How has your sound or approach to music evolved since you first started producing? My sound and approach to music have evolved enormously since I first started producing. It seems to change every year, partly because I never use templates. This approach forces me to be creative and continuously push myself. How important is maintaining an active social media presence for you as an artist, and which platforms do you tend to focus on the most? Maintaining an active social media presence isn’t a top priority for me as an artist, but I don’t stress about how to approach it either. I prefer to keep it simple and focus on just being myself. I like to post or say things that feel genuine rather than making it all about me. This way, I stay true to my personality and connect with my audience in a more authentic way. What advice would you give to aspiring producers or DJs who are just starting out? Share your music with others and ask for feedback—don’t overthink it. Just release what you like. To grow as an artist, you need to keep evolving, and the best way to do that is by putting your work out there. So, make sure to finish your tracks and let them see the light of day! If you could collaborate with any artist, living or dead, who would it be and why? If I could get Tom Mish on guitar, FKJ for the musical elements, and myself as the producer, I’d be able to die happy J The post Let’s Talk About Samm appeared first on The Groove Cartel.

Colorize has a truly hypnotic release with all the stars are in the right place. The ‘Solace‘ EP is the result of Wassu, Phonic Youth, and Axenity working together with spiritual forces to create two transcendent songs that will put you in a state of pure aural bliss. The first track is called “Solace,” and it’s a beautiful composition between Wassu and Axenity. Smooth pads and jumbled synths wrap you up in a warm hug right away. There is a smooth flow to the music that rises and falls with your breath. Phonic Youth’s sultry voices melt over the wavy basslines, making it sound like sirens are singing. On the other side, “Clarity” brings Phonic Youth and Wassu back together for another magical journey. The Bay Area duo’s touching words and smooth production skills mix with Wassu’s love of deep rhythms and rich melodies. The end effect is a vortex of hallucinations that will turn your mind into a puddle of happiness. ‘Solace‘ is a beautiful journey into the deepest parts of melodic bass, from the opening swell of the heavens to the final sounds of happiness. Wassu, Phonic Youth, and Axenity have used all of their combined powers to make something truly amazing happen here. Do yourself a favor and let “Solace” take over your mind. When you come out, you might be in a higher state of awareness, or at least have a huge amount of euphoric sound running through your body. No matter what, you’ll be thankful for the short break from the wild real world. The post Wassu, Phonic Youth, and Axenity Debut Hypnotic ‘Solace’ EP appeared first on The Groove Cartel.

The continuously rising tech-house talent San Pacho aligns with Miami-based producer Buitano and Mexican-American rapper Fatboi for “Afloja.” Released via Matroda’s Terminal Underground, the track adds another layer of Latin-infused energy to San Pacho’s already-dynamic discography. Recognized for his energetic blend of Latin rhythms and club-centric beats, San Pacho has been making waves since his debut (the double-sided single, “Work/God Damn,” released via Tchami’s Confession in 2019). “Afloja” is a flavorful addition to San Pacho’s series of Latin-minded productions, including the much-loved “La Pasion,” produced alongside Matroda. “Afloja” is San Pacho’s fourth single of 2024, following the success of “Taka” with SIDEPIECE in March. Stream it below. The post San Pacho teams up with Buitano, Fatboi for vibrant new single ‘Afloja’ appeared first on Dancing Astronaut.

Innovative production meets daring marketing in this exciting new track. Oh, the wonders of thinking outside the box. In an industry saturated with template tracks and music that can hardly be told apart from one another, it’s quite refreshing to acknowledge we’ve got people pushing the boundaries of production. Not only from an arrangement point of view, but really, from the get-go. For all those craving for new roads to be paved, we’re really excited to introduce you to a massive band, comprised of massive members. Meet Of Love And Lust (OLAL). Of Love And Lust (OLAL) (Left to right) Kuzman, Rush, Skunk. Credit: Ryan Monolopolus We’ve already shared one of their recent endeavours, so if you’ve been an avid reader you should remember them. OLAL is an Alternative Rock / Electronica hybrid-focused band, whose sound pays tribute to the golden era of the 80s. Not only do they have a sound that can take you back there, but their members truly embody the spirit of that beautiful decade. Let me make myself a bit clearer: they were a part of the 80s. Each on their own lane. And have now come together for a music project in today’s era, with today’s technology, but with the magical touch of yesterday. Members like Gareth Jones have a long history of being at the forefront of music history, even from that era. He’s worked with the likes of Erasure and Depeche Mode, and back in the day, he pioneered the whole synths-samples-Dance fusion. Fusion, mind you, that is basically the foundation of the genre we all know and love here at EDMTunes. Wild. The band’s members are currently based all over the world: Rush (vocals) in Berlin, Kuzman (guitars, keyboards) in Macedonia, Gareth Jones (keyboards, production) in London, Christie McCarthy (vocals) in California, Alex Baum (drums, keyboards) in North Carolina, and Skunk (keyboards, songwriter) in Arizona. ‘Calm in Your Eyes (Bleep Bloop Remix)’ Now, notice I started this post mentioning “daring marketing”. Why? Here’s why. OLAL have recently unveiled their next sonic chapter, ‘Calm in Your Eyes’. But they have NOT shared the original track. Instead, playing with the order so core to the industry, they’ve decided to first release a remix of the original. In this case, Glitch and Bass producer Bleep Bloop’s. To understand why, let’s dive a bit into the backstory of the single itself. Bleep Bloop. The Backstory Skunk, OLAL’s sound designer and keyboardist, comments that the bond between both parties has its roots an entire six years back in time. He stumbled upon Bleep Bloop’s set while he was playing at the Shaky Beats Festival in Atlanta in 2018. From then on, he was hooked. A couple of years later, more sets watched, and some conversations started, ‘Calm in Your Eyes’ finally served as the spark for Bleep Bloop and OLAL to join forces on a track. Unlike many remixes that only use fragments of the original, Bleep Bloop retained nearly all the lead vocals of the single, while infusing the song with his distinctive flair throughout and beyond. The result was so powerful that, instead of releasing it as a secondary remix, the band felt it deserved to lead as the first release. “Bleep Bloop has utterly transformed our upcoming single with his signature electronic twists, prompting us to premiere the remix a month before the single itself, which will drop on May 10th”, says Skunk. “OLAL is all about dismantling norms, breaking from tradition, and pioneering new directions in electronic soundscapes.” -Skunk The Track Quite following the whole breaking the mould essence of the band, this song was not only sung but also written by Christie, traditionally OLAL’s backing vocalist. Her voice is not only a main focal point of the arrangement from the beginning, but also a pretty versatile weapon of choice for Bleep Bloop. Several glitched-out washes can be heard throughout, playing with effects such as bitcrush, gates, repetitions, and even some sort of source for other signals to adopt her waveform. No wonder why the band loved this version so much. To me, it aligns perfectly with their vision of the project! Christie McCarthy. Credit: Ryan Monolopolus Listen to Bleep Bloop’s remix of Of Love And Lust’s ‘Calm in Your Eyes’ in full by clicking the Spotify button we’ve provided. Also, be sure to follow the artists on their socials (OLAL | Bleep Bloop). And don’t forget to stay tuned to our page for the latest news and reviews from our beloved EDM industry. *Cover art painting by Gary Paintin. The post Of Love And Lust Break The Mould Yet Again Releasing ‘Calm in Your Eyes (Bleep Bloop Remix)’ Before The Single appeared first on EDMTunes.

For the first time, Mau P isn't just behind the decks—he's also hopping on the mic. In an artistic switch-up, he's back with "On Again," a single that not only sees the Dutch dance music star contributing his own vocals to a record for the first time, but also features the stylings of influential hip-hop producer Mike Dean. "This song has had such a beautiful process where I feel like I really found a new part of me as an artist," Mau P said in a press release shared with EDM.com. "I always felt like it was a demo that was meant for a bigger artist than myself, but after showing everyone the version with my vocals on it it just stuck. The magic was already there and after getting Mike Dean’s blessing on it, it really felt perfect." Dean’s masterful synth work has become the foundation for many storied tracks over the last three decades, shaping the hip-hop spectrum from the work of Beyoncé to Travis Scott to Jay-Z. His hand in "On Again," is the accent mark to a career already punctuated by a long history of bold collaborations. The synergy between his seasoned touch and Mau P's innovative approach has yielded another record that has already become an established fan-favorite of the latter's recent festival sets, including his latest high-profile outing at Coachella. Take a listen below and find the new single on streaming platforms here. Follow Mau P:X: x.com/realmaup Instagram: instagram.com/maupmusic Facebook: facebook.com/maupmusic Spotify: spoti.fi/3vHLn9Q Follow Mike Dean:X: x.com/therealmikedean Instagram: instagram.com/therealmikedean Facebook: facebook.com/mikedeanmwa Spotify: tinyurl.com/333esudd

In the heart of Tampa, Last Friday evening, the air was electric with anticipation as festival-goers gathered around the NÜTRL Vodka Seltzer booth at the BREAKAWAY Music Festival. Little did they know that they were about to be treated to a surprise performance by electronic music trailblazer Austin Millz. The booth, typically a hub for refreshing drinks, was transformed into a vibrating stage, setting the scene for an unforgettable night of good music. Austin Millz’s impromptu set not only delighted the 21+ crowd but also marked the beginning of a special partnership between NÜTRL and the talented artist. This collaboration was a strategic move for NÜTRL, a proud sponsor of the festival series, to enhance its brand presence and connect with music lovers over a shared passion for music and community. As the sun dipped below the horizon, the stage was set for an unforgettable experience that would solidify NÜTRL’s reputation as a brand that goes beyond just providing drinks but also fosters a sense of unity and joy through music. NÜTRL Vodka Seltzer: A Brand on a Mission For NÜTRL Vodka Seltzer, the partnership with Austin Millz and BREAKAWAY Music Festival was more than just a marketing opportunity—it was a reflection of the brand’s core values. NÜTRL is not just about providing refreshing beverages; it’s about creating meaningful connections and memorable moments for its consumers. By aligning itself with music and culture, NÜTRL has positioned itself as more than just a drink—it’s a lifestyle brand that celebrates diversity, creativity, and unity. Through its support of events like BREAKAWAY, NÜTRL is able to reach a broader audience and engage with consumers on a deeper level, forging lasting relationships built on shared experiences and shared passions. About Austin Millz Austin Millz has surely surpassed (but not forgotten) his roots as one of Harlem’s hometown heroes and early renegade of its genre-bending art scene. From recently performing at Quincy Jones AKG 70th anniversary to performing for Beyoncé at her special Coachella Homecoming event, Austin has been trail blazing. His music is a deeply textured coalescents of soul and dancefloor euphoria, it emblifies the different phases of a night out – the afterhour bliss, a hazy pastel sunrise. It is an expansion of the sonic vocabulary with depth and boldness that can only be truly captured in the flesh. Applauded for his fusion of hip-hop and dance music, Millz has carved out a special niche between the two realms within his unique vision and has also garnered attention for his larger than life stage presence, which has captured both local and national audiences. With an unruly energy, and an oasis of expressionist energy in live performance, Austin evokes a type of postmodern exploration that questions conventional notions of music and culture. A type of exploration in which one’s brightest light is always upon the horizon. Only watching Austin perform, as he tames every sputtering vibration with a deeply focused effortlessness, does it become clear why he has surpasses the rest. About Breakaway Music Festival BREAKAWAY Music Festival is the nation’s leading touring music festival providing premium experiences and entertainment to music fans across the nation. Since its inception in Columbus, Ohio in 2016, the festival has expanded into multiple cities and grown into a two-day, multi-stage event. Breakaway has successfully reached music fans in cities that have traditionally been overlooked by other festivals, bringing superstar performances to diverse local communities. With over 100,000 attendees in 2023, Breakaway has become a must-see event for music lovers across the country. Our festivals champion music, art, creativity and diverse community celebration in your hometown, offering Gen Z, Millennials and everyone else invaluable interactive experiences. Leave it all behind—and BREAKAWAY. The post Austin Millz Surprise Set with NÜTRL at BREAKAWAY Music Festival appeared first on EDMTunes.

Tomorrowland to Launch “Lab of Tomorrow” Entertainment Innovation Hub in Q3 of 2024 The world of entertainment is being redefined by an exciting initiative known as Lab of Tomorrow, brought to life by Tomorrowland. Tomorrowland is set to launch the Lab of Tomorrow in Q3 of 2024. This dynamic platform serves as a vibrant hub for collaboration, celebration, and bringing to life the ideas of entrepreneurs, ambitious companies, and innovative academics. Lab of Tomorrow offers a plethora of resources to the entertainment tech community. It boasts a sprawling 3000 square meter full-service office space, designed to cater to the diverse needs of its members. In addition to the office spaces, Lab of Tomorrow provides premium meeting rooms and event spaces. These areas are designed to facilitate productive discussions, brainstorming sessions, and networking events, further enhancing the collaborative spirit of the community. However, it’s worth noting that seats at Lab of Tomorrow are limited. They are exclusively available for teams that harbor ambitions in entertainment technology, ensuring that every member is aligned with the community’s vision of driving innovation in the entertainment industry. Flexible options are also available for freelancers and small teams. Lab of Tomorrow will host five state-of-the-art technology labs, each designed to provide a unique environment for exploration and experimentation: Audio Production, virtual scenography, Immersive Audio, Lighting, and Audio Mastering. They will also offer options for customized lab environments. Lab of Tomorrow membership also includes access to the Labs community program. Benefits include a calendar full of events such as industry talks and networking events, exclusive discounts and perks from partners, and a mobile app to connect & collaborate with other members. So, if you’re ready to secure your spot at the forefront of entertainment innovation, don’t hesitate. Apply to join the Lab of Tomorrow today, and be part of the revolution that’s shaping the future of entertainment. The post Tomorrowland to Launch “Lab Of Tomorrow” appeared first on EDMTunes.

Porter Robinson’s SMILE! :D, out July 26th via MOM+POP Porter Robinson talks sobriety and SMILE! in a recent interview with The Independent. Porter experienced a meteoric rise to fame by age 21, touring with icons like Tiësto and Skrillex, and achieving a UK Top 10 hit with ‘Language.’ However, at the height of his success, he faced a personal crisis, leading to a dramatic shift away from EDM. Now 31, Porter reflects on his journey, including a disassociating moment on stage that led to a “meltdown” and a reevaluation of his career. His new album, SMILE! , is a departure from EDM towards a pop sound infused with indie pop-punk and guitar ballads, influenced by his discovery of bands like Radiohead and The Killers. His early love for EDM, sparked by Dance Dance Revolution, has since evolved into a passion for creating music, but as EDM became mainstream, he felt disconnected from the genre. “It was turning into this arena-sized highly commercial thing, which wasn’t what I wanted to do, and the whole EDM festival thing felt super whack to me,” he says. “I was becoming known for a genre I couldn’t vouch for anymore.” – Porter Robinson via Independent.co.uk Previously his debut album, Worlds, was a deliberate pivot from EDM to electro-pop, and despite initial resistance, also including a desire to alienate his rave audience, he now appreciates all listeners. Robinson’s candid reflection on his past, including his involvement with the hit ‘Clarity’ and his struggle with the EDM label, reveals a complex artist navigating fame, identity, and creativity. Nevertheless, Robinson’s sobriety and the sobering effect of Avicii’s death have influenced his current outlook. Following the critically acclaimed Nurture, his latest work continues to explore new musical directions and personal revelations, showcasing his resilience and artistic evolution. SMILE! World Tour has just kicked off in Boston, MA April 29th at MGM Music Hall at Fenway and the album is to be released July 26th, 2024 via MOM+POP. The post Porter Robinson Talks Sobriety and SMILE! :D appeared first on EDMTunes.

U.S. Senators Marsha Blackburn (R-Tenn.) and John Hickenlooper (D-Colo.) have introduced a bill to help promote music tourism throughout the country. The American Music Tourism Act is aimed at sparking international tourism that has declined since the pandemic. In what is a national effort, the act will identify locations and events in the U.S. that are important to music tourism. The act classifies music tourism as the act of traveling to a state or locality to visit historic or modern-day music related attractions including museums, studios, venues of all sizes and other sites related to music. From an EDM perspective, I feel like we do our part here. Our community is constantly traveling to new states for festival’s like Ultra, EDC, Bonnaroo, Coachella, Lost Lands, etc. If passed, the act would strengthen the economic benefits of music festivals like Tennessee’s Bonarroo or California’s Stagecoach. It will also support music venues from Madison Square Garden to Bluebird Cafe in Nashville. The American Music Tourism Act would leverage this existing framework within the Department of Commerce to highlight and promote music tourism in the United States with the act requiring the assistant secretary to submit their findings, achievements and activities to the congressional and senate committees within one year of its passage and every year thereafter. The post The American Music Tourism Act of 2024 Promotes Traveling For Concerts appeared first on EDMTunes.

ULTRA Worldwide has just announced its stacked Phase 1 lineup for the sixth edition of ULTRA Beach Bali, taking place from Thursday, June 6 – Friday, June 7, 2024. Touching down in the resort village of Canggu for the very first time at the expansive, two-level beachfront pool club Café Del Mar, ULTRA Beach Bali 2024 will maintain the boutique waterfront festival’s reputation for combining top-shelf production, beautiful scenery, and some of the world’s most in-demand electronic music acts. This year’s ULTRA Beach Bali will feature a star-studded roster of heavy-hitting performers, including Swedish House Mafia-member Steve Angello, Dutch, platinum-record selling artist Afrojack, Swedish progressive house icon Alesso, trap pioneer RL Grime, GRAMMY nominated melodic bass duo SLANDER, transcendent bass producer Knock2, and rising trance star Ben Nicky. ULTRA Worldwide continues to cement its status as the most international music festival brand. Boasting active events on all six inhabited continents, including the flagship Ultra Music Festival in Miami, the global festival brand is heralded for delivering an unparalleled combination of top-tier electronic talent, cutting-edge technology, and large-scale productions. 2-Day Early Entry GA tickets (which require attendees to enter the venue before 5pm) are priced at $136.50, while 2-Day Regular Entry GA tickets are $162. Tickets are on sale now here The post ULTRA Bali Sixth Edition Phase 1 Lineup Announced appeared first on EDMTunes.

The Hackney Wick multi-venue event will go from day-to-night with parties at Village Underground and Colour Factory Continue reading...