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LEVEL UP is making waves with her biggest collaborations yet in 2024. After releasing her decimating track with DIESEL last month, she's returned with a high-powered new single alongside Underaoth's Aaron Gillespie, "Hallow Heart." "Hallow Heart" is everything you could want out of a collaboration with Gillespie. The pair have taken the fiery sound of Underoath and infused it with LEVEL UP's heavyweight dubstep, pushing a genre crossover to its limits. Gillespie's lyrics sift through the pain of heartbreak and the frustrations that come along with it. Playing perfectly into his lyrics, LEVEL UP's angsty production provides the perfect accompaniment. It amplifies Gillespie's rage with whirling synths and stomping basses to convey emotions gone haywire. It's one of her hardest-hitting songs to-date and a surefire crowd favorite heading into her upcoming summer festival run. You can listen to "Hallow Heart" below and find the new collaboration on streaming platforms here. Follow LEVEL UP:Facebook: facebook.com/Levelupdubs X: x.com/levelupdub Instagram: instagram.com/levelupdub Spotify: spoti.fi/3qU70j8

TikTok has fired back at the U.S. ban law. Bytedance, the parent company that owns TikTok, announced they would rather shut down U.S. TikTok operations than sell. President Biden signed a law earlier in the week that gave nine months to Bytedance to find a buyer. If it does not, it will face a ban from the U.S. market. The nine-month deadline can be extended to three months if Bytedance can prove a sale is underway. They will have until January 19, 2025, to sell the app. TikTok’s CEO, Shou Zi Chew, vowed to fight the “unconstitutional” law in the courts: “Make no mistake, this is a ban on TikTok and a ban on you and your voice. This ban would devastate seven million businesses and silence 170 million Americans” – Shou Zi Chew, TikTok’s CEO Reuters reported that the short-form video app’s U.S. business “accounts for a small share of ByteDance’s total revenues and daily active users.” They added that closing it down in the United States “would have limited impact” on the company’s global business. Furthermore it “would not have to give up its core algorithm” to a U.S. company. TikTok’s algorithm is its most powerful feature. They have expertly crafted an algorithm that fits each user almost perfectly on their For You Page. It has certainly gotten many people “addicted” to the app, scrolling for hours into the night. Some have expressed concerns that China’s Government could use the app to manipulate public opinion, including during elections. Lawmakers are also concerned that Beijing can access the app’s U.S. users’ data. The post TikTok Will Close U.S. Operations If Law Does Not Change appeared first on EDMTunes.

As we write this article, the last remaining whispers of Coachella 2024 are fading away, crashing into the high peaks of the imposing mountains that surround the desert valley from which they originate. Like every year, those murmurs span the entirety of the multi-genre festival, from Kid Cudi's fall (which resulted in a broken foot) to the electrifying reunion of Orange County's very own No Doubt. However, as we scroll through 'chella's trendiest online moments, one thing stands out: dance music dominance. Setting aside Grimes-gate, one has to look no further than the impressive overhaul of the Empire Polo Club this year. The fan-favorite Do LaB was redesigned, the fabled Sahara was moved and expanded and, not to be outdone, the brand-new Quasar stage emerged from the ground like a desert mirage. Coachella's Quasar stage.Julian Bajsel In addition to the Yuma tent, this means Coachella's vast Indio real estate comprises four spaces dedicated solely to electronic dance music. In other words, one-half of the entirety of the festival's footprint. The landscape of this legendary locale is extending its arms, embracing the diverse soundscapes of dance music more than ever. For DJs and producers, the adoption of this once-niche genre is increasing their chances to perform at the storied Coachella. Out of the wide-ranging roster of talented electronic artists that graced each of those four stages, we caught up with three who embodied the spirit of the festival's evolving scenery. From newcomers to seasoned pros, this trio of tastemakers is here to share their Coachella stories. REBŪKERight off the heels of his impressive remix of deadmau5's iconic "Not Exactly", Rebūke launched himself headfirst into the Yuma tent for his first-ever Coachella performance. Calling it a "celebration of five years of Rebūke," the Irish DJ and producer has spent years preparing for this moment. Speaking about the monumental occasion, he said "this particular show is a milestone of every artist, be it American or international." View the original article to see embedded media. After gaining notoriety with hits like "Along Came Polly" and his massive collaboration with Anyma, "Syren," the melodic techno star has more than earned his slot inside the Yuma. Having never attended the event, Rebūke has relied on videos and photos of past festival moments to guide him on what to expect from this California staple. "For me, Coachella is the American version of Glastonbury; that's what every European artist wants to do. This is such an important festival, not just for the fans but for the music industry and music culture," Rebūke told us. "From Daft Punk doing the pyramid back in the day and Justice doing their thing now, this is all massive stuff and I'm excited to be involved in it." AzzeccaAnother surging DJ making her first appearance inside the Empire Polo Club was Chicago's very own Azzecca. Having attended the illustrious festival multiple times as a fan, she compares her Do LaB debut to being on cloud nine. "Sometimes when you DJ it feels like a little bit of a push and pull," Azzecca said. "But sometimes you're locked in with the crowd, it's fun for everyone involved and you can just feel it. Today, both of my sets genuinely felt like we were locked in and we partied together and it was really fun." View the original article to see embedded media. As much fun as Azzecca's inaugural performance was, the gravity of the moment is not lost on her. "I never would have imagined I would be playing at Coachella right now, or playing to the crowds I'm playing to right now," she adds. "Everything for me these days feels like a peak." Azzecca's consistency in her projects has landed her multiple slots on upcoming high-profile events including EDC Las Vegas, Elements, and ARC Music Festivals. However, she still speaks highly about the Indio venue. "If you love music, not just dance music, but all different types of music, this is the pinnacle in America. Coachella is the best festival and if you could go you should go." Will ClarkeFor Will Clarke, who's taken to the decks at Coachella in previous years, his 2024 Yuma takeover was approached with less nerves and a bit more preparation. Adding to that ease and prep work was his familiarity with the performance space. "The Yuma is territory that we're used to," Clarke said. "It's a dark room with a lot of people in it and I'm fortunate enough to play a lot of those rooms. "I think if I was playing Sahara or one of the other big stages it would be a different situation." The task at hand would be overwhelming to some, but the U.K. house music vet carried on with gravitas. "What's the worst that could happen? You could push the wrong button, the music could turn off and then you literally push another button and then it goes on again," he adds. "I'm not out here doing a Grimes, like I know how to DJ." View the original article to see embedded media. Although the grandeur of Coachella is not lost on Clarke, the Bristol native's disassociation with the event comes primarily from his British upbringing. "Growing up in the U.K., you don't hear much about Coachella. And so, I came here with everyone hyping it up. "It's an unbelievable festival but it has not been part of my childhood. It's not something I've always looked up to." So what's Clarke's Coachella equivalent? Glastonbury. "If I was playing Glastonbury, I'd be shitting my pants right now." Aside from controlling the dancefloor with his single, Clarke has also been leading the way in long-form conversations with his peers. His podcast, which began in April 2020, has allowed him to candidly speak with venerated artists the likes of Kaskade, Moby and A-Trak. "The podcast comes from a place of speaking to creatives, obviously mostly electronic artists and some in-betweens," he explains. "I think it's important to be able to have normal conversations in life, not just artist on artist, but in general." Emphasizing the need for more human connection, Clarke elaborates on his yearning to have dialogue in spaces outside of his normal work environment. "This may sound weird, but I'm not a huge fan of going to a nightclub. I'd rather go for dinner and have a good conversation with people. For me, the conversation stops at the nightclub or the bar." While a nightclub may not be an ideal place for a heart-to-heart, it's a great place to be introduced to new music. For Clarke, his latest track is due out next week and will feature House Gospel Choir. Time to take us to church. FOLLOW REBŪKE:Instagram: instagram.com/rebukemusic X: x.com/rebukemusic Spotify: tinyurl.com/2p976k79 FOLLOW AZZECCA:Instagram: instagram.com/azzecca X: x.com/azzecca Spotify: sptfy.com/Q1pg FOLLOW WILL CLARKE:Instagram: instagram.com/djwillclarke X: x.com/djwillclarke Spotify: tinyurl.com/56fcbh5x

Four years on from Layton Giordani’s critically acclaimed ‘New Generation’ album, Space 92 – one of techno’s most impressive new artists – steps up for a fitting remix. A masterclass of techno futurism, the 2020 album was a defining release of that year and was an impressive marker of Giordani’s ever-evolving talents in the studio. The title track was a memorable highlight, mixing ambient textures with head scrambling synth effects make it an enduring dancefloor classic. One of techno’s future stars Space 92 has added his touch to ‘New Generation’. With very special results. The Frenchman has super-charged the original, adding in plenty of laser-kissed energy as a barrage of powerful chords and silky pads take the cut into steamrolling territory. “As soon as I listened to ‘New Generation’, my first thought was that this track was a perfect match to my own identity and energy. I was therefore very happy to get to remix it. Layton is a very talented producer!” – Space 92 The post Layton Giordani – New Generation (Space 92 Remix) appeared first on EDMTunes.

HYPERBEAM are gearing up for the highly anticipated release of their EP, The Unexplained, out today via Insomniac Records. A 4-track release, this collaboration between Odd Mob and OMNOM is poised to make waves. Returning to Insomniac for their debut EP after a string of collaborations, the pair blends their signature cutting-edge styles, drawing from house, tech-house, and minimal influences, resulting in distinctly dark grooves and trippy atmospheric elements. Lead single ‘Okay Fine’ lures listeners with seductive vocal samples while echoing synths create an ethereal ambiance, building up to a spellbinding breakdown. Ultimately, the track invites abandon to the night, urging listeners to revel in its intoxicating nocturnal embrace. The Unexplained also includes the club banger ‘All Day, All Night.’ With its famous sampling, the track delivers a glitchy, otherworldly submersion with high-tempo dynamism. Echoing spoken vocals capture the awe of continuous revelry, backed by dark grooves, and weighty basslines, immersing listeners in an indulgent journey. Rounding out the EP are ‘Reading My Mind’ (feat. Sarah de Warren) and ‘Mind Awake, Body Asleep.’ The former is an invigorating anthem with de Warren’s vocals urging listeners to “Turn up the volume, turn out the lights .” High-paced beats and powerful drops create an urgent, pulse-pounding atmosphere. ‘Mind Awake, Body Asleep’ is a bewitching techno venture with a captivating bassline, choppy breakdown, and relentless beat. Collectively, The Unexplained EP promises a multifaceted curation of electronic music’s boldest sounds, showcasing HYPERBEAM’s singular approach and pushing the boundaries of the genre. The post Odd Mob & OMNOM (Hyperbeam) Unveil New EP ‘The Unexplained’ appeared first on EDMTunes.

Following their critically acclaimed concept album Portals, electronic music outfit Black Tiger Sex Machine returns with a unique musical fusion,”‘Zombie x O Fortuna.’ Originally a live edit for their electrifying shows, the track quickly morphed into a crowd favorite, with fans waiting anxiously for its official release. This genre bending track is a wild ride that mashes up BTSM’s massive hit ‘Zombie’ with the legendary “O Fortuna.” That chorus? Iconic. This time, it gets a jolt of BTSM’s signature energy, making it a guaranteed dance floor banger. The VIP edit cranks the dial to eleven, bringing back BTSM’s house music roots with a shot of adrenaline. The orchestral flourishes add an epic touch, the perfect complement to their signature sound. “Zombie is one of our biggest songs ever and it always goes off live, but we wanted to breathe new life into it somehow. We had the idea of blending it with the legendary Carl Orff composition; the idea being that it feels like an anthem for thousands of knights marching towards Excalibur. We’ve played around with that imagery in our sets so it just felt right and the crowd response has been unprecedented.” – BTSM The post Black Tiger Sex Machine Release Genre Bending Heater ‘Zombie x O Fortuna’ appeared first on EDMTunes.

In 2012, amidst a flurry of groundbreaking releases in the electronic dance music scene, Avicii released ‘Silhouettes’, a track that solidified his position as one of the genre’s most influential and promising artists. Coming off the immense success of ‘Levels’, which became a global anthem with over 500 million streams, Avicii faced the challenge of following up on such a monumental hit. On April 27, 2012, he answered with ‘Silhouettes’, a single that continued to shape his legacy as a pioneer in electronic music. ‘Silhouettes’ showcased Avicii‘s signature blend of uplifting melodies and emotive vocals, capturing the essence of what made his sound so appealing. The track was both a commercial success and a critical darling, further cementing Avicii‘s reputation for creating music that resonated deeply with audiences worldwide. It embodied the vibrant spirit of the early 2010s EDM boom and stood alongside hits from contemporaries like Porter Robinson, Swedish House Mafia, Alesso, and Zedd. The passing of Avicii on April 20, 2018, was a profound loss for the music world. His death brought a collective moment of mourning across the industry, highlighting the profound impact he had on fans and fellow artists alike. Despite his untimely demise, Avicii’s music, including tracks like “Silhouettes,” continues to live on. His work not only defines a significant era in music history but also continues to inspire new generations of musicians and fans. Avicii’s “Silhouettes” remains a poignant reminder of his talent and vision. It is celebrated not just for its lyrical depth and melodic brilliance but also as a vital piece of the legacy that Avicii left behind. His influence stretches beyond the confines of EDM, touching the hearts of listeners around the world, ensuring that his spirit will forever resonate in the music community and beyond.

The 2024 IMS Ibiza, a key event for the electronic music industry, recently concluded, and the Beatport Awards ceremony revealed the year’s hottest trends and most popular artists. Discover the full winners list below. Peggy Gou‘s infectious track “(It Goes Like) Nanana” topped the charts, claiming the Best Selling Track of the Year award. Other nominees in this category included collaborations by FISHER and Aatig, Four Tet, Skrillex, and Fred again.. Genre-specific awards also recognized top performers. Sub Focus triumphed in Drum & Bass, while Peggy Gou unsurprisingly took home the House award. Space 92 dominated the Techno (Peak Time/Driving) category, and Dom Dolla won accolades in both Tech House and Overall Best Selling Artist. Other winners included: Minimal/Deep Tech: Kolter Progressive House: Cristoph Dance/Electro Pop: David Guetta Afro House: Joezi The IMS Ibiza, now in its 15th year, is a platform that merges dance music culture with education, industry insights, and wellness discussions. Beatport’s recent acquisition of a majority stake in the IMS further strengthens their commitment to this vibrant community. Full Awards listing : Best Producer: Barry Can’t Swim Chase & Status Desiree Nia Archives — Winner Skrillex Sofia Kourtesis One To Watch: Chloe Caillet — Winner DJ HEARTSTRING Introspekt INVT Kmat SYREETA Best Live Performer: Arca Giolì & Assia Kelly Lee Owens Octave One Paranoid London WhoMadeWho — Winner People’s Choice Award: SYREETA — Winner Hype Label of the Year: Cuff Dawn Patrol Exx Muzik ISOLATE theBasement Discos — Winner 303lovers Best Selling Track of the Year: #1. Peggy Gou – (It Goes Like) Nanana #2. FISHER, Aatig – Take It Off #3. Four Tet, Skrillex, Fred again.. – Baby again.. #4. Murphy’s Law – Ain’t No Other Man #5. MK, Dom Dolla – Rhyme Dust #6. Joshwa – Magalenha Best Selling Artist of the Year: #1. Skrillex #2. Fred again… #3. FISHER #4. Anyma #5. David Guetta #6. Dom Dolla Best Selling Label of the Year: Toolroom Records Remix of the Year: GENESI – Everything You Have Done (Meduza Edit) Best Selling Artist of the Year (By Genre) Drum & Bass: Sub Focus House: Peggy Gou Techno (Peak Time / Driving): Space 92 Tech House: Dom Dolla Minimal / Deep Tech: Kolter Progressive House: Cristoph Dance / Electro Pop: David Guetta Afro House: Joezi Melodic House & Techno: Anyma (ofc) Mainstage: Hardwell The post Beatport Awards Crown Top Tracks and Artists at IMS Ibiza 2024 appeared first on EDMTunes.

Nothing says "Sin City style" quite like a Vegas pool party—especially at night. Wynn Nightlife is now bringing back their signature nighttime pool party series, XS Night Swim, this summer. From April 28th to September 29th, globally renowned DJs like David Guetta, Dillon Francis, Mau P and Swedish House Mafia's Steve Angello will make a splash at XS Nightclub to usher in the series. On May 5th, the club will host an extravagant anniversary bash with RÜFÜS DU SOL, who will perform a special Night Swim DJ set to celebrate over a decade of their iconic parties. "We’re excited to launch one of Wynn Nightlife’s staple events," said Ryan Jones, Vice President of Wynn Nightlife. "XS Night Swim was the first-ever nighttime pool party offered in Las Vegas, and its longevity and continued popularity is incredible to see each season." Tickets for Wynn Nightlife's XS Night Swim are available now. Additional information and table reservations can be located here and you can check out the full schedule below. XS Night Swim 2024 ScheduleSunday, April 28 (Season Opener): David Guetta Sunday, May 5: RÜFÜS DU SOL (DJ SET) Sunday, May 12: MADDS Sunday, May 19: Two Friends Sunday, May 26: RÜFÜS DU SOL (DJ SET) Sunday, June 2: Dillon Francis Sunday, June 9: Austin Millz Sunday, June 16: Snakehips Sunday, June 23: Mau P Sunday, June 30: Afrojack Sunday, July 7: Gryffin with Special Guests Vavo Sunday, July 14: DJ Diesel with Special Guests Deux Twins Sunday, July 21: Diplo and Dillon Francis Sunday, July 28: Two Friends Sunday, August 4: Gryffin Sunday, August 11: ACRAZE Sunday, August 18: Diplo Sunday, August 25: Two Friends Sunday, Sept. 1: Special Guest Sunday, Sept. 8: Austin Millz Sunday, Sept. 15: Mau P Sunday, Sept. 22: Steve Angello Sunday, Sept. 29: Vintage Culture

Grammy-nominated, chart-topping artist Chris Lake and UK-based DJ/producer Sammy Virji team up on “Summertime Blues” featuring Nathan Nicholson, released today via Black Book Records/Astralwerks. “Memories are useless, I’ve gotta let ‘em go,” Nicholson sings – and letting go is inevitable as Lake and Virji underpin The Boxer Rebellion frontman’s poignant vocals with a joyous, propulsive anthem poised to ignite summer dancefloors. Chris Lake said, “I’m so happy I got to work on this track with Sammy and Nathan. I’ve loved their music and vibes for a while. I’m super proud of how ‘Summertime Blues’ turned out. We wanted a drop that felt like the warmth of sunshine and that’s how it makes me feel.“ Sammy Virji adds, “Really excited to get ‘Summertime Blues’ out there, was great to work with Chris and Nathan on the single – so gassed for everyone to hear how it turned out.” Lake and Virji received a thunderous reaction when they teased “Summertime Blues” at Sammy’s recent sold-out show at Sound Nightclub in Los Angeles. EDM Identity observed, “The night reached its peak when Chris Lake made a surprise appearance, sending the crowd into a frenzy with unreleased tracks and collaborations. The unexpected fusion of garage and tech house left fans, craving more, cementing the night as a historic moment on Hollywood Blvd.” Listen to “Summertime Blues” below. The post Chris Lake and Sammy Virji Release New Collab “Summertime Blues” appeared first on EDMTunes.

Galantis has announced his fourth studio album, Rx. Due out on May 17th, the 14-track album will feature Galantis' most personal work to-date. A direct successor to 2015's breakout debut, Pharmacy, the new record will explore Christian Karlsson's neurodivergence and how medication has been a pivotal influence in the way he operates today. A press release issued to announce Rx called the album Karlsson's "most soul-baring work yet." "Pharmacy was when I knew I was neurodivergent and I knew the studio was like a pharmacy for me," he said. "I was the patient. Rx is when I found medication. For me, it was key, but of course, everyone walks their own path." In addition to announcing the new album, Karlsson dropped its fourth single "Dust," which has an anthemic sound reminiscent of the honeyed house-pop that carried Pharmacy to global acclaim. Rx will also feature previously released singles "Koala," "Lighter" and "BANG BANG! (My Neurodivergent Anthem)." You can listen to "Dust" below and find the new single on streaming platforms here. Fans can now also pre-save Rx. Follow Galantis:Facebook: facebook.com/wearegalantis X: x.com/wearegalantis Instagram: instagram.com/wearegalantis Spotify: spoti.fi/31COzFD

Electronic music is an interesting genre. There are countless collaborations that have taken the industry by storm and shocked the millions of fans around the world. Let’s take a look beyond the neon lights and booming bass drops and discuss five secret collabs that you probably didn’t know happened: Martin Garrix & Jay Hardway – Proxy Just over a decade ago in his early days, Martin Garrix dropped ‘Proxy’. Released as a gift to fans as a free download, this track was written and produced in collaboration with Jobke Heiblom, who you may know as Jay Hardway. ‘Proxy’ quickly became a mainstage anthem and has become a quintessential early Martin Garrix track. Dimitri Vegas & Like Mike & KSHMR – Stampede Now this track was released as a collaboration between the iconic DJ duo Dimitri Vegas & Like Mike, DVBBS, and Borgeous. But did you know there’s another artist listed as a writer and producer on this track? You guessed it, KSHMR. This is another golden days of EDM era track, that quickly blew up and took the industry by storm. VINAI & W&W – Techno Nowadays, it seems everyone listens to techno. But eight years ago when this track was originally released, progressive house was the subgenre taking of the electronic music scene. The Italian DJ duo Vinai secretly collaborated on this track with the infamous Dutch DJ duo W&W, but it has since seemed to fall under the radar. David Guetta & AFROJACK – This One’s For You This one- at least to me- was the most surprising. Released in 2016 with singer Zara Larsson, ‘This One’s For You’ is a vibey, vocal-focused track that served as the official song of the UEFA EURO Championship. Now, David Guetta is one of the biggest names in the industry and has collaborated with dozens upon dozens of artists over the years. He has even collabed with AFROJACK before on tracks such as ‘Hey Mama’ with Nicki Minaj and Bebe Rexha, as well as ‘Hero’ and ‘Trampoline’ with Missy Elliott, BIA, and Doechii. However, it seems this track went unnoticed as a secret collaboration between the two. KSHMR & Vini Vici – Good Vibes Soldier It seems KSHMR may be the king of secret collabs. Throughout his career, he has collaborated with artists across genres, dating back to his early days as a member of The Cataracs– who collaborated with Far East Movement on the popular track ‘Like A G6’. The American DJ and producer released ‘Good Vibes Soldier’ in 2018 with Head Quattaz, which was also secretly co-written by Israeli DJ duo Vini Vici.

Successful artists chosen to perform will receive a fee of €750 Continue reading...

Smooth as melted snow, "Summertime Blues," a new collaboration from Chris Lake and Sammy Virji, is a house anthem for emotional renewal. The track blooms with pensive vocals from The Boxer Rebellion's Nathan Nicholson, whose aching lyrics yearn to escape the grip of the past. His poetic musings on shedding winter's icy weight amidst nature's rebirth shimmer over Lake and Virji's effervescent house rhythms, creating a paradoxical merge of melancholic introspection and infectious grooves. Nicholson bemoans the bittersweet sting of lost time before belting a mantra for emotional renewal: "Memories are useless, I've got to let 'em go." In the drop, his undulating vocal chops are punctuated by fizzy synth stabs, urging us to dance away the winter blues. While house music superstar Lake needs no introduction, the new single arrives in the midst of a bona fide breakout for Virji, who is leading the charge of a stateside boom of UK garage music. With a brisk and bubbly sound all his own, the London-based beatsmith has blown up as he continues on a barnstorming debut North American tour, which has taken him to the stages of major clubs from San Francisco to Miami. "Summertime Blues" is out now via Astralwerks and Lake's Black Book Records. Take a listen below and find the new collaboration on streaming platforms here. Follow Chris Lake:Facebook: facebook.com/chrislake X: x.com/chrislake Instagram: instagram.com/chrislake Spotify: spoti.fi/3auKRRk Follow Sammy Virji:Facebook: facebook.com/SammyVirjiUK X: x.com/sammy_virji Instagram: instagram.com/sammyvirji Spotify: tinyurl.com/4csrwr2x

Elevating the enchantment of Tomorrowland to new heights, the Belgium-based festival and Brussels Airlines have introduced "Amare," an aircraft that not only boasts a stunning livery but also features the novel use of augmented reality technology. The vibrantly painted Airbus A320neo underwent a 15-month process to be outfitted with the tech, which passengers can scan via Instagram and TikTok to explore, according to Tomorrowland. The immersive experience allows passengers and fans worldwide to engage with the narrative of the festival's mystical bird, Amare, through augmented reality. Tomorrowland's new "Amare" Airbus A320neo aircraft.c/o Tomorrowland This summer, the magic of Tomorrowland will be more accessible than ever as roughly 47,000 festival attendees from around the globe converge on the city of Boom by way of the brand's unique "Global Journey" travel packages, which provide an all-inclusive festival experience including transportation. However, Amare’s journey isn't confined to the festival season. Starting from April 26th, 2024, it will also operate regular commercial flights, allowing the spirit of Tomorrowland to touch the corners of the earth year-round. This venture, part of an extended partnership with Brussels Airlines that will continue until 2028, seamlessly integrates the principle of environmental consciousness into each journey, reflecting a commitment to sustainability in every flight. The new aircraft emits up to 20% less CO2 and up to 50% less noise than its predecessors, per a press release issued by Tomorrowland. Celebrating its 20th anniversary this year, Tomorrowland's flagship festival in Belgium returns across two weekends: July 19-21 and July 26-28. Read more about the festival and discover its lineup here. FOLLOW TOMORROWLAND:X: x.com/tomorrowland Instagram: instagram.com/tomorrowland Facebook: facebook.com/tomorrowland

Since first connecting in 2020 for "Back To U," SLANDER and William Black have both traveled down a path of major success. Four years later, they've reunited alongside Jordan Shaw for their latest single, "Keep You Warm" out now via SLANDER's Heaven Sent imprint. "Keep You Warm" captures the same magic while embracing the growth in the artistry of both SLANDER and Black, the latter of whom was named to the EDM.com Class of 2021. Acoustic guitar riffs lead the charge, later guiding in their signature soaring synths and powerful basses. SLANDER and Black's subtle production perfectly encapsulate the warmth of Shaw's vocals, which effortlessly carry his passionate lyrics as he sings about an unyielding love he's trying to keep alive. As yet another bright spot in their ever-growing discography, the anthemic "Keep You Warm" is bound to be a crowd favorite. You can listen to the new collaboration below and find it on streaming platforms here. Follow SLANDER:Facebook: facebook.com/slanderofficial X: x.com/SlanderOfficial Instagram: instagram.com/slanderofficial Spotify: spoti.fi/3zpUP2P Follow William Black:Facebook: facebook.com/itswilliamblack X: twitter.com/itswilliamblack Instagram: instagram.com/williamblack Spotify: spoti.fi/3tTBgfS

Nearly a decade later, the petals of The Chainsmokers' breakout song "Roses" still haven't wilted. They're now turning back the clock to those days with their new single, "Friday," which they said is a spiritual successor to that nostalgic track. Channeling the head-over-heels rapture of "Roses," the song trades thorns for firecrackers to capture the all-consuming intensity of young love. The lyrics, delivered in soulful fashion by Fridayy, encapsulate the heady rush of newfound romance, where the world seems to brim with endless possibilities and outside voices fall on deaf ears. The Chainsmokers have always been masters at bottling the intoxicating feelings of those early days, when consequences take a backseat to the pursuit of passion and pleasure. Fans of duo's early work will feel right at home thanks to their breezy production and charismatic songwriting. This carefree ethos reaches its crescendo with Fridayy's rallying cry in the chorus, a resounding endorsement to seize the fleeting ecstacies of youth before they inevitably fade. You can watch the official music video for "Friday" below and stream the new single here. Follow The Chainsmokers:X: x.com/thechainsmokers Instagram: instagram.com/thechainsmokers Facebook: facebook.com/thechainsmokers Spotify: spoti.fi/3h6a9ay Follow Fridayy:X: x.com/fridayy?lang=en Instagram: instagram.com/fridayy Facebook: facebook.com/fridayy Spotify: tinyurl.com/3tftss87

The 12-track project, described as a "love letter to club culture," is set to drop on Touching Bass this June Continue reading...

One name who has been on our radar for a number of years is iFeature and when you take a listen to their music you’ll understand exactly why. Releasing music since 2016, iFeature has racked up an impressive catalog in that time, gaining over 1 million streams across those tracks. With such a lengthy catalog of music over a long time, iFeature has proved time and time again that he is not afraid of reinventing himself, delivering fresh new sound for his fans. Now, appearing on our new music feeds with a 12 track album, iFeature presents us with ‘Forbidden’. Officially released on April 26th, ‘Forbidden’ is iFeature‘s 4th album but he feels it’s more than just an album. “The album is a declaration of breaking free from silence and suppression, a journey of self-discovery and authenticity. It’s a call to trust and express oneself fearlessly, a testament to my music and artistic dedication.” he stated. Known for his bold fusion of music and art, iFeature invites listeners to an intense journey through 12 tracks, each promising an emotional exploration. Merging dubstep and drum and bass, iFeature crafts a unique auditory experience that’s both immersive and reflective. Stream this album below.

'Fuse - 30yrs of Making Noise' documents the history of Belgium's first techno club Continue reading...

“Step into the rhythm of the night with ‘Sun Comes Up’ the vibrant Tech House sensation from British producer/DJ GAWP and dynamic duo, The Melody Men. Showcasing irresistible summer vocals that urge the listener to dance until dawn, this track sets the scene for endless nights of carefree celebration. Combining catchy melodies with succinct driving rhythms, ‘Sun Comes Up‘ captures the engaging spirit of summer, actively inviting audiences to lose themselves in the music until the break of day. GAWP is no stranger to the revered Heldeep imprint. His previous releases include ‘Every Weekend’, ‘Moon’ and ‘Lost and Found’. Outside of Heldeep Records, GAWP has released songs with leading imprints including 7Wallace (Aphrodisiac together with Gene Farris), Wh0 Worx, Toolroom and Sink or Swim. He has also performed across international main stages, headlining on multiple tours throughout the USA and UK as well as supporting Oliver Heldens (Heldeep Records label boss) on his USA tour back in 2019. The Melody Men are one of the most sought after current vocal and writing teams in the business following their work with Mark Knight, Martin Ikin, Mason, Ferreck Dawn, Reinier Zonneveld and many more. Their collaborations have seen them feature on global radio playlists, TV shows and also major ad campaigns. On ‘Sun Comes Up’, GAWP Says – “I loved making this track as we really geeked out in the studio, running the vocals in through the tubes and taking time to experiment with lots of drum machines and hardware. The final result is better than we expected! I feel like we bridged the underground and commercial appeal with the contrast from breakdown to drop and kept the original GAWP x Melody Men collaborative styles.” “Sun Comes Up” has garnered significant praise from industry heavyweights Claptone, Black V Neck, and Don Diablo, receiving early promo support. The track has also sparked considerable radio interest, with BBC Introducing, Don Diablo on Hexagon Radio, Alok Radio Show, Mike Williams’ set for On Track, Fedde Le Grand on Darklight Sessions, and Oliver Heldens on Heldeep Radio giving it priority airtime. This advance industry support underscores the high calibre of this collaboration and sets the scene for the track to remain on regular rotation all summer long. Out Now on Heldeep Records https://orcd.co/hdabb083 Find Out More & Follow: GAWP: Linktree, Instagram, Soundcloud, Spotify The Melody Men: Instagram, Soundcloud, Spotify Heldeep: Linktree, Instagram, Soundcloud The post GAWP & The Melody Men Join Forces With Brand New Single ‘Sun Comes Up’ On Heldeep appeared first on Electic Mode.

The king of trance is back. Armin Van Buuren released a new track this weekend, and it’s one of the best we’ve heard from him lately. Titled ‘By Now’, Armin’s latest track is a collaboration featuring British DJ and producer D.O.D.. The vocals are performed by the English singer Laura Welsh. ‘By Now’ was released through Armada Music Records. The true talent of a producer can be shown in many different ways. One of them is adapting your sound to the new waves of evolution the industry travels through. This has become an almost automatic task for a DJ like Armin Van Buuren. The Dutch legend has managed to mesh his signature sound with many of today’s trending sounds. He’s done it in a way that guarantees that you’ll still be able to recognize his sound. At the same time, he brings an entirely new arsenal of leads, basses, and effects that perfectly fuse with their work. ‘By Now’ On his new track, Armin Van Buuren teams up with D.O.D to produce a strong, warm, and melancholic track. Something that takes you back to the early 2000s, when trance music used to dominate everything. The rolling bass, more recent sounding, pairs up perfectly with the rest of the elements on the track. Not what you’d expect from AVB. The result, however, is once again a great one. Last but not least, the brilliant set of vocals provided by Lauren Welsh. The singer/songwriter does an amazing job, delivering a stunning set of vocals. Taking the role of a person dedicating a song to their lover, the euphoria and melancholy of the singer’s voice is the perfect element to tie everything around. The result? Certainly, one of the best songs Armin Van Buuren has released in the last few years. Not to discredit any of his previous work. This song just happens to be too damn good. The king of trance has done it again! Stream Armin Van Buuren’s new track ‘By Now’ out everywhere! The post Armin Van Buuren Teams Up With D.O.D And Laura Welsh For Emotional Banger ‘By Now’ appeared first on EDMTunes.

Calling all EDM enthusiasts with Ibiza on their summer itinerary! Buckle up, because Hï Ibiza has just cemented its legendary status by clinching the coveted “World’s No. 1 Club” DJMag award for an incredible third consecutive year. Announced right before their 2024 opening bash this Saturday, April 27th, this prestigious recognition solidifies Hï Ibiza’s position as a global dance music powerhouse. The DJ Mag Top 100 Clubs poll is a the most popular annual ranking based on votes from the magazine’s international audience. Hï Ibiza’s consistent placement at the top reflects its commitment to delivering high-quality club experiences. The club is known for its innovative production design and dedication to creating an immersive atmosphere for electronic music fans. The news perfectly sets the stage for their highly anticipated opening party this weekend. This year’s lineup boasts a star-studded roster of the world’s most revered DJs, featuring the likes of Honey Dijon, TSHA, Adam Beyer, Jamie Jones, Carlita, and Loco Dice. For those planning an Ibiza trip this summer, attending an event at Hï Ibiza is a surefire way to experience the island’s renowned nightlife scene. However, it’s important to note that DJ Mag’s poll is just one measure of club popularity, and other venues in Ibiza also offer exceptional experiences.tunesharemore_vert The post Hï Ibiza Crowned World’s No.1 Club Award for Third Year in a Row appeared first on EDMTunes.

The decision follows controversy and technical issues around the £365 million venue Continue reading...

Photography by Cicely Grace, Styling by Chrissi Smith and Shot at One Hundred Shoreditch. Paleblu’s voice is recognisable as the host of the longest-running jungle and drum and bass show on Reprezent radio. But this tenured presenter is also a producer and vocalist, who creates drum & bass fused with the unlikely pairing of indie. With this unique exploration of music Paleblu underscores the importance of inclusivity within the bass music scene, challenging industry biases and advocating for underrepresented voices. Paleblu’s commitment to authenticity and inclusivity is echoed throughout his lyrism- his latest project, ‘Daisies,’ delves into raw emotions and introspective narratives, showcasing a journey that resonates with sincerity. With a fusion of cultural influences and a relentless pursuit of creative expression, Paleblu embodies the transformative power of art, inspiring audiences to embrace diversity and embrace the beauty of individuality. Let’s chat… How are you? I’m feeling pretty good. I’ve just put a lot of work into this three-track EP that’s recently been released. I also pulled a show together and played the songs live with the band at The Hackney Social- it was a really good turnout, one of the best turnouts for one of my solo shows ever. It’s a lot of work putting everything on yourself, writing the lyrics, producing the music, and collating all the assets and the artwork. I do as much hands-on as possible, I’ve very much got that DIY independent mindset. It can be quite testing at times but it’s rewarding to see things come to fruition from start to finish. What have you been up to recently? Clearly, you’ve been busy… I never know how to answer this question. This is a question I used to be quite insecure about when people would ask me. A lot of the time when I was in D&B settings, I’d say “ I’m an MC, but I’m a tastemaker on a Reprezent show that I’ve been doing for eight years now. I’ve moved away from the D&B tastemaking and I’m focusing on this smaller project. So when people ask me “What do you do?” I don’t really know how to answer, because I think yes, I started out as a D&B MC but I’m also a producer which a lot of people don’t seem to know about. Presenting and DJing is something that I love doing too. It’s quite a weird one. Over the years I’ve seen how vital it is to have loads of strings to your bows. I like to think of myself as being an all-round, I’m an artist, but I’m able to put the music business hat on, I’m also able to put the project manager hat on and work in different settings within the music industry which has given me a 360 view about how things work. That’s not to say that I understand everything, I haven’t cracked it yet. Have you been producing throughout your whole career? It’s funny because I’ve actually been producing longer than I’ve been an MC. People don’t often know, they see me as an MC or a radio presenter. But with my new stuff, people a lot of people are saying ‘He spits bars too.” It’s kind of flipped. I’ve been producing since I was about 14. I went to a regular state school, but they had specialist funding from the borough for performing arts and the arts. They had a sweet full of Mac computers and I remember we started learning Logic, I’m one of those people who didn’t really have a certain crew that I hung with or a certain thing I was into at school. But when I found out about logic and production. I was hooked, I remember being in that sweet most lunch times- any chance I would just be trying to learn about music software. About one or two years after that I started MCing. My brother was an MC and he, Joe Goss (Soulvent Records), Jack Higgins (Pola) and a guy called Sean set up a record label. I saw them doing the whole dance music and record label thing and they were great role models for me and I feel like I was given a window into the dance music world. I was born and raised in East London not from the roughest part, but it’s not the greatest part either and there were so many other things going on around me where if I didn’t have these role models or music to throw myself into I think things would have ended up a very differently for me. How important do you think creative education is for young people? Creativity in education is one of the things I am most passionate about, if I had more time I would be more directly involved with it. Unfortunately, I have to pay my bills. I went to a state school that specialised in performing arts, and I’ve seen people around me who are from less well-off backgrounds than me who have completely turned their lives around due to creativity and education. Having access to these services is essential. There is a lack of funding and it’s been cut back so much the past few years under the current government. I’d like to think of myself as punk and anti-establishment, but I’m not gonna shit over the government the whole of this interview because I think that can be quite draining but the cuts to public services have been drastic. These things really help people a key example of this is that I work with a charity called Yuaf, a couple of months ago I was working with this kid and we did some one-to-one production. He may not have had access to a session with someone who’s a producer- it’s only because of foundations and charities like this that he gets access to it. I found that the experience of working with someone who was really keen and eager to learn and progress and ask all the right questions was inspiring for me. So I think it’s important. Education as a whole is important. My dad came to this country when he was three years old from Pakistan. He didn’t go to university. My mum grew up in the East End, in pure poverty really and she just didn’t have access to education and creativity. It’s really important and something I’m quite passionate about. On the tip of Education, I want to mention Chords because he is my best mate but he’s also been a mentor to me and he’s also provided me with opportunities that I wouldn’t normally have had access to. He’s an amazing producer and DJ too. I was also part of the first cohort to attend ELAM (East London Arts & Music) a college that was set up by Will Kennard of Chase & Status. If it wasn’t for ELAM, I wouldn’t know the things I know today, so I have to shout them out. When I was at ELAM, I also met my current manager Patrick (MC Rage / Rebel Clash). It’s good to hear people are still passionate about creativity and education. Let’s talk about your latest release… ‘Daisies’ is a really cool project. It’s a 3-tracker I started working on towards the end of last year. As I’ve been producing for such a long time I’ve finally found my way of working now I write the song on guitar, put it into logic, do a majority of the production and then I will work with my good friend and long-term collaborator chords on my additional production. and then we’ll mix it together. And so that I think the tune I started writing at the end of last year. ‘Belong’ was the first single from the EP and it’s about identity. I remember writing the tune and it was how I felt at that moment, it is quite an honest song. A lot of the tunes that I’m writing now are very honest. What I’m doing musically is very different to a lot of D&B that’s coming out at the minute. I had to almost take a little step back from D&B for the past couple of years because I don’t think it sat with who I am as an artist. That’s not to say that I hate or dislike D&B. I love it. Jungle and D&B were my entry point to music, but I wanted to try something very different. I think I’ve done that with this record. There are three tracks- ‘Daisies’ which is the lead track, ‘Belong’ and then ‘Help Yourself’. A lot of people have said that ‘Help Yourself’ is their favourite track, it is very much a self-help song, it’s about mental health and making sure that you look after yourself. I’ve got a remix from Crate Classics on the way. I’ve got a remix from Lakeway on the way. And I have also got another remix from Chords, but this is as his new alias- Shoal. I’m speaking to Iyre as well about getting a remix done. My productions are very D&B and jungle influenced, but they’re almost indie pop-driven on the vocal and a lot of the instrumentation. So I like to add some remixes to the releases How do you blend indie with D&B? Not to styles you’d usually find together… Growing up as a person of mixed Heritage, my dad’s Bengali and Pakistani my mum’s English and Irish, then also growing up in London, this melting pot of sounds and different music. I became this sponge where I’m just constantly absorbing things around me and that’s not necessarily just music. That might be people’s styles or just locations. I’ve always been passionate about British music not just jungle and D&B that goes back to the 80s new romantic wave like Depeche Mode and The Human League and then also 90’s Brit pot and then in to that wave of indie in the 2000s. People like Jamie T, The Kooks. I’ve always been really into other music I just never really saw how to put the two together. This comes back to our conversation about being honest and being authentic. The more that you go into a scene the more you’re like, “OK, how do I crack this scene” and you end up listening to all this music but it all gets diluted into the same kind of similar sound. So you can either go into this scene and do what everyone else is doing or you can just carve your own thing. You just let yourself be yourself and do what you were doing. And it just happened naturally… I dabbled in the electronic stuff a little bit and I was like “This is cool!” But really and truly I wasn’t fully satisfied. I knew I was enjoying it. But I wanted to try something out of the box, which is where the whole concept of ‘Daisies’ and all this new music has come from. A lot of it is not “club bangers” that can be played in the rave, I’ve written it to be performed with a five-piece band. I’ve got to shout out my band as well. We’re all from very different walks of life, but we all gel together and there hasn’t, as of yet (touchwood), been any kind of these band politics that you hear of. We’ve spoken about your production process, what’s your lyrical writing process? I don’t actually have an answer to that, it just comes out. Not thinking about it too much, writing how I feel at that time and then channelling into that feeling. I’m reading a book by Rick Rubin at the minute, called The Creative Act. Rick Rubin is obviously an amazing producer and one of the founders of Def Jam and in this book, he talks about that- being in that moment and getting into the zone and a flow of things. And then I suppose getting stuff to rhyme I guess, haha. Do you write to music or do you write poetry and then get to fit to music? If I’m writing bars, I’ll tend to put on a mix but most of the time now, if I’m writing lyrics I’m also writing music and producing at the same time. You’ve been a radio presenter for a long time, what’s your favourite part of the job? There are a few, I think the main favourite part is getting to speak to people and understand their experiences, what they’ve done and how they’ve contributed to the scene, what their journey has been. I like learning about different people and I’ve had the privilege of talking to some of the greats like Bailey, Breakage and it’s been super inspiring because I’m 27. I don’t know everything about the D&B and Jungle scene and speaking to these people has opened my eyes. I don’t want to go on a rant, but I do want to say that I think a lot of people do really need to know where this music has come from. It comes back to the point of education, there should be more education pieces and understanding that drum and bass and jungle came from sound system culture and used to be jungle techno. Understanding this more, and staying true to where the genre has come from is pivotal because over time people just forget about these things, and you can’t forget about things because it’s part of the culture. The second favorite part is probably the flip side of that which is getting to promote and push up-and-coming people. Giving a voice to people that are just getting started or halfway through their journey. It’s really important and I do have to give another massive shout-out to Reprezent. I don’t know the ins and outs of it, but they’re going through a crowd-funding process at the moment. They are one of these places we spoke about earlier that have had their funding cut. They are a community FM station. They are essentially funded by local government, and they’ve been put in a position where they’ve had to do a crowdfunder and it’s not the only organisation I’ve seen that has had to do this. It’s quite terrifying to see that an organisation like Reprezent, which isn’t just a radio station- they train people from 16 to 25 to get into radio to give them the skills to get into entertainment or music or the creative sector. As a radio presenter, I wanted to talk about the importance of human tastemakers over an industry that has become dominated by algorithms. To start off… Tastemaking is super important. Gatekeeping is a dick head thing. I have definitely found that when I am listening to a radio show or a podcast, I feel something completely different compared to listening to an algorithm-generated playlist or even one of Spotify’s curated playlists, to be honest. Because at the end of the day, they may be curated by a human but it’s only certain people that get up there. And that is the type of gatekeeping that we’re talking about. Back to the topic of tastemaking, I think it’s incredibly important. It’s something that we need to preserve. I think it’s also something that makes music quite a liberal space to be in. Put it this way. You’re gonna get incredible chefs that will get all the finest ingredients and make an incredible dish and it’s gonna taste amazing and you have all these incredible flavours, it’s a meal that you’re really gonna enjoy and it’s gonna satisfy you. Or you can get some chef that’s grabbed some crappy ingredients. The meal is frozen it looks the same as every other meal it’s gonna be all right but it’s not really nourishing. I’m a deeply sensitive person. So having music that is created by someone, who has spent time going through music and listening to music and coming up with their own dish is a lot more nourishing than something that’s generated by an algorithm, or someone who’s getting paid loads of money to push and labels. I think also as an independent artist. You must have these people in place. What have you got coming up? I’m launching this new project, which is called Gonebrook. It’s a project that I wanted to be purely about electronic music production. It’s not just D&B there’s garage, house and techno, a bit of everything, but no vocals. I’ve also got tons of music written and produced under Paleblu that will be dropping slowly but surely over the next few years. What should we be talking about in the bass music scene that we’re not talking about currently? This is something that has been spoken about and has been the past few years, but definitely diversity and inclusivity. It’s still a big problem in dance music. I’ve seen a lot of people not be given the same opportunities that they should have been given based on the fact that they’re not a straight white man.I think things are improving and you have great organisations like, EQ50 is a great example of that, but it’s something that still needs to be really pushed and I think honestly some people just don’t know where the music comes from and that’s the place to start. D&B and garage and all these genres came from working-class communities and people of colour, it’s about that education piece. I’d say the things that people need to talk about more are where the music comes from and how we can get people from all backgrounds into the scene and how we can really nurture these people as well.