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Electronic producer Isaac Baden-Powell, AKA Waz-u, has become acutely attuned to spinning many plates. As well as the release of his latest album, Preludes: Duck Psalms, Baden-Powell also runs a studio alongside his brother and fellow producer, Mali Baden-Powell, and is the drummer for alternative soul project Monzanto Sound and experimental punk project Nexus_0. READ MORE: Myd locked himself in the studio for 168 hours and livestreamed every minute — but did it really help him finish an album? The artist has a distinct knack for intertwining funk-fuelled beats with his love of classical composition techniques. He has described his work as a fusion of religion and dance music, making audiences equally pensive, emotive, and excited on the dance floor. Waz-u sits down with MusicTech to unpack his workflows as a producer without using a computer, and his love of analogue synths and instruments that inspire his work. Preludes: Dusk Psalms by Waz-u Your second album, Preludes: Dusk Psalms, is out this month — what lessons did you learn from your debut that carried into this record? I learnt a lot from my last record. Artistically, I felt a lack of focus and have tried to create a cohesive world with Preludes: Dusk Psalms. It’s easy to try to show the listener your taste and influences in a record, but all the albums that stand the test of time do so because that record has a consistent stylistic aesthetic. I also learnt that relying too heavily on record labels is not a good thing for the artistic process. [My debut album], Prayer for Dawn was originally going to be released by another label but was dropped last minute for undisclosed reasons; as a result, I have tried to take a more active role in releases to make sure things are done professionally. It was a lot of work, but I’m happy with how my first record’s campaign went, and it’s given me more confidence to release music that I believe in. You have lots of different creative projects on the go, such as Monzanto Sound and Nexus-0. How do your creative approaches differ in your solo work? With those two projects, I work primarily as a drummer and secondarily as a producer. The music is heavily focused on live instrumentation, and what I can add to them is more about songwriting and feel. Production-wise, I oversee mixes and tweak musical ideas to get the most out of them, but I mainly try to take more of a backseat role. In my Waz-u project, the sonic palette is electronic, and the drum parts (if there are any) are all programmed. It’s a way for me to explore composition differently and think more about atmosphere than in my other projects. Your musical identity is very varied, with classical, reggae and funk roots. How do you work to combine all of this into your releases? Is it easier said than done? I treat influences like flavours for a chef: you need to use the right ones at the right times, and if you want to do something unexpected, be controlled and intentional about it. This record has no drums on it, as it has an ambient aesthetic, so the reggae and funk influences are sparse if at all; but the process and workflow of using an analogue desk for mixing and ‘dubbing out’ tracks live with send effects is something that the greats such as King Tubby and Lee Scratch Perry pioneered. The classical influence is much more present throughout, and I actually had to turn down the intensity of that influence: a lot of the initial demo versions of the tracks were unnecessarily harmonically complex and, as a result, felt twee and excessive. I’ve tried to retain the taste but still keep the music palatable. You can clearly hear The Word is influenced by the baroque progressions of J.S. Bach. and G9 LUVs bowed textures mimic classical string parts and harmonies throughout the record. Tell us a bit about your studio. My studio, Biodiversity Studio, is based in Greenwich in South-East London. My brother Mali and I run the space, and he designed it in a way to optimise workflow and sound quality. We also have an in-house mastering engineer, Alex Batchelor, who worked on this album: he has a private studio now with different acoustics but formerly worked in this space and has strong ties to the Biodiversity studio as the Soundcraft console was originally his. The concept is to have a space capable of creating diverse genres of music. Having a drum kit and a piano as well as a large selection of outboard and synthesizers allows this space to be a source of limitless creativity. Collaborating with other artists is part of our bread and butter, and this studio has been used to record anything from neo-soul to dub techno. On Fridays, we invite artists or producers to come in and collaborate on a tune as a fun way to connect and make something different and exciting. What’s your latest gear purchase? My latest purchase was a Boss BX-80 mixer, which has been modded to have direct outputs. It has some of the best natural drive and distortion of any gear that I have encountered and is perfect for summing drums to get beautiful saturation that simply can’t be achieved in the box. I had to pay a little bit of money to get the direct outs as a mod but it allows a degree of flexibility which is necessary in what is quite a complex routing set up. What’s the best free plugin you own? UAD LA-2A compressor. This is on the bass on almost every single track, as well as being a key part of my vocal mixing chain. What’s been the biggest investment in your career/studio? The biggest investment in my studio was on monitoring. Our main monitors are a pair of Gethain RL906 with an Eve audio subwoofer. The transient detail and upper midrange ‘air’ is unparalleled for monitoring of that price bracket. We also put a lot of funds into proper acoustic treatment; Mali made a bunch of custom baffles and as a result producers always compliment the ‘sound’ of the studio. My advice to younger producers is to invest in good monitors and acoustic treatment. This is because you can’t make music sound good until you can really hear what is going on! In a better sounding room you can find your sound without guesswork and make informed mixing decisions. Your music is very synth-heavy — do you prefer the versatility of digital synths or are you more of an analogue synth purist? I don’t use plugin synthesizers at all because I find the immediacy and tactility an essential part of the creative process when composing electronic music. In terms of synths, I’m a sucker for the sonic imprecision and ‘vibe’ of analogue synths. I also find the workflow of being forced to commit to audio from the get-go very refreshing, and it helps me to focus more on the composition and overall mix and less worried about endlessly tweaking something in the box. You’ve said previously that your music is written and mixed with little to no use of computers. How does that impact your work? I make electronic music, but my background is playing instruments. I find that the piano allows me to tap into the emotive quality instantly — almost all of the tracks were initially written on a piano before being transcribed onto synthesizers. I feel like if something melodic doesn’t work on the piano, then it probably won’t work on a synthesizer. As a result of this, I like the feeling of performing an instrument, albeit a synthesizer, and ‘playing in’ the sound of something. When it comes to mixes, I enjoy having the same approach: using an analogue desk. I use a Soundcraft Delta 32, and I enjoy being able to tweak everything instantly in real time. I generally record stems onto the computer and then run everything out through the desk via our Motu 828Es. In this way, I’m treating the computer like a tape machine was used back in the day. What’s a music production myth you think needs debunking? The idea that spending more time on a track makes it better is a complete myth and something that I believe to be categorically false. If you never finish tracks, you never learn how to finish something and often, your initial idea was the best. I think the only way to get better at making tracks is by finishing lots of them, and the easiest way to do this is to work quickly. Generall,y working slowly shows a lack of confidence in the idea and an excessive attachment to that particular track. My philosophy is: it’s not that deep, it’s just track. If it’s bad, make a new one tomorrow. Then, when you have lots of tracks, go back and dig through them, and there will definitely be some good ones in there. Who gave you the biggest lesson in your career? The biggest lesson is to just turn up. I remember someone telling me this years ago when I lived in Glasgow and it has always stuck with me. As an artist, it can be hard to keep doing the thing that you believe in, as no one else but you can make you do it. Just being present can allow you to achieve the things that you need to. Read more Studio Files interviews on MusicTech. The post Waz-u: “If you want to do something unexpected, be controlled and intentional about it” appeared first on MusicTech. View the full article

Like it or not, AI is here in music, and it’s changing things fast. And while many musicians and industry figures are strongly opposed to the greater presence of artificial intelligence in all stages of music creation and distribution, others are more accepting, and say artists should simply adapt to the changing times. In a new conversation on MusicTech’s My Forever Studio podcast – which sees producers and musicians choose items to go in their fantasy forever studio – production prodigy Charlie Deakin Davies says the music industry is ever-changing, so artists should expect it to continue doing so. READ MORE: My Forever Studio: Charlie Deakin Davies’ perfect vocal chain is attainable “This is one of my special interests,” they say. “Even just the music industry as a whole, like even one of the biggest changes that happened with Universal and the massive mergers last year, the knock on effect has been absolutely massive, actually in the production and the artist world. [And] because I’m a signed artist to Sony, I am seeing it from that side.” They go on: “But I’m also an active producer [and] writer as well, and an MD. So I feel like I’ve got a bird’s eye view on what’s happening in the major label industry at the moment. I don’t think it’s scary. I think some people are scared. But because I like music industry history, I’m like, don’t worry! “This is just, just the analog to digital transition. This is just the record to tape transition. Like, don’t worry. Like, we’re just having one of those.” Davies says, however, that it’s “scary for some people, because they don’t know whether they’re going to be on the chopping block of these changes”. Specifically with respect to whether producers and artists should see AI as a threat, Davies goes on: “I’m not saying it’s an unfounded fear. Change is about to happen and change is happening. Change always happens. “And when you choose to work in an industry that is on the front line of innovation, of technology and media consumption and social culture… I think it’s the highest changing technology and cultural thing that there is. So I think people need to go in eyes wide open if they’ve chosen that career. “Yeah, it’s scary. Your job might get taken away, but like, work with it. Like, can you use AI? Can you do this stuff? I don’t know. You’ll have me on the podcast in like 10 years and I’ll be like, ‘I’m homeless!’” Watch the full episode below: The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio. However, hosts Chris Barker and Will Betts impose some strict rules. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles! You can subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech. The post “Yes, it’s scary. Your job might get taken away, but work with it”: Charlie Deakin Davies explains why artists need to adapt to AI technology appeared first on MusicTech. View the full article

On May 3, 2025, Pacha Ibiza played host to a standout event that will linger in the minds of electronic music lovers for a long time. Maccabi House, the boundary-pushing imprint led by Adam Ten and Mita Gami, made its debut on the island. From the moment the first beat dropped, it was clear this wasn’t just another night at Pacha. The duo delivered a masterclass in genre-bending house music, seamlessly blending sonic textures, hypnotic grooves, and deep, pulsing rhythms. The set evolved with intention, moving from melodic introspection to raw dancefloor energy, keeping the crowd fully immersed from start to finish. The sound system at Pacha carried every detail of their intricately woven set, swelling basslines, glitchy synths, and epic moments in equal measure, driving interaction and cheers from the dancefloor. The energy was palpable throughout, with a crowd that felt fully tuned into the sonic journey unfolding before them. Visually, the night complemented the music perfectly. Pacha’s iconic production paired with Maccabi House’s underground aesthetic created an environment that was both elevated and intimate, a rare balance that enhanced the connection between the artists and the audience. This wasn’t just a label showcase; it was a statement. Adam Ten and Mita Gami didn’t just bring Maccabi House to Ibiza, they left an impressive mark on the island. For anyone lucky enough to be there, it was a reminder of what dance music can be when artists truly take risks and fully engage the audience. For us, this was a hypnotic, high-energy journey that challenged expectations and delivered something truly unique. One of the season’s early highlights at Pacha. The post Event Review: Maccabi House at Pacha Ibiza – A Night of Sonic Alchemy appeared first on Electric Mode.

In Part I of our Understanding Copyright in Music series, we explored the different types of works and copyright rights in music. In Part II we’ll discuss different types of music licenses. There are many kinds of music licenses. What and how you license will depend on the type of work you are licensing—whether it is a musical work or sound recording (or both)—and what kinds of uses you are allowing the licensee to do with your work. Below is a list of several types of music licenses and how they are used: Public Performance License A public performance license grants someone permission to play a song in public, whether to a live or online audience. Recall that a performance is considered “public” when the work is performed in a public place, at a place where a substantial number of persons outside a normal circle of friends and family are gathered, or is transmitted to the public. If someone wants to publicly perform a musical composition, they must obtain a public performance license to do so. The owners of the public performance right in the underlying musical work typically authorize a Performance Rights Organization (or PRO), such as ASCAP, BMI, SESAC, and GMR, to license these rights. As discussed in Part I, owners of sound recordings only have a public performance right when the performance occurs by means of a digital audio transmission. That right is administered by Sound Exchange. But no license would be required when the transmission of the sound recording is by a terrestrial or other non-digital transmission, for example over broadcast radio. Mechanical License A mechanical license grants someone permission to reproduce and distribute a copy of a musical work and is required when someone wants to create and distribute copies of a song—whether in physical or digital form or whether it’s a recording of an original song or a cover version. This is because in all these examples, the musical work is being copied or a copy of it is being distributed. For example, if someone wants to use the musical work in a CD, a vinyl record, or a digital download of a song, they’ll need a mechanical license. The Mechanical Licensing Collection (MLC) administers blanket mechanical licenses for musical compositions to eligible digital streaming and download services. A “blanket license” is a single license that allows the licensee to use any musical work in a catalogue. In the case of The MLC, the blanket license covers all musical works in the United States. The alternative to a blanket license is song-by-song licensing, which requires a licensee to obtain a license for every song they want to use on an individual basis. The blanket license covers interactive streams, limited downloads, and permanent downloads. The MLC does not administer public performance licenses for musical compositions (including for digital radio, or “non-interactive” streaming), and does not administer any rights for sound recordings. Other organizations also administer mechanical licenses for other uses. For example, the Harry Fox Agency issues licenses for creating and distributing cover songs. Mechanical licenses can also often be obtained directly from the music publisher. Print License A print license is a license that allows someone to rearrange, print, or display the music notes or lyrics of a musical work in print. This type of license is required to reproduce or display sheet music or lyrics of a song in printed form. The difference between a mechanical license and a print license is that a mechanical license covers audio reproductions, while a print license covers printed reproductions. Synchronization (“Sync”) License A synchronization license (“sync” license) is a license that allows someone to use a musical composition along with a video in an audio-visual work. For example, a songwriter or music publisher would grant a sync license to someone who wants to use a song in a video format, such as a movie, TV show, advertisement, or video game. It would not give them the right to use a sound recording of that musical composition. In order to use the sound recording in the audiovisual, the licensee would also need to obtain a master use license from the owner of the sound recording rights. Master Use License A master use license is a license that allows someone to use a particular sound recording in, for example, a movie, television show, or advertisement. Master use licenses are usually available from the record label. Many of the licenses listed above are particular to and only apply to the musical work. The master license is different in that it a license that someone gets from the owner of the master recording of the sound recording. Understanding Licenses is Important to Getting Compensated and to Protect Your Music Understanding your rights and the various types of music licenses is important since the terms of those licenses will specify what rights you are licensing and how someone is allowed to use your musical work or sound recording. These licenses will also specify how much and when you will be paid for allowing such use (i.e., your royalties) and for how long these payments will continue, as well as many other aspects that govern the relationship between you, the music licensor, and the person or entity who is using your music, the licensee. Don’t stop your copyright education here! Be on the lookout for Part III of our Understanding Copyright in Music series, and also be sure to check out Copyright Alliance’s FREE Creator Membership for additional educational resources. 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MQA Labs has launched two new plugins to give producers “unprecedented control” over the “critical details” in their recordings. The new plugins – named Inspira and Endura – both offer a different set of tools which each address different challenges in digital audio. They were previously teased during NAMM back in January under different names (simply called Input and Output plugins). READ MORE: The Magnolia might be the most alluring synth launched at this year’s Superbooth Inpsira is designed for mixing and recording, while Endura is built for mastering. According to MQA Labs, Inspira and Endura both employ “previously unavailable methods” not used in other plugins, and tackle a sense of “flatness” that can come across in digital recordings. By using Inspira, you can mitigate unwanted time-domain distortions that often occur during analogue-to-digital conversion. It offers two core functions: a clarity control and a section for noise shaping and dithering. For noise shaping, the UI shows a real-time rendering of the noise floor of the recording. You can then select from several predetermined shapes, while the Depth knob will shift the shaped noise up and down to achieve the maximum resolution. As for Endura, this plugin is intended for use on the Output Bus to enhance an entire mix. It gives engineers full control over temporal smearing, and hosts “advanced analysis capabilities” to generate unique noise shapers suited to each track. It offers Align and Depth functions that work together, and a ‘Learn’ mode where the noise floor is analysed to create a noise shaper customised to the recording. Following the analysis, it will return with its optimised suggestions for both Align and Depth, and will allow users to compare its custom suggestions to the standard shapers. Endura also exports in WAV and FLAC formats, ensuring that “the best-sounding masters reach any streaming service with absolute fidelity”. Spencer Chrislu, Director of Content Services at MQA Labs, states: “These tools offer engineers a new level of creative freedom, enabling them to dial into the detail of their sound. Whether they want to refine subtle nuances or make significant enhancements, creators can now deliver their music exactly as they envisioned, unlocking possibilities previously out of reach.” Inspira ($249) and Endura ($349) are available now. You can head over to MQA Labs to find out more. The post These new plugins from MQA Labs give you in-depth control over “critical details” in your recordings appeared first on MusicTech. View the full article

Things are spicing up this summer! One of EDM’s biggest trolls, and Canadian producer deadmau5 has picked his next foe. Although Joel Zimmerman has trolled artists and audiences throughout the years, his opponent, British DJ and House star James Hype, has retaliated. In what appears to be the most current beef between artists in the electronic dance scene, deadmau5 and James Hype are now directly addressing each other on social media. Timeline The beef and steak started back at Ultra Miami 2025, where deadmau5 closed out the Worldwide stage playing a set full of his classics. The artist then closed out the set while picking up the microphone to make fun of the fireworks and whoever bought the $500,000 bottle service. Then, he got tired of his outro song ‘Faxing Berlin’ and started scratching the cdjs. The sentence that started the beef was: “How do I James Hype my way out of this one?”. Finally, he followed with: ” It’s real djing, I’m just saying”. Hype didn’t stay quiet long, following the “shade” posting the clip on his socials, mixing in his newest release at the moment, ‘Don’t Wake Me Up’. Hype kept going more recently, promoting his newest live show, “Sync”. The artist used deadmau5’s logo projections to prove that you can play live and sync the visuals alongside. This is in reference to Zimmerman’s past claims that one can only sync visuals to a pre-recorded set and that it is not possible playing live. Hype ended his video with a picture of deadmau5 during one of his studio sessions while he’s eating. deadmau5 refused to let Hype have the last laugh, as he threw a barrage of comments, making fun of Hype and joked about Hype’s effort to try to undermine him. Sometime later, Zimmerman went the extra mile and responded with a flurry of posts on Instagram where he shows how he synced the cdjs to his monitor in 5 minutes. To make matters more intense, the videos show Joel playing Elden Ring, a massive successful platform game, using the decks as controllers. Nonetheless, deadmau5 loves to joke around and one of his posts states it’s “not that serious”, but is he being real, or trolling us yet again. The post Here’s All You Need to Know About that deadmau5 x James Hype Beef appeared first on EDMTunes.

‘Heart Attack’ is the latest single from breakout DJ/producer Sam Silver, featuring dynamic vocal performances from GROOVY and Cade Clair. The track is a unique melding of UK garage rhythms, emotional dance, and R&B-infused vocals, capturing raw angst and driving it forward with club energy. Right from the opening beat, ‘Heart Attack’ immerses you in the action. The pulsating bass quickly establishes the mood, followed by GROOVY’s silky smooth vocals, which effectively captivate the audience. As his verse unfolds, an anxious, urgent low-end builds beneath, creating tension until the song transitions into a stuttering sample fueled by a UK garage breakbeat. Cade Clair and Groovy both showcase unique vocal styles that harmoniously complement each other, providing a smooth, melodic contrast to the UK garage-infused track. “Heart Attack started as a late-night idea in LA and turned into a year-long obsession,” says Sam Silver. “Groovy brought the Jersey bounce, I ripped the synths, and Cade sealed the deal. The first version was cool—but we knew it could hit harder. When I sent the new drop, Groovy lost it: ‘Bro—we have to get Cade on this.’ And he crushed it. Easily one of my favorite records I’ve touched.” The lyrics narrate a story enlivened by the accompanying music video. It begins with a woman using an old school iPod, and transitions to a fantastical world populated by unusual characters in a vivid club scene. Amidst strobe lights and a sweaty, dark atmosphere, the footage alternates between Sam Silver at the DJ booth, Groovy and Cade Clair among a lively crowd, girls dancing in the crowded club, and surreal snapshots reflecting the track’s emotional turmoil. The video showcases various chaotic elements; from a man performing shirtless curls on the dancefloor to a snorkeler in flippers, a horse-headed raver, and a mime-like dancer. It culminates dramatically with a girl collapsing in the crowd, as chaos ensues and the music fades, symbolizing the physical and emotional “heart attack” the song conveys. Speaking on the meaning behind the single, Groovy explains: “Heart Attack captures its name in every way. The feeling of panic and chaos when let down emotionally triggers physical symptoms. Impending doom, a pit in your stomach, a situation that just doesn’t get better no matter how positive you remain. That’s a heart attack, that’s the song.” Heart Attack is out now on Boom Records The post Sam Silver x Groovy x Cade Clair – Heart Attack appeared first on EDMTunes.

Global dance music powerhouse Vicetone is excited to release their poignant new single, “Over Too Soon”, via Monstercat. Known for their infectious melodies and emotive production, the Dutch duo, comprised of childhood friends Ruben den Boer and Victor Pool, once again tap into deep emotion with this heartfelt track. “‘This record is about that bittersweet feeling when you’re seeing someone new for a while and it ends too soon—even if it may have never worked out. We love the emotion behind the vocal and wanted the music to invoke that feeling of bittersweet, melancholic gratitude.” vicetone With a career spanning over a decade, Vicetone has solidified their place as leaders in the electronic music world, boasting over a billion streams, multiple platinum and gold certifications, and a fiercely loyal global fan base. Beyond their studio success, Ruben and Victor continue to push creative boundaries, building their own custom Nashville recording space as a true reflection of their passion for sound design and craftsmanship. Recently, Vicetone brought their artistry to a new level with the live debut of their groundbreaking PROJECT V concept in China. This unique show, which took place on April 18 in Chengdu and April 19 and 20 in Guangzhou, featured a collaboration with traditional Chinese musicians accompanying Vicetone on stage while performing their biggest hits. The performances blended Eastern and Western sounds in a breathtaking display that thrilled audiences and marked an exciting new chapter in Vicetone’s live experience. Watch a clip from their unforgettable PROJECT V shows on Instagram and download the track here. As they continue to push boundaries, “Over Too Soon” promises to be another standout moment in Vicetone’s dynamic career – a track that captures the fleeting beauty of connection with their signature emotional depth and dancefloor-ready energy. “Over Too Soon” is available now on all streaming platforms. The post Vicetone unveils new single “Over Too Soon” after making history with PROJECT V launch appeared first on EDMTunes.

For a limited time, you can save up to 25 per cent off Ableton Live 12 Standard and Suite purchases, including upgrades, at Sweetwater and Thomann. That equals a saving of up to $225, so now is probably the best time to download the DAW if you’ve been holding out. Deals on Ableton Live don’t come around often, with the last one happening over Black Friday and Cyber Monday 2024. This flash deal isn’t hanging about long, either — you’ve only got until 19 May 2025 to get your hands on it. In cash terms, the deal means that new users to Live 12 can pick up Live 12 Suite for $525 (saving you $225) and Live 12 Standard for $373 (saving you $66). Meanwhile, owners of Ableton Live Lite, Intro, Standard and Suite versions 7 through to 11 can make some killer savings on upgrade prices, too. [deals ids=”tYq1v1oPx2sDx1GQTk9DK”] Ableton Live 12 is currently one of the most popular DAWs on the planet, used by myriad producers in electronic, hip-hop, pop and alternative music. We scored Ableton Live 12 a 9/10 in our review in 2024, praising its new MIDI editing and MIDI generation tools, powerful browsing features and calling it “the best clip-based DAW around.” But which version should you get? Well, Ableton Live 12 Standard edition has 13 instruments, 16 sound packs and 42 effects, and the full-fat Suite version provides 20 instruments, 33 sound packs and 58 audio effects. If you’re looking for a vast sound palette, Suite will be tremendous value for you; if you’ve already got a ton of third-party plugins and a big sound library, you can probably save a few bucks and go for Standard. In our review, we added: “Ableton has pulled off the trick of keeping Live fun and accessible on the surface while providing a great depth of tweakability (much more so now than in the earlier years) and including heavyweight extras like the Max For Live design environment with the Suite edition,” we said in the review. “Many users will find that the Standard edition suits their needs perfectly well, since the main thing you gain with the pricier Suite is more instruments and effects – otherwise the functionality is essentially the same.” Check out the deal at Thomann and Sweetwater. The post Ableton Live 12 is now 25% off — but not for long appeared first on MusicTech. View the full article

‘Dynamite’ was the hotly anticipated sixth album from the band. It followed the release of their 2001 album ‘A Funk Odyssey’ that had garnered critical and commercial success globally. Also in the intervening period between the two albums, the band were exposed to rafts of new fans when their 1999 track ‘Canned Heat’ became the focal point of cult-turned-smash-hit movie Napoleon Dynamite (2004) when the movie’s namesake lead performed his now infamous dance. Originally released in the UK on 20 June 2005, its lead signal and first track on the record ‘Feels Just Like It Should’ became the bands fourth number-one on the US Dance Chart that also broke into the UK Top 10 Singles Chart and was accompanied with a Grammy Award nominated video that features Jay Kay going from nerd to himself and also adopt the role of the Candyman. ‘Dynamite’, like all of their previous albums, continued their great album chart success, this time entering at number three. The second single, ‘Seven Days in Sunny June’ entered the top 15 and in 2006 saw the band’s relationship with smash hit movies continue, appearing in The Devil Wears Prada. ‘(Don’t) Give Hate A Chance’ was released as the third single, once again featuring a hugely captivating video this time with an animation of the band’s infamous ‘Buffaloman’ logo throwing some signature Jay dance moves. This reissue continues the ongoing celebration of Jamiroquai with the albums ‘The Return Of The Space Cowboy’, ‘Travelling Without Moving’,‘Emergency On Planet Earth’, ‘A Funk Odyssey’ and ‘High Times: The Singles 1992-2006’ all available on vinyl again, some with bonus material. Check out Jamiroquai’s official store. Jamiroquai, The Heels Of Steel tour comes through the UK later this year, find out more at www.jamiroquai.com/events, UK dates below. Wednesday 3 December – The OVO Hydro, Glasgow Saturday 6 December – CO-OP Live, Manchester Tuesday 9 December – The O2 Arena, London Friday 12 December – Utilita Arena, Birmingham Sunday 14 December – The O2 Arena, London To be released on 13 June, it can be pre-ordered now here https://jamiroquai.bio.to/Dynamite20 The post Celebrating its 20th anniversary, Jamiroquai’s ‘Dynamite’ is to be released as a double-LP set on Dynamite Smoke vinyl appeared first on Decoded Magazine.

The deadmau5 and James Hype feud is far from over it seems, as deadmau5 is now truly flexing his muscles when it comes to showing his CDJ skills. How? By using it as a controller to play Elden Ring. The disagreement began as Hype shared a promotional video to his Instagram earlier this week to promote his new live show, SYNC. In it, he references old comments made by deadmau5 (which he has since claimed were taken out of context) during a livestream in 2021, when he suggested that most DJs play pre-recorded sets at large events. READ MORE: “A lot of artists need to understand that it’s part of music production”: Myd on overcoming the fear of a blank DAW In the video from Hype, he says his new live show really is live, and triggers the deadmau5 logo and a large image of him to flash up around his set up in response to the music he plays. Of course, the ever outspoken deadmau5 didn’t simply ignore this clip, and responded across multiple comments and in two response videos of his own. In one video, he was seen using a CDJ to control his movements in the Elden Ring video game, and he hasn’t quite stopped there. In another video, he’s now shown himself using his CDJ-3000 to fight what is the game’s toughest boss, demigod Malenia. Though he does die in the conflict, viewers are still rather impressed. However, one Instagram user comments, “I don’t think it’s about James Hype anymore lol”. The video shows the first bit of in-game conflict tackled using the CDJ, but deadmau5 has also shared some other clips giving a little insight into how he set it up which you can view below. Hype has not yet replied directly to these comments or videos from deadmau5, but has since shared a story promoting his appearance at EDC festival in Las Vegas on Sunday which also shows a sign reading “heat warning” and some eye emojis. Deadmau5’s next live appearance will be on 31 May at Forbidden Kingdom for a DnB set. You can view the video below: View the full lists of scheduled live dates for both James Hype and deadmau5. The post Deadmau5 turns CDJ-3000 into Elden Ring controller – and fights the hardest boss in the game appeared first on MusicTech. View the full article

Spotify’s AI DJ feature has been given an update, and you can now personalise the music it plays using voice control. Up until now, DJ X – who commentates between plays – has not been interactive, with only the ability to change the music it plays by skipping tracks using regular controls. Now, by simply using your voice, you can ask the DJ for requests to match whatever mood you’re in. READ MORE: Best Spotify alternatives in 2025 for music listening and discovery Spotify’s DJ feature is available to its premium subscribers only, across more than 60 markets. The new request feature is only available in the English language for now. Spotify also notes that the feature is still in its beta testing phase, and won’t produce results for non-music-related requests, like audiobooks or podcasts. However, DJ can handle a combination of genre, mood, artist, or activity-related voice requests. To use it, open up the DJ feature on Spotify (you can do this through the search tool) and simply press play. When you’re ready to switch up the music, press and hold the DJ button in the right-hand corner, and it will beep when ready to listen. “We know that listeners have asked for more ways to interact with DJ and enjoy more control over their listening sessions. That’s why we’re excited to share that DJ is now taking music requests, giving Premium users in more than 60 markets an entirely new way to curate the vibe of their listening sessions in real time,” comments Spotify. “Serving up suggestions using AI and insights from our global editorial experts, DJ helps you uncover new tracks, rediscover old favourites, and connect deeply with the music you love.” In other Spotify news, the streaming platform recently celebrated even more user growth, as across the first quarter of the year, it recorded its highest subscriber net adds since 2020. In its new Q1 report, Spotify also revealed a record high operating income (its profit after deducting operating expenses), which rose to €509 million across the quarter, and a premium subscriber count of 268 million – an increase of 12 per cent year over year, marking the the second-highest Q1 in Spotify’s history. You can find out more about Spotify and its AI DJ feature via the Spotify Newsroom. The post Spotify’s AI DJ now takes requests appeared first on MusicTech. View the full article

Three powerhouse names in electronic music—Mangoo, Alex Pizzuti, and Mark Neve—have come together to deliver an unforgettable collaboration. Their new single, “Moments”, is set for release on May 9th, blending cinematic emotion with dancefloor-ready energy in a track that captures the bittersweet tension between heartbreak and hope. Driven by atmospheric synths, pulsing percussion, and a euphoric drop, “Moments” strikes a perfect balance between heartfelt songwriting and high-impact production. The emotional core is encapsulated in the line: “I’m still hangin’ on moments / Back when nothing was broken”—a poignant reflection that will resonate deeply with listeners navigating the complexities of lost love. This collaboration brings together three distinct artistic visions: Mangoo – The Swedish producer behind the cult classic “Eurodancer”, which became a viral sensation in the early 2000s and inspired a generation of electronic artists. His 2019 rework of the track, “Play” (with K-391, Alan Walker, and Martin Tungevaag), has surpassed 280 million Spotify streams, with chart-topping success across Norway, Finland, Sweden, and Indonesia. Alex Pizzuti – A leading figure in the Future House scene, the Italian DJ and producer has worked with top-tier labels including Revealed Recordings, Hexagon, and Sony Music. His tracks like “Vibe” and “Bla Bla Bla” have dominated Beatport charts and festival stages, while his reimagining of “Memories” received support from David Guetta and Don Diablo. Mark Neve – Known for fusing emotional storytelling with melodic dance energy, the Italian producer made waves in 2023 with “Delilah” (with Mikolas Josef), amassing 62+ million streams and reaching #10 on Czech radio and #3 on iTunes. His sound resonates with fans who crave authenticity in electronic music. “Moments” is a natural evolution for all three artists, fusing nostalgic sentiment with modern production to create a track that feels as at home on the biggest editorial playlists as it does on festival main stages or late-night drives. With early buzz building across social media and DSPs, “Moments” is poised to become a standout release of the season—offering emotional depth, replay value, and crossover appeal to both mainstream and dance music audiences alike. The post Mangoo, Alex Pizzuti, Mark Neve Team Up For “Moments” appeared first on Electric Mode.

The red hot Louis Bekk unveils his much-anticipated production debut with brilliant new single, ‘All I Need’ on [PIAS] Électronique out Tuesday 13th May. This stunning first release very much embodies the unique sound Bekk has become known for in his DJ sets. ‘All I Need’ is a brilliant mix of pulsing beats with the singer’s own emotive vocals making for a fresh take on contemporary dance-pop. It has an airy, summery feel with sweeping drums and textured pads lifting dancers off their feet and sending shivers down the spine with the falsetto vocal. Louis Bekk is a scene-leading French DJ and producer based in London signed to PIAS Électronique after gaining momentum through a series of viral moments everywhere from boxing rings to matcha shops. He has racked up 100M+ views in total and sold out every one of his single shows at places like KOKO and other 1500 capacity venues in London, all thanks to having built such a strong community of fans who follow him wherever he goes. Blending the groove of French touch with UKG-influenced emotional electronica, his sound draws comparisons to acts like Fred again and Overmono. With his unique sound and musical philosophy, Louis champions a return to authentic, inclusive dance culture and has a vast and ever growing community and strong social presence. His DIY ethos and charismatic style have attracted attention from brands seeking cultural impact and he is now positioned perfectly at the intersection of underground rave culture and mainstream electronic appeal. This is a standout sound from the brilliant Louis Bekk. Upcoming shows As a standout in the pop up show scene, Bekk has plenty planned including a DJ set on top of a bus while it moves through London, a set on top of two residential buildings at Embassy Gardens, which is home to the world’s first suspended infinity pool, and a secret set at Piccadilly Circus with the exact location revealed just hours beforehand. BUY / STREAM: LOUIS BEKK – ‘ALL I NEED’ HERE Louis Bekk https://www.instagram.com/louis.bekk/ [PIAS] Électronique https://www.instagram.com/piaselectronique/ The post Louis Bekk delivers first single “All I Need” on [PIAS] Électronique appeared first on Electric Mode.

NOW HERE by Paco Osuna unveils its lineup for its fourth season, set to take place every Tuesday at Hï Ibiza Club Room from June 17 to September 30. After unforgettable nights in cities like Miami, New York, and Amsterdam, and two memorable full club takeovers at Hï Ibiza, Paco Osuna and his concept NOW HERE are ready to embark on their fourth season at their alma mater and the world’s best club, with a stellar lineup where returning favorites and fresh additions will come together for a remarkable summer season. On June 17, Paco Osuna and the NOW HERE family will kick off the Tuesday summer madness in the Club Room of Hï, presenting 16 vibrant dates through September 30, with a lineup featuring 30 outstanding artists. “This season, I want to convey the same energy and values I’ve carried over the past three years: love for music and passion for the art of DJing, not just mine, but also that of the invited artists. My goal is to keep honoring and highlighting the core foundations of this profession: creativity, boldness, the willingness to experiment, stepping outside the comfort zone, and the constant drive to evolve, both behind the decks and in front of the crowd… As I do every year, I’ve invited new artists who are starting to make their mark on the electronic scene and who will have a space within NOW HERE to express themselves and showcase their music.” PACO OSUNA NOW HERE is about the feeling and experience of living and enjoying the present moment, about the love for music as the medium to evoke emotions. Guided by this philosophy, Paco Osuna continues the journey he began three years ago in Ibiza and returns this summer to further cement the niche he has carved into the island’s history. NOW HERE 2025 SEASON ARTISTS: ARIEL RODZ, CHRIS DI PERRI, CLASSMATIC, DAVID LOWE, DE LA SWING, FER BR, FRANKY RIZARDO, GRUUVELEMENT’S, HECTOR, IGLESIAS, ILARIO ALICANTE, JOËLLA JACKSON, LATMUN, MAHONY X WHEATS , MANDA MOOR, MANU GONZALEZ, MELANIE RIBBE, NICOLE MOUDABER, PACO OSUNA, RAFA BARRIOS, REBOOT, REELOW, RENDHER, RIAZ DHANANI, ROB STILLEKENS, RSQUARED, SOSA, TOMAN, VANEE, YOUNIVERSE. The post Paco Osuna Unveils Stacked Line up for NOW HERE at Hï Ibiza appeared first on Electric Mode.

If there’s one thing we’ve come to expect from Forbidden Society, it’s his unwavering commitment to pushing boundaries and making bold, uncompromising moves. Whether it’s through his explosive productions, razor-sharp DJ sets, or entrepreneurial ventures, he has never been one to play it safe. Forbidden Society’s journey began in earnest with his first official studio release in 2004. Since then, his trajectory has been anything but ordinary. He initially released music through respected labels like Jungle Therapy Records and T3K before realizing that the sound he was nurturing needed its own home—one that would allow him full creative control. That’s when Forbidden Society Recordings was born. Musically, Forbidden Society has never allowed himself to be pigeonholed to a specific style. While his roots remain firmly planted in drum & bass, his productions have consistently absorbed elements from techno, electro, punk, and halftime, creating a hybrid that’s both destructive and meticulously crafted. Expanding his influence even further, Forbidden Society has expanded his brand by launching his own line of clothing which serves to be another extension of his commitment to crafting a culture around his music. The clothing brand echoes the same aesthetic found in his tracks: bold, dark, and raw. 2024 proved to be a transformative year for Forbidden Society, with the release of Lonely Road on VISION Recordings serving as its centrepiece. The album unveiled a more introspective dimension of the Czech producer’s artistry which honoured his foundational sound while fearlessly venturing into new creative frontiers. This artistic evolution led to the release of To The Threshold 2, where he masterfully reimagined the neurofunk landscape while maintaining that unmistakable Czech-bred sonic velocity. The momentum only intensified with his explosive contribution to VISION’s Mission 03 compilation, placing him alongside bass music’s most innovative voices. As Forbidden Society stands poised to unleash the next phase of his musical evolution, we caught up with the visionary artist to discuss the philosophy behind Lonely Road, the resurgence of To The Threshold, and what lies ahead on his uncompromising creative path. You closed the year with ‘To The Threshold Part 2’ featuring your typical Forbidden Society styles. An ideal way to end the year with a collection of tracks, don’t you think? Yes, I had planned to do something like this for a long time, and it turned out to be at the end of the year. I must say that I am incredibly grateful for the support the album has received so far, especially from the fans who have been asking for something like this for years. The plan was to create a hard and uncompromising album that focuses on rawness and volume, without focusing on clinical precision in edits and mixdowns. I wanted to keep it pure and raw, just like in the early days. And ‘Part 2’ follows the first edition from 2012. What inspired you to return to this project and create its second part? My fans were the ones who pushed me towards this idea, as they had been asking for it for years. For many years, I received messages saying that people would love to hear the old, hard FS sound again, and they told me this even at events. At that time, it wasn’t the right moment. Creating something like this requires a certain mindset and energy, which came after the release of the ‘Lonely Road’ album on VISION, where I wanted to be the complete opposite—clinically clean and absolutely precise in everything, because it was something you only do once in a lifetime, or at least that’s how I feel about it. After the VISION album, I simply wanted to do the complete opposite—something truly extreme, without compromise, and to forget everything I had learned up until then and go back to my roots. I have to say it ended up coming together quite easily, and I rediscovered what I had within me many years ago. I would just like to add that this album was a sort of reflection and tribute to that style and to my fans. It was for them. I don’t expect to return to this style permanently; I like where I am with my production now, and it suits me. I won’t be going back to hard DnB. I’ll leave that to the people who are still producing it and enjoying it. After Lonely Road’s introspection, was this sequel about reclaiming your hardest roots? Yes, you could say that in a way, I did a small review of my past in DnB. I wanted to follow up on the original album from 2012, which, in its way, made a stir in the scene, and I still remember the reactions to tracks like ‘Cobra,’ which, even after all these years, still works when I play it. Hard DnB, in general, isn’t very popular anymore, but it could make a comeback—who knows? With this album, I wanted to pay tribute to this style and to my fans who have been with me from the beginning. I am also, in a way, grateful to it for getting me to where I was at that time. Now, I think I made a certain impact in my own way. What has the year 2024 been like from the perspective of Forbidden Society Recordings? As the owner of the label, I am satisfied, and I must say that everything released under the label has received the attention it deserved. I am aware that other labels may be doing much better, but I am humble, and it suits me to release what I believe is right, when I believe it’s right. I have my fans who regularly support me and the label, and that is what matters to me. I don’t chase numbers, nor do I feed my ego by posting how high my track is on the charts. What’s important to me is whether I’m happy with what’s being released on my label and if I feel good about it—and that’s certainly the case this year. We released the EPs Refused, Revelation, and at the end of the year, To The Threshold Part 2. From deep stuff to 140, Garage, Techno, and hard DnB, you could say it’s been a really wide range of different styles. My label isn’t just about DnB; we also release other styles of electronic music. You could say that I simply release what I enjoy. Additionally, my label has been focusing on label nights. I used to co-organize label nights all over Europe, but because I handle everything myself—from management to bookings, the music, and even looking after my clothing brand—I realized it was too much. I want to do these things properly, and in my opinion, the only way to manage them well is to focus on just a few things. Label Nights are now twice a year—once at Fabric in Ostrava, which I believe is the best club in the Czech Republic, and at the Beats For Love festival, where for several years now, I’ve been in charge of the last day on the DnB stage with my label night, closing the festival. Personally, it’s my favourite festival where I have the honour to play and present my brand, along with the people who support it. From first conversations with VISION to final master – what were the key moments in bringing this album to life? I still remember exactly how it all started. In 2016, I underwent a sort of transformation where I switched to deep DnB and 140. By that time, I was already quite tired of the hard sound I had been producing, and as a person and producer, I can’t stand staying in one place. I love change, developing, discovering, and I realized that these genres could also be hard and dark but in a different way. I became incredibly excited to dive into that sound and make it my own. This led to the creation of the Fog Walk album, which really surprised a lot of people—it was something completely different from what they expected from me, and I received great support for it. Honestly, I was scared at first, wondering if my fans would condemn me or accept it, but they accepted it, and surprisingly, I got positive feedback. So, without me personally sending it anywhere, the album somehow made its way to NOISIA or Vision Recordings. I still remember that Martijn played one track right away as the first on Vision Radio with a really nice intro. In the next two or three episodes, I had another track premiered on their Vision Radio by Thys and Nik. That’s when I thought it might be worth sending them some demos, and I remember that from that, the Subworld EP emerged as my first release on VISION. Since then, I’ve collaborated with them on other projects, including tracks on their Mission compilations, remixes of Noisia & Mayhem feat. KRS One – Exodus, I Am Legion – Choosing For You, and the previously mentioned Lonely Road album. VISION is like my family. They are extremely perceptive and empathetic people who understand what you want to express with your music. They’re also incredible professionals and won’t release anything they don’t fully stand behind. It’s well known that working for them on something is extremely challenging, but that’s the right way to do it. Personally, it has pushed me a lot, both in terms of production and overall as a person—how to view music in general, knowing that it’s not just a money and numbers machine, but that it has a deeper value. VISION handpicked 13 tracks from your catalogue for this release. What was that selection process like from your perspective? Well, the process worked like this: I spent weeks, maybe months, working on demos that I gradually sent to the label. From that pool, 13 tracks (actually 15, since there are two bonus tracks on the vinyl version) made the cut, and I then worked hard on refining and perfecting them. The main decision-maker was Nik Roos (Noisia, Sleepnet), who, in my opinion, is the best electronic music producer ever. He has an incredible sense of precision, understands what you want to express with the track, and can guide you precisely on where the track should go, including the sound. It was an incredible honour to receive feedback from someone like him, and it really pushed me forward. I worked on the project for two years, and the fact that the label chose me to release an album on their label is an unbelievable honour and, personally, the achievement of my own Mount Everest. The process was beautiful—I remember running to the studio to work on these tracks, unable to sleep because I couldn’t wait to turn on my PC and get to work. It was extremely demanding, but I love challenges, and I really enjoyed how tough it was. There’s a raw, introspective quality to ‘Lonely Road’ – was there a particular headspace or life chapter that defined this album’s mood? The album is very personal; I really opened up as a person, which I’m not used to. I keep my private life to myself, I don’t talk much to people, I don’t belong to any crew or group. You could say I’m quite an introvert, ADHD, OCD, and autistic, and it sometimes makes it hard for me to open up. But VISION was a place where I felt safe to express myself as an artist. I had the chance to get to know these people, and I trust them. The inspiration came from everything that’s happened to me in life, both the good and the bad—it’s about life. As for my development, as I mentioned before, it pushed me a lot, especially in terms of production and working with sound. I’m focusing more on those things now, and I go deeper into everything—I don’t rush anything. You can hear that in the tracks, they have their own longevity, and that’s what I wanted—to make sure they have life, not just numbers. On the album, there are tracks like Lonely Road, which is melodic and melancholic, where I used melodies—something I hadn’t done much before. It was one of the hardest to finish because it’s so personal. At that time, I was going through a phase where I kept asking myself if what I was doing even made sense—away from my family, friends, on the road with strangers. In the end, everything worked out, and those were great events, but it’s a reminder that sometimes you’re on the edge, and when you give something of yourself and sacrifice something, incredible things can happen if you follow your path and have people who support you. Then there’s a track like Empty Field, where I wanted to do 172 Techno, a reminder of how I started—fields, Tekkno, Free Tek, Spiral Tribe, etc. Spirit Animal was meant to be a 160 old-school jungle track but with a new twist. Addict, Morph, Reaching Zero are deeper, minimal tracks where I wanted to use as few elements as possible, and that was a challenge for me because I tend to put too many things in—sometimes too many samples, MIDI, etc. Deep Blue is UK Garage but in my version. I love melodic bass lines in Garage with vocals. Picture of Us is another very personal track—it was a difficult time for me, and the track somehow reflects what was happening. Sunrise is an ambient piece where I was in the studio until morning, and as the sun came up, it was such a magical moment that I still remember fondly. Wish, Posers, Reconnect are my personal vision of 140, which I love producing. Echoes of Desolation is a strange one. I remember it was a track that came together in about 3 hours—it just flowed naturally. I like melodic lines mixed with 808 bass, and it somehow worked out here. Leave It is a roller that came to me after an event where I played with Alix. I remember rushing from the event to the studio, and even at 4 AM, I started working on it because I just couldn’t get the idea out of my head. End Line is the closing track of the album—ambient and melancholic, reflecting the overall mood of the album. The tracks on the album have interesting titles. How did you approach naming them? Honestly, I thought about it quite a lot, but the inspiration came from personal things, the overall vibe of each track, or simply what came to mind during the process of creating certain tracks. I definitely thought about what each track would be called. The album title itself reflects the overall message, which is independence. Personally, I believe that when a person is independent, they are truly free—not only in music but in other areas of life as well. It’s about not relying on others, but always following your own path, and if there’s no path, you create one. That’s the message of the album. Did you enter the ‘Lonely Road’ project with a specific sonic philosophy or unifying vision that guided your creative decisions? No, I let it flow freely. I wanted the album to include styles of music that I like and push them in a certain direction, in my own way. I just wanted to go beyond my limits and do something I’ve never done before, and I really enjoyed it. I even watched tutorials on how certain things are done to get to where I wanted to be with specific elements, because some of these tracks, even though it may sound strange, required certain production progress from me—like with tonalities, chords, etc. Honestly, I didn’t understand much about tonalities or chords, I don’t play any instruments, and I don’t know music theory, so I’d say I’ve developed in that area as well. When working on the Lonely Road album, but also with other things I do in production, everything is adjusted to the work in the studio. That means my diet, sleep, exercise—swimming, cycling, regular sauna visits, and spending a lot of time in nature. It’s all about preparing my mind for the studio; that’s crucial for me, and lots of coffee. I also have certain hours when I think I’m most productive, and I try to stick to that. It’s also important to take breaks and rest sometimes. When your mind isn’t always focused only on music and is given the chance to focus on something else, I believe it helps a lot. I’ve had a family for four years, so they take very good care of me too How do you see your role in both advancing Czech drum & bass globally while keeping its local spirit alive? In the Czech Republic, we’ve been connected for years. It doesn’t really matter what or where I release my music, people here know me, they know I’m their Jindra – FS, and that they don’t really know what to expect from me, as I like to experiment. That’s why I’m glad they accepted my change in 2016 when I transitioned from hard DnB to a deeper sound. I have a very friendly and personal relationship with my fans, and I value that. They are the ones who pay for our entrance to clubs and open-air events, buy merch, and allow us to do what we love, letting us make a living out of it. They also know that I’m just a normal person made of flesh and bones, that I go to the bathroom and eat bread with butter like they do—there’s no need to pretend. This is something that bothers me about other DJs and producers. I’ve noticed that lately, many DJs and producers have changed their behaviour, and I’m not sure exactly why. Maybe it’s just my perception, but it seems that a lot of personal ego and a chase for numbers are influencing things, with the desire to flaunt everything on social media. But I don’t want to start a ‘boomers’ debate about how things used to be and how they are now. Personally, I think we should all pull together, support each other—that’s the strength, and a bit of humility doesn’t hurt either. It’s important to realize that nothing lasts forever, and that’s how I’ve approached it from the beginning. A great example is Covid, when suddenly we were all at home and couldn’t do anything—everything could end overnight, and you have to approach it that way. That’s my personal opinion—people aren’t stupid, they can tell who and how someone behaves. The worst thing for me is the online fake humility and modesty when you know it’s otherwise. Your latest track, Warp Line, just dropped on Vision Recordings. What was the inspiration behind this tune? The inspiration behind Warp Line came from a slow metal bass riff in one of Machine Head’s tracks I was listening to while driving to a gig. I mean the bassline — I’m a big metal fan, especially the old-school stuff, not really into the new wave. That riff just stuck with me and sparked the whole idea. The track has a signature blend of raw energy and intricate sound design. Can you walk us through your production process on this one? Like I said, the bass riff was inspired by that metal track. It’s actually pretty simple, and compared to my other tunes, this one came together pretty fast. One of those where you’re just in the zone and everything clicks. I only revisited the mixdown before the release to make it sound more up-to-date. I learn something new about mixing pretty much every day, so I applied the latest tricks on this one too. It’s meant to sound loud, dark, and hard — in its own way. You’ve got an upcoming EP on Neksus Sound—can you give us a sneak peek into what fans can expect? Any particular themes or stylistic shifts? Honestly, I went a bit crazy on this EP. The label gave me complete freedom, so I did exactly what I felt like doing. It’s definitely heavy and chaotic. I think it fits the Neksus Sound aesthetic well. I love what Nessus and the team are doing at the moment, so I was stoked to be able to release a full EP with them. How does this EP compare to your previous work? Were there any new techniques or experiments you explored in the studio? It’s definitely heavier and more chaotic than my recent releases. I pushed the sound design more into distortion and saturation, experimented with unusual FX chains and layering. Also played a lot with dynamics – some parts are super minimal and then it hits hard again. It’s raw, unpolished on purpose, more instinctive than calculated. That was the main goal – not to overthink, just go with the energy. You’ve expanded your brand with several Forbidden Wear collections, with the latest one for 2025 now available. How do these fashion projects complement your music, and what inspired you to venture into fashion?” In the beginning, it was simply that I wanted to have my own merch, so that people could wear something that connects with both my music and my clothing. It started with my logo on t-shirts and hoodies, and now my brand is celebrating its 10th anniversary. My collections are ultra-limited; for example, I might have only 30 t-shirts and 10 hoodies, which I think makes them more interesting for people. I also create all the content and designs myself, and each one has to tell a story and carry a message. A lot of the designs have a punk, anti-establishment vibe—I really like Orwell’s dystopian novel 1984, as well as Illuminati symbols and symbolism in general. I’m planning to release four new collections in January 2025, where I’ve reached out to three new designers who will be working for me for the first time. The designs will be something different, as I can’t stand staying stagnant—just like with my music, I want Forbidden Wear to keep evolving. The products are eco-friendly, and I try to keep everything aligned ith sustainability. Of course, it’s not 100% yet, but I’m working towards making it better in the future. The Czech drum & bass scene has always had such a distinctive energy. As we move through 2025, how would you characterize its evolution – and where do you see yourself fitting into shaping its next chapter? Honestly, the Czech Republic is well-known for its drum & bass scene. Almost every weekend there’s an event happening somewhere, so I’d say it’s truly alive and active. We have the biggest DnB festival in the world, Let It Roll, where I’ve had the honor of playing for several years. Ostrava and its surroundings also have a huge DnB base, where almost everyone lives and breathes the music. There’s Fabric club, which has a long tradition, and the Beats For Love festival, which originally focused on DnB and regularly invites the biggest names from the scene. As for my role, I just do my thing, and that’s it. I don’t push myself into anything that doesn’t feel right. There’s a lot of new young and talented DJs and producers coming up, and I’m happy to be part of it all, but I stay true to my own path. Apart from releasing music and organizing events, what are your broader goals for 2025, both personally and professionally? I don’t really set specific goals, because that often leads to disappointment. I’ll just see what happens. I’ll keep creating music, performing at events, and enjoying life as it comes! Forbidden Society: Instagram | Facebook

Barcelona’s iconic Sónar Festival returns in June 2025 with what is arguably one of its most ambitious and forward-thinking lineups to date. Marking its 32nd edition, Sónar 2025 will take place from June 10 to 15, transforming the Catalan capital into a global epicenter of music, technology, and artistic exploration. With over 200 performances and activities across 10 stages, Sónar by Day, Sónar by Night, and the pioneering Sónar+D all promise to deliver an exhilarating fusion of sound, art, and future-facing thought. Nathy Peluso Premieres Grasa and Club Grasa Among the most talked-about moments of the festival will be the Spanish premiere of Grasa, the brand-new live show by Latin Grammy-winning artist Nathy Peluso. Known for her electrifying stage presence and genre-defying music, Peluso will perform twice on Saturday, June 14. In addition to her headline set, she’ll unveil Club Grasa, a DJ performance that dives into her electronic influences—an exciting first for Spanish audiences. Peluso is just one of several artists using Sónar as a platform for exclusive premieres. From boundary-pushing performances to audiovisual spectacles, this year’s festival is designed to surprise, challenge, and inspire. Exclusive Performances and Artistic Collaborations Other live debuts not to miss include a new show from Arca, fresh off her Coachella appearance; the return of British visionary Matthew Herbert in collaboration with vocalist and percussionist Momoko Hill; and a moving tribute to Ryuichi Sakamoto from Alva Noto & Fennesz. UK rapper Pa Salieu, avant-garde Spanish duo Raül Refree + Niño de Elche, and genre-defying French duo Polo & Pan further add to the festival’s musical richness. In one of the festival’s most compelling multidisciplinary collaborations, French electronic artist Rone joins forces with (LA)HORDE and the Ballet National de Marseille to present Room with a View. This politically charged, emotionally driven piece will be performed for the first time at a music festival—merging contemporary dance, bold visual design, and experimental music. Monumental Audiovisual Shows and Dancefloor Icons Sónar is known for staging large-scale, immersive experiences, and 2025 is no exception. Headliners like Eric Prydz, Peggy Gou, BICEP, and Max Cooper will bring full-scale audiovisual performances with cutting-edge visuals and light design. Japanese artist-technologist Daito Manabe will debut a high-impact live show at Sónar by Night, following years of collaboration with Sónar by Day. The DJ lineup is equally formidable. Festival regular Four Tet returns, joined by Helena Hauff, Honey Dijon, Dixon, Jayda G, Vintage Culture, Barry Can’t Swim, and MOCHAKK. Notably, several special back-to-back sets will make history: Skrillex b2b Blawan, Dee Diggs b2b Ultra Naté (who famously sang “Free”), and trance legend Armin van Buuren b2b Indira Paganotto. This year will also be the last edition to feature Sónar by Day at the emblematic Fira Montjuïc location, with a special “Sun-Sets” series headlined by MOCHAKK (Thursday), Honey Dijon (Friday), and Overmono (Saturday). Celebrating Global and Local Sounds True to its ethos, Sónar continues to champion global underground music alongside Catalan and Spanish talents. Standouts from the local scene include the debut of Ama by Maria Arnal, a show developed as part of the AI & Music initiative supported by S+T+ARTS. Also taking the stage are Alizzz, Mushka, Tarta Relena, and Chano Domínguez & Bronquio. Meanwhile, the lineup dives into genre-spanning innovation with jungle from Tim Reaper, baile funk from Anderson do Paraíso, ghetto house from MCR-T, and hybrid DJ/live sets from artists like DJ HEARTSTRING and Saoirse b2b Ryan Elliott. Latin American voices have strong representation this year, including Safety Trance, Dengue Dengue Dengue, Six Sex, Maria Latina, and the Brazilian experimentalist KEBRA. Sónar+D 2025: Art, AI, and Creative Futures Running in parallel with the music program is Sónar+D, the festival’s long-standing congress on creative technologies, digital art, and future culture. In 2025, Sónar+D takes on the theme of AI in creativity, organized around three key pillars: AI + Creativity, Imagining the Future of Creative Industries, and Worlds to Come. The program includes roundtables, masterclasses, workshops, and experimental showcases featuring artists, scientists, and thinkers from the worlds of quantum computing, engineering, performance, and speculative design. Expect imaginative explorations of human-machine collaboration, new interface possibilities, and the cultural shifts being catalyzed by emerging tech. Collaborations with institutions like the Barbican (London) and BAU College of Arts and Design Barcelona have led to groundbreaking projects such as Sensitive Interface, an accessibility-focused R&D project hosted at the Mies van der Rohe Pavilion. International Collaborations and the TIMES Network Sónar 2025 plays a key role in the TIMES initiative (The Independent Movement for the Electronic Scenes), a European Commission-backed network fostering experimental collaborations across festivals. The results are stunning: Actress and Suzanne Ciani will present Concrète Waves, an exploration of analog synthesis and ambient improvisation. Other TIMES highlights include performances from Shapednoise & Sevi Iko Dømochevsky, Grand River & Abul Mogard, and violinist ASIA in partnership with Italy’s Terraforma festival. Two artistic residencies also emerge from the TIMES program. A Forbidden Distance reflects on migration and identity, while Białowieża brings field recordings from one of Europe’s last primeval forests into the context of live performance. The Talk, inspired by the ancient Antikythera mechanism, fuses installation and sound art in an experimental take on communication, memory, and knowledge. Beyond the Festival: Sónar Week and OFFSónar Sónar Week 2025 expands the festival’s footprint across the city, integrating exhibitions, screenings, and cultural programming in partnership with top institutions. Events include the +RAIN AI-generated film festival at Universitat Pompeu Fabra, and The Art of Navigating, an image-based exploration of information overload curated by Fundación Foto Colectania. Meanwhile, OFFSónar returns with satellite events at Poble Espanyol, hosted by renowned labels and collectives. Two special concerts bookend the week: the opening night at Palau de la Música with a program of Steve Reich and Raquel García-Tomás, and a closing concert at the Fundació Joan Miró, marking the institution’s 50th anniversary. This final performance features guitarist Yerai Cortés and electronic artist Arto in an intimate, minimalist show lit by visual artist Andreu Fábregas. Sónar 2025: A Festival Reinventing the Future Sónar 2025 is not just a music festival—it’s a statement about the power of culture to shape the future. From world-class electronic music and pioneering audiovisual shows to deep-dive discussions on AI and cross-cultural collaborations, this edition reaffirms Sónar’s role as a beacon of innovation and a hub for global creative exchange. Whether you’re there for the beats, the ideas, or the boundary-breaking performances, one thing is clear: this year, Sónar is not just setting the agenda—it’s rewriting it. The post Sónar 2025: A Groundbreaking Edition of Music, Innovation, and Creative Culture appeared first on Electric Mode.

Global dance music phenomenon John Summit drops his long-awaited remix of ‘Silence’ by Delerium and the legendary Sarah McLachlan, released on Tomorrowland Music today. A mesmerizing blend of house and techno, this modern reimagining breathes new life into one of the most iconic electronic tracks of all time, setting dance floors ablaze around the world. Already a staple in Summit’s live sets, the remix has drawn massive attention since its jaw-dropping debut at John’s sold-out Madison Square Garden show. Fusing ethereal vocals with pulsating basslines and hypnotic rhythms, the track pays homage to its trance origins while firmly planting it in the now. ‘Silence’ (John Summit Remix) is out now via all platforms. John Summit: “As a long time raver and trance fan, it’s an absolute honor to remix ‘Silence’ by Delerium. I originally made this remix as an edit for my first ever arena show at the iconic Madison Square Garden and it quickly became a fan favorite. It’s hard to give justice to such a classic, but I think Sarah McLachlan’s powerful vocals along with my trance infused modern tech house production helps bring this song to life in this current era and I’m so stoked to share this one with the world!” Summit’s rework arrives during an incredibly impressive year, selling out and headlining major shows at his first Australia tour, debuting and headlining Ultra Miami with Everything Always, pulling off eights shows in three days through his Experts Only brand at Vail, a full production show at the O2, and even debuting at the Vegas Sphere. Playing his debut album Comfort in Chaos (which landed at #2 on Billboard’s Top Dance/Electronic Albums chart and #39 on the Billboard 200) for the masses around the globe, the project has continued to eject him into the mainstream. This summer, he will make his Tomorrowland Mainstage debut, cementing his place among the world’s top electronic artists. About John Summit ​John Summit is one of the most sought-after names in global dance music. The superstar DJ, producer, and label owner has nearly one billion all time global streams across his catalog, two #1 US dance radio hits, two Top 10 tracks on the Billboard Hot Electronic/Dance Songs chart, and sold-out shows across the globe, including BMO Stadium in Los Angeles (22,000) in the fall of 2023, Madison Square Garden (17,000) in New York City in June 2024, with tickets selling out in under two hours, and three shows at the Kia Forum in Los Angeles in the fall of 2024, selling over 45,000 tickets. Whether he’s headlining a sold-out show or an intimate club, the Chicago native, now based in Miami, brings his signature brand of high-octane spirit everywhere he goes. However, behind the larger-than-life persona is a thoughtful, detail-oriented artist who once worked as a CPA by day and taught music production tutorials by night. As a recording artist, he logs long hours in the studio, perfecting each of his dynamic songs. He’s toured the world, closing out huge festivals including headlining the Sahara Stage at Coachella 2024, and putting on his own shows in unparalleled locations like the slopes of Vail Mountain and the Caverns in Tennessee as part of his label Experts Only. One of the top touring acts in the world, Summit also has a keen interest in the underground scene, and Experts Only is part of his commitment to platforming the next generation of dance music talent. With global hits “Where You Are” (feat. HAYLA), “Human” (feat. Echoes) and “Go Back” w/ Sub Focus (feat. Julia Church) under his belt, Summit released his hugely anticipated debut album Comfort In Chaos, on July 12th, 2024 via Experts Only/Darkroom. The album, encapsulating themes of vice and virtue, highs and lows, total human duality, sees the artist revealing the man behind the icon, injecting his usual body-first approach to dance music with genuine heart and emotion. Summit is set to only get even bigger while releasing a body of work that’s rare in musical ingenuity and uncompromising in its memoir-like tone and texture. Connect with John Summit here Instagram ​ ​ The post John Summit releases his long-awaited iconic remix of Delerium’s ‘Silence’ appeared first on Electric Mode.

The wait is finally over as the White Isle’s most mysterious new venue, UNVRS Ibiza (pronounced Universe) is ready to reveal itself, and you could be one of the first to experience it. After months of rumors, UFO sightings, and industry speculation, UNVRS opens its doors on Friday, May 30, 2025. What started as whispers has materialized into one of the boldest clubbing ventures the island has ever seen. A creation by Yann Pissenem, the visionary behind Ushuaïa and Hï Ibiza, this new venue is more than a club—it’s a monument to the future of nightlife. A Venue That Moves, Breathes, and Transforms At first glance, UNVRS pays tribute to Ibiza and its roots. Its whitewashed walls and natural stone textures echo the architecture of a traditional Ibizan finca. But step inside, and you enter something otherworldly. The space morphs into a sculptural, multi-sensory playground, blending brutalism, retro-futurism, and art deco into a layered universe of sound and light. Every surface and fixture—from custom door handles to artisan-made DJ booths—has been designed to surprise and engage. No two spaces feel the same. Terraces, mirrored corridors, and multi-level floors flow into each other, encouraging guests to move freely and discover new worlds. Outdoors, a signature Dome, wrapped in climbing plants and steel vertebrae, offers UNVRS a breathing space while you set your first sights overlooking Ibiza Town. A First for UNVRS: Where An Ibiza Club Becomes an Arena At its heart, [UNVRS] operates on a scale far beyond the typical nightclub. The main dancefloor feels arena-sized, engineered with a custom L-Acoustics sound system designed to deliver opera house precision. Overhead, a purpose-built roof structure supports arena-level production rigs, with modular scenic elements that reinvent the space night after night. The lighting design integrates architectural, performance, and functional layers, creating an environment where every inch feels show-ready. The venue’s season lineup proves its ambition. Eric Prydz’s Holosphere 2.0 headlines Mondays. Jamie Jones, FISHER, David Guetta, elrow, Carl Cox, Anyma, and ANOTR follow, turning the 2025 season into a historic residency calendar. Hidden Worlds, Private Corridors, and Fuel for the Brave Yet what happens behind the scenes at [UNVRS] is just as mind-blowing as what happens on stage. A network of private terraces, secret corridors, and the mysterious Catacomb allow VIP guests to move unseen and uninterrupted. But [UNVRS] refuses to gatekeep the experience. Its open architecture ensures everyone belongs, inviting connection and exploration across the entire space. And just when you think you’ve seen it all, The Wild Comet reveals itself. What looks like a restroom is actually a fully-functional microclub, featuring a DJ booth, sound-reactive lights, and acoustic walls. It’s a secret party space designed to turn the unexpected into the unforgettable. The club also takes care of your stamina. Its culinary program is built to keep you moving, offering precision-curated dishes and temperature-controlled drinks that never interrupt the flow. Whether you need to refuel, recharge, or reset, [UNVRS] ensures the night never loses momentum UNVRS First Lineup: The Next Great Ibiza Legacy Begins Built on the site of one of Ibiza’s most iconic venues, [UNVRS] honors the island’s heritage while pushing nightlife into the future. With its groundbreaking design, world-class production, and inclusive energy, it is set to redefine what clubbing means—not just for Ibiza, but for the entire global scene. Opening Night | Friday 30 May Eric Prydz’s Holosphere 2.0 | Mondays, 2 June – 1 September Anyma | Tuesdays, 8 July – 26 August Jamie Jones – Paradise: Sands of Solaris | Wednesdays, 18 June – 1 October FISHER | Thursdays, 5 June – 25 September David Guetta – Galactic Circus | Fridays, 13 June – 3 October elrow | Saturdays, 7 June – 4 October Carl Cox | Sundays, 22 June – 21 September ANOTR (Exclusive) | Sunday, 15 June Sara Landry (Exclusive) | Monday, 29 September The new era starts now at UNVRS. The post First Look at UNVRS, Ibiza’s New Nightclub With A Hidden Secret appeared first on EDMNOMAD. View the full article

Las Vegas gears up for its biggest weekend in dance music as EDC comes to town, but not everything is happening at the Speedway this year, some are at LIV. While EDC Las Vegas 2025 international fans, five of the biggest names in EDM have chosen a different stage. Dabin, Said The Sky, Knock2, David Guetta, and John Summit will not appear at EDC this year. Instead, they have committed performances at LIV Las Vegas and LIV Beach at Fontainebleau Las Vegas. The 5 DJs You Won’t See at EDC Vegas 2025 But Will at LIV LIV Las Vegas has secured five major names that fans expected to see at the yearly festival. Over 500,000 fans are expected to attend EDC Las Vegas with more than 250 DJs from every genre. That said, Dabin, Said The Sky, Knock2, David Guetta, and John Summit have made LIV their home for the weekend. The weekend kicks off on Thursday, May 15, with a b2b set by Dabin and Said The Sky at LIV Beach. That same night, John Summit and Dom Dolla deliver a special back-to-back set inside LIV Las Vegas nightclub. On Friday, May 16, Knock2 comes to LIV Beach, offering another set not found on the EDC Las Vegas schedule. The weekend hits full stride on Saturday, May 17, when David Guetta headlines LIV Beach. Known for his massive festival presence, David Guetta skips EDC entirely, giving LIV Beach one of the only opportunities to catch him this weekend. Later that night, Metro Boomin takes over LIV Las Vegas, adding hip-hop flair to the weekend’s electronic-heavy schedule. Finally, on Sunday, May 18, John Summit returns to LIV Beach for a daytime session. His exclusive weekend run wraps up on Monday, May 19, with one last nightclub performance at LIV Las Vegas. For fans, it presents a unique opportunity. Whether skipping the Speedway altogether or looking for more intimate performances, LIV delivers exclusive sets for every raver. This makes LIV Beach and LIV Las Vegas one of the only venues to catch these five artists live in Las Vegas during EDC weekend LIV Las Vegas Joins EDC Week LIV’s full weekend lineup proves that Las Vegas nightlife competes directly with the festival itself. Dabin and Said The Sky open the weekend on Thursday, setting a melodic tone at LIV Beach. John Summit and Dom Dolla follow with a massive back-to-back inside LIV Las Vegas nightclub. On Friday, Knock2 takes over LIV Beach for a daytime party, while James Kennedy headlines LIV Las Vegas that night. Saturday sees David Guetta deliver a poolside headline set at LIV Beach. Meanwhile, Metro Boomin closes the night at LIV Las Vegas. Sunday’s daytime crowd gets another chance to see John Summit at LIV Beach, before he wraps up the weekend Monday night at LIV Las Vegas. This year’s exclusive artist choices mark a turning point in how fans experience EDC Week in Las Vegas. Clubs like LIV are showing they can deliver EDC-inspired events, offering major talent in high-production, intimate environments. For those skipping EDC entirely or looking to extend their weekend, LIV Las Vegas has their doors open. The post Who Skipped EDC Las Vegas? These Five Amazing DJs Chose LIV Over the Speedway appeared first on EDMNOMAD. View the full article

Which way, USA? Latest DMN Pro data shows a problematic slide in stateside Spotify subscribers (Photo: GDJ) DMN Pro was first to report serious subscriber slowdowns at Amazon Music in 2024. Now, it’s Spotify’s turn: according to leaked figures, the mega-DSP shed stateside subscribers in early 2025. In response, Spotify told DMN its paying subscribers are growing ‘in all regions,’ but declined to offer further details. Spotify came out swinging in its latest quarterly financial call, thanks to a 12% year-over-year global premium subscriber bump. But how many of those subscribers are coming from outside of ARPU-rich regions like North America and Western Europe? Yes, this is the nagging ‘subscriber plateau’ dogging the music industry, though ‘decline’ may be the new ‘flat’ — at least in markets like the United States. Just last week, DMN Pro revealed a noticeable decline of roughly 5% in US-based subscribers, particularly during the first two months of 2025, citing leaked data from sources at a major music conglomerate. Admittedly, that doesn’t amount to a full quarter, and month-to-month bumps aren’t unusual. But perhaps there’s a reason why Spotify has specifically decided against increasing prices in the US — at least according to the Financial Times. That follows a slip by Believe pointing to a pullback by Spotify and other DSPs on an aggressive price increase schedule. Is the industry finally hitting the edge of consumer price sensitivity, particularly in the US? Adding a bit more smoke to this fire, Spotify declined to break down US — or even North American — stats in a discussion with Digital Music News. Calling the data ‘incorrect,’ Spotify Global Head of Communications Chris Macowski pointed DMN to ‘Y/Y and Q/Q growth across all regions’ in Q1, while pointing to year-over-year data in Spotify’s investor presentation deck. Hoping to fill in the blanks, we asked specifically about US subscriber stats in 2025 — but got ghosted. Perhaps most concerning: the early-2025 declines in the US are also happening in the core number of accounts, which strips out multiple users (for example, 6 subscribers in a group Family account). That raises another inconvenient question: how many people are actually logging in to these group accounts? Our best estimates still show a decline, with a clear drop in the actual number of paid US-based accounts. The United States remains the top music industry market, according to the IFPI, and one of the most lucrative on the ARPU scale. Meanwhile, more Q1 data is coming in — we’ll keep you posted. Separately, Spotify’s higher-priced ‘super-premium’ (aka ‘Music Pro’ or ‘Superfan’) tier remains elusive, with CEO Daniel Ek noticeably mum on the topic. Half a world away, Tencent Music is going gangbusters with super-premium offerings, though Spotify looks stuck at the starting blocks after years of teasing their upgraded tier(s). During the aforementioned Q1 call, Ek whipping up an admirable word salad on the topic, with once-promising add-ons like high-fidelity audio and exclusive tickets suddenly absent from the discussion. “But for the near term, the way to think about it for Spotify is, we’re not dependent on that for growth, but we want to make it happen. … [F]or the superfan [subscription tier], we do need the partners to come to the table and be part of this trip,” Ek said without offering any concrete plans or releases ahead. On that front, DMN is hearing reports of continued fragmentation, with mega-players like Live Nation disinterested in gifting jewels like pre-release concert tickets — at least without a serious bag of cash. Separately, UMG is marching forward with its own superfan-focused artist pages, as are notable upstarts like Dave Cool-helmed MySeat Media, which just facilitated an impressive G Herbo superfan app loaded with exclusive cuts. Other artists are likely to roll their own — superfan apps, that is — but how much will that detract from streaming giants like Spotify, Apple Music, Amazon Music, and YouTube Music, which now hog 99% of the streaming subscriber marketshare in some territories? While we’re on the topic of non-standard, premium streaming apps: which mega-festival is cooking up a huge genre-focused streaming app, loaded with live performance exclusives for its heavy-spending attendees? This one’s gonna be big — stay tuned! View the full article

Photo Credit: Anthropic The high-profile copyright lawsuit between major music publishers and Anthropic’s chatbot Claude just took a dramatic turn. Anthropic’s legal counsel is accused of submitting a court filing containing AI-generated hallucinations to an academic citation that does not exist. Today a federal judge in San Jose ordered Anthropic to address allegations that one of its expert witnesses referenced a non-existent academic paper in the company’s court filing. The citation is purportedly from the journal American Statistician and was included in the filing to bolster Anthropic’s argument that the reproduction of copyrighted song lyrics is a “rare event.” Attorneys representing Universal Music Group, Concord, and ABKCO discovered that the cited article from the court filing does not exist. Upon checking with both the alleged author and the journal, the plaintiffs confirmed the citation was a complete fabrication. Attorney Matt Oppenheim, who represents the music publishers, suggested that expert witness Olivia Chen relied on Anthropic’s own AI tool Claude to generate both the argument and supporting authority. Oppenheim stopped short of accusing Chen of deliberate misconduct, but he emphasized the seriousness of submitting a court document citing AI-generated falsehoods in court. Meanwhile, Anthropic’s legal team has characterized the incident as an accidental citation mistake, noting the incorrect citation seemed to reference the correct article but linked to a different one entirely. Music publishers allege that Anthropic unlawfully used lyrics from hundreds of songs from Beyoncé to The Rolling Stones to train Claude—and that Claude often returns the lyrics verbatim in response to certain user prompts. This isn’t the first time AI-generated hallucinations have ended up in court, either. One of the first incidents was the Mata v. Avianca case in New York in 2023. Two New York attorneys representing a plaintiff in a personal injury suit against Avianca Airlines used ChatGPT to generate their legal research. The AI produced several non-existent cases, which the attorneys cited in their filings. After a judge discovered those fabrications, he issued a $5,000 sanction against both. At least seven cases across the United States have seen courts question or discipline lawyers for submitting AI-generated hallucinations in their legal filings. View the full article

DJ Snake made history with The Final Show in Paris this last weekend, performing the largest single-day solo electronic concert ever at Stade de France for 80,000 fans, followed by a 20,000-person afterparty at Accor Arena. The weekend began with a “Pardon My French” merch pop-up and served as the launch of a new era, including the announcement of his third studio album Nomad (out Sept 5) and a new label to support emerging artists. The show featured surprise performances—including a reunion with Bipolar Sunshine on their hit “Middle”—and the debut of “RELOADED,” a new collaboration with Space Laces, highlighted by a massive “Wall of Death.” Production exceeded Olympic levels, with pyrotechnics and effects unmatched in scale. The afterparty featured top-tier acts like Dillon Francis, Flosstradamus, and Tiësto. The Final Show not only cemented DJ Snake’s legacy but also marked the beginning of what he calls the “Year of the Snake,” signaling a bold new chapter in his career and for electronic music as a whole. And luckily we don’t have to wait much longer for new DJ Snake music! “Paradise” ft. Bipolar Sunshine out this Friday! Lastly, you can presave the new album already! Click this link here for more info and a look at the new upcoming merch items. Check out more videos and pictures from the historical event below. The production was off the charts! The post DJ Snake Announces Third Album After Record-Breaking ‘Wall of Death’ at ‘The Final Show’ appeared first on EDMTunes.

Just how much distribution can be done on a phone? According to Too Lost, the answer is pretty much everything. For many artists and labels, the complex tasks of music distribution are frequently handled on desktop. That’s a belief held by some of the largest distribution platforms, though Too Lost is now giving its artists complete mobile capabilities via a just-released app. The result is a completely portable distribution solution built for on-the-go artists, including those on tour. According to the upstart distro, the decision to expand the platform into mobile was sparked by repeated client requests. Artists simply wanted multi-platform flexibility, so now it exists in their pockets. In most cases, artists will toggle between both mobile and desktop environments, and Too Lost is smartly giving its artist clientele complete flexibility to choose their distribution environment. For Too Lost, a company DMN is thrilled to be partnering with, the key is to give artists a solid distribution solution from anywhere – at any time. That means that the mobile app carries virtually all of the functions and features of Too Lost’s core distribution platform. According to the company, uploading new music remains a swift process, achievable in seconds even while on-the-go. That means just-recorded music, including live cuts, jams, and even quick outtakes can be quick-released to fans from a phone. Alternatively, more conventional distribution work involving previously-recorded material and catalog management can also be handled on the small screen. The app is also stuffed with real-time stats, including those tied to stream listening and audience demographics. For artists that love actionable data, that translates into quick engagement information and a powerful feedback loop. Too Lost’s app also includes the ability to monitor earnings and transfer funds. For those touring and building the early stages of their careers, fast withdrawals can make a big difference. Accordingly, Too Lost’s app offers fast and flexible payouts, allowing artists to withdraw their money whenever needed. More broadly, mobile-based creativity tools are also blossoming. Just recently, DMN profiled the breakout success of GELO, whose ‘Tweakers’ started on Voloco, a ‘mobile recording studio’ that served up the featured beat. For Too Lost, the next step was simply to expand the possibilities to include the broader aspects of distribution. According to Too Lost, this app is packed but manageable, and geared towards a client base that wants more functionality and flexibility than ever. Too Lost’s just-released app is available on both iOS (Apple) and Google Play (Android) platforms. View the full article

Photo Credit: Casandra Fine’s Instagram (Cassie) Cassie, star witness for the prosecution in the sex trafficking case against Diddy, started off the trial with a lurid account of their time together. Singer Cassie, who dated Sean “Diddy” Combs for roughly a decade, testified against the music mogul as the prosecution’s star witness in the federal sex trafficking case against him. The 38-year-old told jurors a harrowing account of her relationship with Combs, involving weekly drug-fueled sex parties he orchestrated — while Diddy’s attorneys pointed to a risqué-but-consensual affair. Casandra Ventura (now Fine), said she took part in her first “Freak Off” in Los Angeles when she was 22, alongside Combs and a paid male escort. She explained that Combs choreographed every detail, from the masquerade mask and platform heels she wore to the lighting and the sex acts performed. Cassie said she initially participated willingly because she wanted to please Combs. “I felt disgusting,” she said. “I felt humiliated and I didn’t have those words together at the time about how horrible I really felt.” When a prosecutor asked if there were parts she enjoyed, she broke into tears, saying she enjoyed the one-on-one time with Combs. “It was the only time I could get.” “I was just enamored by him. We were just having a good time,” said Ventura of her early relationship with Combs, when he also signed her to his Bad Boy Records. But the relationship quickly showed Combs’ darker side, she said. He expected her to be monogamous when he openly had sex with other women. She said he kept tabs on her location and would call her incessantly or send his security detail to track her down. Staffers would withhold her possessions, such as her phone, when he sought to punish her. On Tuesday, the court heard testimony from a former male escort who says his relationship with Combs and Ventura began in 2012 and lasted for around a year. Daniel Philip, now 41-year-old, recounts how, in one sex session with Cassie, he was instructed to urinate in her mouth. He described the encounters as primarily consisting of having sex with Cassie while Diddy watched, instructed, and masturbated. Philip said he was paid thousands of dollars for each encounter with the couple, and the sessions would last anywhere from an hour to 10 hours. However, he claimed he felt threatened when Combs took a photograph of his driver’s license for “insurance.” He also alleged the music mogul gave him MDMA, which left him feeling “physically sick.” He further recounts witnessing Combs physically assaulting Cassie, but that he did not intervene because he “was shocked” and feared what would happen to him. “My thoughts were, [Combs] was someone with unlimited power. […] My life was at risk.” The trial continues tomorrow and is expected to last as long as 10 weeks. Combs has pleaded not guilty to all charges. View the full article