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Deerock and Sammy Adams have joined forces for a new single, "Used To," an ode to lost youth. With lyrics and production that echo a longing for simpler times, "Used To" is a faded Polaroid unearthed from a dusty attic. It's a sonic snapshot of the human experience, a wistful yet cathartic exploration of the bittersweet moments that shape us. Adams' melancholic vocals drape over the track like a favorite sweater—warm and familiar, but a poignant reminder of past connections. His lovesick lyricism yearns to resurrect the lost embraces and drunken escapades of a once-vibrant bond, painting a picture of a couple seeking to recapture the irreplaceable intimacy they "used to" share. Meanwhile, Deerock's melodic house production evokes the nostalgic haze of those cherished memories. His uplifting, textured chords are the track's bedrock, laying down a rhythmic pulse that feels like the comforting click of a vintage clock. Take a listen to the new collaboration, out now via Big Night Records, below. Deerock's kinetic and breezy approach to dance music production is leading to a furious rise through the genre's ranks. With an energetic sound that doubles as a starting pistol for pool parties, he's also recently collaborated with ESPN, Barstool Sports and Old Row. The release of "Used To" is a big moment for the ascendent producer, who says the music of Adams, a champion of the twenty-tens hip-hop blog era, helped soundtrack his formative years as a DJ in high school and college. "About a year ago I was ready to do something new, and I wanted to work with a vocalist who understood my vision of the 2010s party scene," Deerock tells EDM.com. "I managed to get in contact with Sammy and it just clicked, instantly. After a few rewrites I could feel the same goosebumps as I did when I first heard 'All Night Longer,' and that’s when I knew we had something special." "Rarely do collaborations come to life that you’re BOTH 100% in love with," Adams added. "This one took some time, different takes, ideas, production, and tweaks…. But it was well worth it." The two are now playing a show together on June 8th at NYC's Summer Club atop the roof of the Ravel Hotel. Deerock says anyone reading this article can DM him for a ticket to the pool party. Follow Deerock:X: x.com/deerockmusicc Instagram: instagram.com/deerockmusic TikTok: tiktok.com/@deerockmusic Facebook: facebook.com/DeerockMusicc Spotify: spoti.fi/3kCrZZY Follow Sammy Adams:X: x.com/sammyadams Instagram: instagram.com/sammyadams Facebook: facebook.com/samadamslive Spotify: tinyurl.com/5n8kw2cp

Oh Yes Oh Yes Oh Yes! While we didn’t catch Carl Cox during Miami Music Week last month, we are eagerly awaiting his return to Miami for Formula 1 Weekend in May, where he will be performing at M2 for Resistance. Grab your tickets here! We caught up with Carl over the phone while he was in Australia and chatted on a whole range of topics. Read on for the full interview. EDMTunes: I’m Scott from EDMTunes and it’s great to be here with Carl Cox who I understand is up in the morning, in Australia at…is it 10 30 a.m. there right now? Carl Cox: Yeah. So actually we’re racing towards lunchtime. EDMTunes: We got 9 30 p.m. over here in Miami and that brings me to my first question. As you can imagine, being from Miami, there was a lot of talk all year about Ultra and the fact that you weren’t there this year. First off, how does it feel taking a year off from Miami Music Week for the first time in a long time? Carl Cox: Yeah, to be honest it’s been my staple diet for so many years and to actually say no to it once was a revelation. No, I’m not doing Miami [Music Week] this year. I have to basically just take a year off and step back and just see what happens and that’s exactly what I did, and it kind of spun a lot of people out. I thought to myself – how, and why is this possible? I’ve been doing it for nearly 20 years, every year I’ve been into going to Miami, you know, at least eight years before that 28 years straight maybe 30 years. Then there comes a time where I had to just stop for one moment, you know, did a “mary-go-round” on everything just so you know where everything is at. But also I actually got to spend some quality time with my partner with my friends with my family at that particular time. The ones that were going to see me for the first time, and can you imagine that almost after nearly 30 years I’ve been knocked down during the pandemic, I’m gonna go and see him and oh, he’s not playing this time. You know me, okay? I want to come back next year. I’m going to do a full live show and also don’t be so disappointed because I’m going to be playing in Miami. I’m gonna be playing at M2 next month. Lotta new music to play, blah, blah blah. It’s not like I’ve abandoned anyone or abandoned what I decided to do. I needed to pull back for one year. See where everything is. See if anyone missed me because I mean, uh, yes, of course they did – and you know, the feeling was absolutely mutual. But I felt kind of a revelation. It felt good to say no, you know, sometimes it’s no problem saying that right? EDMTunes: As a fellow creature of habit, I know how hard it is to break out of a habit. At first, it’s kind of scary, but then a change every so often isn’t the worst thing in the world. I can imagine that you that same experience trying out, maybe some new festivals this year? Carl Cox: 100% and that’s exactly what I did. I wouldn’t have been able to do other events if I was playing Ultra again. They respected my decision and they supported it, so that’s fantastic. At the end of the day less is more. The fact that I wasn’t there holding down the fort for the Megastructure, but looking to come back next year just makes it stronger. The drive for people to come to see me and my music. I’ve already got a plan of what I would like to do for next year, which is probably the biggest and boldest plan that I will ever have. EDMTunes: That was going to be my next question because next year is the big 25th anniversary. And yeah, I totally agree that taking the year off, it may have disappointed some people but it also builds the anticipation for the huge return and Ultra is known for expecting the unexpected. Is there anything you can tell us? Carl Cox: Yes and no. It’s gonna be great, that’s all I’m saying. EDMTunes: Fair enough, fair enough. You also mentioned that your connections with Ultra are as strong as ever and you’ll be here with Resistance in Miami for M2 during Formula One week, right? Carl Cox: Yeah. I love cars. And I love bringing those two things together. It’s just great. I’m really looking forward to that and it’ll be my first time being involved with Formula One Racing in Miami. I’m really looking forward to coming back and throwing down at M2. I remember the first time I was there, there were a few issues with the sound and the lighting, and it wasn’t quite right. So the redemption is quite high. I’ll be coming back and doing it properly this time around. EDMTunes: Absolutely, they’ve definitely done some new improvements even since last year. Going back to Formula One; Are you planning on going to some of the races? Carl Cox: I’m looking to be there for qualifying, I’m lucky to be there for a great day on Sunday. Look out for me on the grid because I’m going to be on there. EDMTunes: That’s awesome! Are you going as a spectator or are you doing anything in conjunction with Formula One? Carl Cox: Yeah, I’m I’m too big to jump in any of those cars. *synchronized laughter* EDMTunes: Speaking of which, so your true passion besides music is drag racing. For people that follow cars, Formula One is more of the highfalutin fancy type of racing. Drag racing is a bit different. How do you think of Formula One versus the drag racing that you’re involved with? Carl Cox: Yeah, I mean the thing about drag race is nobody drinks champagne and gin and tonics. It’s all beer. Drag racing is the complete opposite to all of that [Formula 1] and I love it. I love Grassroots. I come from Grassroots. It’s the reason why I support sidecar racing, support various other races I actually do apart from me being a drag racer. I actually do hill climb racing as well and historic, muscle car of racing events as well. Also some Classic events here in New Zealand and in Australia. And I’ll do quite a lot of track days as well with supercars. I’m kind of the person that I would take you to a drag race and show you why I love it and you can walk into the pits talk to the drivers, even turn a spanner. It’s really exciting stuff, where in Formula One you just get to look. You can hardly take a picture sometimes because they don’t want you to you know about what the car looks like. Aerodynamically they change the tires because that’s four different color tires and they move you along, right? Antron Brown, one of our drag racers, Top Shield drag racers. He loves showing people and getting them to even touch the car, all this sort of stuff is so beautiful to see and the kids really love it because they feel like getting involved in what you see. In Formula One you’re so far removed from all of that. It can become very boring at times as well so it’s not my favorite sport, for sure. But I do like all aspects about motorsports. I’m extremely involved. My attention goes to electric cars around in certain parts of the world. These cars were absolutely amazing to see what what they go through. Eventually we’ll be going into Extreme H which is basically hydrogen… EDMTunes: Yes, I was going to ask you about that. Carl Cox: Yeah, so Extreme H, there’s people developing hydrogen engines for these cars and that’s the goal. Everything that they actually make is all about sustainable energy looking after the planet, this kind of thing. And obviously hydrogen does all of that, but the engine is combustible, right? EDMTunes: Right. Carl Cox: People miss the sound of a combustion engine that, you know, when you rev it up, they miss that. With electric cars go all you hear are the servos right? And the wind going weeeuuuu and that’s it. People miss the sound, but apart from the sound you’re not burning any emissions. It won’t go into domestic cars at the moment because they’re still trying to find a way to make it even more sustainable. Affordable is another story… EDMTunes: Have you driven a prototype of one of the hydrogen vehicles? Carl Cox: Not at the moment, but looking into that. In November, they’ll be rolling out the hydrogen cars called Odyssey 21s in Phoenix, Arizona. I’m looking to be there as an ambassador for Extreme H. EDMTunes: We’d love to hear your review on how it feels driving hydrogen vs electric vs gas. So, that’s that’s really cool. Carl Cox: Electric cars are like a light switch, right? When you’re building power, especially from a turbine point of view, you feel the boost come in when you’ve got a naturally aspirated engine. You feel everything that you’re doing on the throttle panel. So it’s all about you and how you control that. Hydrogen will be more like that, and the drivers can’t wait for it to happen because that’s what they miss. Basically the controlability of power. EDMTunes: On that note, have you ever taken your love for racing or the feeling, or the emotion for racing and brought that into your music with a track that’s inspired by racing? I think of Charlotte De Witte doing a lot of that recently. Has that crossed your mind or have you done something like that? Carl Cox: Well, everyone has asked me to do it. I see it as a bit cheesy in some ways. You could do it, but it’s hard to get it where it doesn’t sound like an engine. It shouldn’t sound like anything. It should sound like a sound, right? But there’s a beauty in hearing a Formula One car, like a V-10 going down straight away at 200 miles an hour. Ooooormmm…. there’s something about that 21,000 revolutions a minute sound but it’s so quick. To have that in a track. You probably wouldn’t recognize it. So, the only people that I feel that have done that sound any justice is a band called Yello. They got a track called ‘The Race’. In the track, they basically panned a race car from one side of the speaker to the other and and basically the chorus goes and is the race… And you hear this car going almost through the speakers. So you’ve got like a quadraphonic set. You would get left to right and right to left and it would like like it’s going around the room. EDMTunes: Wow! Carl Cox: When you heard that in the club it was incredible. So if you want to download that track and hear what my experience was… it’s a little bit hard to do. When I was in a studio with Boris Blanc, and Dieter Meier I asked them about how they did that surround sound. And the boys said: “Oh Carl, you see the button on the panel? you slide it left to right weeeeiiiiiiiuuuuu…” I thought it was something fancy they created, but he just went left to right. So I’ll never forget that as long as I live, but what came out of it was incredible. Now, I think it was Honda that was using Funktion One to make this elaborate sound development as they were building the car, which is pretty crazy. I would like to do something like that in a track if I could. It would make a difference because just having that sound in a track is easy to do. But it probably wouldn’t come across in the way that original sound was developed. EDMTunes: So switching gears, I understand that you’re going to be doing some Playground fundraisers for Burning Man. I know that’s another one of your pastimes. You enjoy going to Burning Man each year. So tell us a little bit about that. Carl Cox: Yes, it is something a lot of people don’t know really, which is my involvement of what I’ve created over the years. It has been a lot and I’ve spent a lot of money. You need money to do all of this stuff and no one man is an island and I just can’t carry the whole device by myself . So I do need help, and if people are going to Burning Man and they really experience what we create and really enjoy it at the cost of nothing when they get there. It’s been nice to see how people support what we do before they know the value to it. It’s entertainment after all. And what we bring to the table, it’s been amazing, over the years. So, when I first went to Burning Man, which is 2008 for the first five years, I didn’t do much. I was just creating music while I was staying in my RV. And at a particular time people would come to the RV and enjoy, what I was doing, um, but I was there for Syd Gris, who founded the Opulent Temple. He absolutely loved it. That was my way of giving back to the people. I would pay an arm and a leg to be there. And then I’ll get my ticket and I would go there and I would give, my sets and my music to the people and people just love the fact that I was doing that giving back. That’s what I’ve always done every single year, even now into 2024 when we have our own non-profit camp, which is called Playground. Now it’s become a staple diet of us being there every year at Burning Man, at 2D, which was our address for where we set up. I also do quite a few sets there, but one of the sets that people really love on the whole playa is my funky Disco sets. Each record that I play is the original track. So it’s not a mashup or a rework. I lay down the music the way it was played. I put it into a place so people can still groove. I don’t even mix them. I’ll just make a drop right on the beat and then play the next record. For me it’s hard to do that but I do it. People just love it and walk away from Burning Man and they’ll say: “have you been to Carl Cox’s purple disco party?” and some people go: “Well, I was too trashed to make it” or “that’s the only thing came for”. It’s amazing to be able to turn that on The Playa and I feel like that’s my way of giving back to people who make the Exodus to be there. People walk away going I really enjoyed that. That’s why I do it. And um and so we’ve decided that we wanted to also people couldn’t get to the playa. Then these Playground fundraisers are one way of experiencing it without getting dirty. The playa is a very special place. I have to say there’s nothing else on planet Earth like it so I just keep going back. I just, you know I you know we finished being there from last year and we’re already making plans on what we’re going to do next year. Even though the last year was the wettest we’ve ever seen it in the history of Burning man, it’s still fantastic. I absolutely loved it. There were certain DJs that were there and decided that their white shoes were going to get dirty and they left really quickly, but it wasn’t me, right? I stayed there all the way through until the end that’s the reason why I was there. It wasn’t just me, there’s thousands of people also staying and they respect the fact that, you know, things happen but it just to knuckle down and get on with it. So you know, it sorts out the weak from the chaff at the end of the day. So, of course, we’re going back this year and we love the support we get from the fans over the years. EDMTunes: I’m sure you heard that we had our own little version of that at Ultra this year and I can tell you the same type of thing happened. After everybody’s shoes got soaked and muddy everybody let go of their inhibitions which sounds a lot like that Burning Man experience in a way. Carl Cox: Yeah, people do not understand the setup of a lot of these events. I mean if you go to Coachella, it’s dry nice palm trees, palm trees, nice food, vendors and all sorts of it’s nice, right? When we were doing raves back in the UK, 99 and a half percent of the time, it was raining. You just got on on with it. Glastonbury, 80% of the time, raining, wet muddy. But people have such a great time with it because you just have to let go. You’re gonna get muddy, you’re gonna get wet, you’ll probably end up with influenza, but you’ve had a great time. It’s all about how you live your life. If you live your life going “I’m not going anymore because it’s raining”- you’re going to miss out on a great experience. All of the people that went are going to be talking about, you know, how did you get through it and what did you do to get through whatever you were thinking? And Burning Man it was like I’ve never seen it, it rained so hard like it for so long, and then, and then outside of it, it was Armageddon. OMG. It’s like, what do we do here? In our RVsn and I’m sure people were having a harder time than we were, but we couldn’t go the bathroom because the toilet was full and it wasn’t getting service, so we had to go in a bucket. EDMTunes: my God Carl Cox: Then walk that bucket in the mud to a toilet to empty it out because it got too full. So that’s one thing. It’s not the nicest story, but this is what it takes to get to that nic bit in the end. Now we’re going back again, they say, how?! I’m like, “Why wouldn’t you go back? You didn’t have a good time because your shoes got wet?” Seriously?! EDMTunes: So looking ahead to the rest of 2024. What else can we expect from you over the rest of the year? Carl Cox: Well, I’m really focusing more now than before on my hybrid/live spare sets. Most of my bookings are probably 80% hybrid /live and 20% DJ sets. it’s great because I’m also being challenged by it like the way I used to get challenged by what I do, playing free turntables etc. But it’s great with the visual and lighting package that we roll out. So it’s so it’s like a curated show in some ways. Anything I do with the mixer, sends a media signal to the lighting guys, and also my visual guys. Which is unbelievable. If we don’t play anything, It’s a blackout. Nothing. When we play something, then something happens and it’s great. The Hybrid Live shows are never the same. That’s the creative nature of what I try to roll out. I try to stay away from the confetti cannons. I try to stay away from all of the the CO2 and the fireworks. I try and get people to be immersed in the idea of what you’re surrounded by and the music. Let’s get that across so that’s my mission this year. EDMTunes: Excellent. That coincidentally brings me to my last question. You’ve probably had to tell this story before and I’ve had it asked to me before, but I figured best coming from you. The train horn in your sets that’s become a bit of a staple. Can you tell us a little bit about how that came about? Carl Cox: The mad thing about the train horn is that they had one in DC10 Ibiza, you know, 25 years ago. It’s just one of those things, where it had nothing to do with anything or anybody. It’s just a train horn, right? So you had all this music and the atmosphere and people screaming, “Oh my God. Yeah!” And then all of a sudden GONG and people go “what the fuck did that come from?!” And the train horn in DC-10 was about when the next DJ was coming on – to get everybody’s attention. So, Russell from Ultra decided that he would like that atmosphere to be created at the Megastructure, but the only person that’s going to be using it is me. If there’s no Carl Cox there’s no train horn. They found the loudest train horn you could possibly find on top of everything else. So I use it as a drop. There’s two things that I do that, no one else can do. They can do it but it won’t be the same. So what are they? “Oh yes, Oh yes”, and so the last “Yes” is where I make the drop. So if there’s something in the record that’s coming and then on that last moment I go “Oh yes oh yes” and drop it. Sometimes on the last Oh Yes, I drop the track and the train horn at the same time. Oh yes oh [train horn sound] people lose their marbles when they hear that. I don’t use it all the time but on certain tracks where I know it’s gonna really blow up and you walk away going “Jesus. What was that?” You really feel like the train is coming at you. And this really is something special. I used to have a massive bell in club called Zouk in Singapore. The owner would ring this bell whenever the track was really slamming it. In fact, Danny Tanaglia used a cowbell in a lot of his music. That was his sound, so when you had the bell you were really in it. But yes, that’s where the train sound came from. EDMTunes: I don’t know if you’ve heard this but there’s an urban legend that the train horn had to do with back in your youth. When you were first starting out, that there was a train that would run by your studio or something. Have you ever heard that? Carl Cox: No, no. That I haven’t had that [laughter]. Although I haven’t tried going past my studio or any studio I’ve been at. So it’s an urban myth. EDMTunes: Thank you so much Carl! We will see you at Formula One Week at M2 in Miami! Carl Cox: Thank you so much, I’m glad we were able to have this conversation. See you soon! The post EDMTunes Talks Ultra, M2, Muddy Festivals & More with Carl Cox appeared first on EDMTunes.

The time has come; Joshwa has officially launched his very own record label, No Bad Fridays. Concurrently, the UK beatsmith inducts two new house cuts, “Get Stupid” and “Lluvia,” into the imprint’s inaugural repertoire. Packaged as a dual-track EP, Get Stupid triumphantly sets the tone for the tech-house hitmaker’s promising new label, affirming the excitable notion: “No bad feelings on a Friday.” A champion of the UK underground, Joshwa has expeditiously risen the ranks in dance music thanks to his globally resonanant Lee Foss-assisted 2021 smash, “My Humps.” Three years later, the world-renowned DJ reasserts himself with a brand new record label tied to his first musical output in 2024. Get a taste of what No Bad Fridays has to offer by streaming Get Stupid below. New label, new music @nobadfridays pic.twitter.com/YXJw67l2p0 — JOSHWA (@joshwa_uk) April 5, 2024 The post Joshwa launches No Bad Fridays record label with ‘Get Stupid’ twofer appeared first on Dancing Astronaut.

Suray Sertin is an artist who is from Montreal and he has been gaining fans worldwide with his vibrant musical style. On Friday, April 5, Suray Sertin brought out that amazing style by releasing ‘Over The Moon’ featuring Sabrina Konstas. ‘Over The Moon’ brings out vast amounts of house, soulful electronica, techno, and pop into an outstanding blend of beautiful music. This track will surely motivates the listeners to not just enhance their great connections with the “special someone” in their lives, but also allows them to continue loving themselves as the amazing beings that they are. Click ‘Play’ on the Spotify link below to fall in love with ‘Over The Moon’ by Suray Sertin. ‘Over The Moon’ from Suray Sertin captivates emotions Listening to this track will ensure instant tranquility and exuberant energy to continue flowing nonstop. The vocals from the singer, Sabrina Konstas, bring out feelings that easily bridges distance between individuals in a powerful connection that is also genuine. The production talents of Suray Sertin in this this track also proves why this producer is a creative, one-of-a-kind person whose knack for creating multi-genre jams have provided him a lot of recognition. His past releases have also seen the likes of Nike, EA Sports, and even CBC Television featuring his music as well. Additionally, his music also featured on the Higher Ground and Foreign Family Collective playlists too. This artist from Montreal will surely become a household name in the electronic music industry if he continues to produce top-notch releases that this one that came out on April 5. The post Suray Sertin Provides Dreamy Sounds in ‘Over The Moon’ appeared first on EDMTunes.

Ahead of her hotly anticipated return to the iconic Coachella, techno superstar Charlotte de Witte has released a new single, "Roar." Just as a lion's roar can be heard for miles, the track is a uncompromising anthem that commands respect. Far from a timid meow, the track is a signature de Witte banger and an impressive display of her production prowess. Out now via her own KNTXT imprint, "Roar" is a primal scream for the dancefloor, a techno juggernaut that tramples any notion of subtlety. Driven by its souped-up vocal refrain and an unrelenting bassline, the track doubles as a cathartic battle cry for the techno faithful. "'Roar' stands for power, action, adrenaline and a sense of letting go," de Witte said in a press release. "There is a certain energy that is unleashed every time I play this track. 'Roar' quickly became one of the highlights of my sets, and I’m very excited to release it." Listen to "Roar" below and find the new track on streaming platforms here. Follow Charlotte de Witte:X: x.com/charlottedwitte Instagram: instagram.com/charlottedewittemusic Facebook: facebook.com/charlottedewittemusic Spotify: spoti.fi/2ZDewDm

Step into the world of luxury living at the iconic One Thousand Museum by Zaha Hadid condo tower in Miami, where successful entrepreneur David Grutman and his wife Isabela are offering their exquisite residence for sale. This 4,600-square-foot marvel, designed by the late starchitect Zaha Hadid, boasts four spacious suites, five bathrooms, and unparalleled views of Museum Park. As we delve into Grutman’s decision to list this stunning property, we also uncover the story of his rise to success in the hospitality industry, setting the stage for an inspiring journey of passion and entrepreneurship. David Grutman’s name is synonymous with some of Miami’s most popular hotspots, from the trendy Komodo and Casadonna to the upscale Papi Steak and the chic Gekko and Swan restaurants. His ventures have not only reshaped Miami’s culinary scene but have also expanded to the vibrant city of Las Vegas, where LIV, Komodo, and Papi Steak have found a new home. Grutman’s entrepreneurial spirit and keen eye for innovation have propelled him to the forefront of the hospitality industry, making him a beacon of success for aspiring entrepreneurs. With a keen appreciation for luxury and design, Grutman’s decision to list his One Thousand Museum condo is a testament to his discerning taste and entrepreneurial acumen. The exclusive helipad, unrivaled amenities, and breathtaking architecture of the tower set the stage for a lifestyle reserved for the elite. As we explore the details of this listing, we unravel the layers of Grutman’s success story, showcasing how passion and determination can pave the way for a thriving business empire. David Grutman: A Hospitality Mogul Photo by Miamidiario David Grutman’s journey to becoming a hospitality mogul is a testament to the power of passion and perseverance. From humble beginnings, Grutman’s love for nightlife and entertainment drove him to open his first nightclub, LIV, in Miami Beach. The success of LIV paved the way for a series of ventures that would redefine Miami’s hospitality landscape, including the renowned Komodo and the stylish Papi Steak. Grutman’s ability to create immersive experiences that combine food, music, and design has been the cornerstone of his success. Each of his establishments offers a unique ambiance and culinary experience, drawing in a diverse clientele seeking the ultimate in entertainment and dining. With a finger on the pulse of trends and an unwavering commitment to quality, Grutman has established himself as a trailblazer in the hospitality industry. As prospective buyers explore Grutman’s listing, they are not only presented with a rare opportunity to own a piece of architectural history but also a glimpse into the lifestyle of a successful entrepreneur. The One Thousand Museum condo embodies the epitome of luxury living, offering a sanctuary of style and sophistication in the heart of Miami’s vibrant cultural district. With Grutman’s impeccable taste and entrepreneurial spirit infused into every corner of the residence, this listing is more than just a property—it is a reflection of a life well-lived. The post Dave Grutman Lists His Zaha Hadid Condo In Miami appeared first on EDMTunes.

Two true titans of the global house music scene have joined forces on a huge new remix that is sure to set dancefloors ablaze. Australian duo Flight Facilities have tapped French DJ/producer Chloé Caillet to put her unique spin on their recent single “Trouble” featuring Owl Eyes, and the results are simply spectacular. Released today via the duo’s longtime home of Future Classic, Caillet’s official remix takes the original sun-drenched and nostalgic vibe of “Trouble” and injects it with a serious dose of high-octane rave energy. If the original version channeled the sunny, blissed-out spirit of the beaches in Ibiza where it was written last year, Caillet’s remix captures the unstoppable thrill of the island’s legendary club scene after hours. For Flight Facilities’ Hugo Gruzman and James Lyell, enlisting the in-demand Caillet for remix duties was a no-brainer. “We’re massive fans of Chloé’s production style and DJ sets, so having her put her spin on ‘Trouble’ was a dream,” they said. “Her remix absolutely smashes and we can’t wait to play it on the road.” In Caillet’s supremely talented hands, the dreamy vocals from Owl Eyes are chopped and spliced over pounding kick drums and hectic, rave-primed synth arpeggios that will have festival fields heaving in unison. It’s a masterclass in club-ready house music from one of the genre’s most vital new voices. Coming off the success of her official remix for pop superstar Dua Lipa’s “Dance The Night,” Caillet’s “Trouble” rework further cements her as one of the most thrilling artists in the house space right now. Her releases on esteemed labels like CircoLoco, Defected, and HE.SHE.THEY. have earned her widespread acclaim from iconic DJs like Pete Tong and more. With both Caillet and Flight Facilities boasting jam-packed international tour schedules that include major festival plays at Coachella, Primavera Sound, Awakenings, and more, their “Trouble” remix package is about to become this year’s most ubiquitous club anthem. Strap in and get ready to rave. The post Flight Facilities Enlist Chloé Caillet for Remix of “Trouble” appeared first on The Groove Cartel.

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In a move that’s set to redefine the contours of dance music, Armada Music, the world’s leading independent dance music label, has announced the grand relaunch of New York City’s esteemed King Street Sounds. This seismic shift comes on the heels of the label’s acquisition by BEAT, the pioneering dance music investment fund under the Armada Music umbrella, in 2023. The relaunch is not just a nod to the past but a leap into the future, featuring a comprehensive visual rebrand, the debut of a remix series ‘King Street: Beat Match’, fresh frontline releases, and a unique content collaboration with Beatport to showcase the label’s storied history through the voices of both legacy and emerging artists. A Tribute to a Musical Legacy King Street Sounds holds a special place in the heart of the dance music world. Originating from the iconic Paradise Garage in New York City, the label has been a beacon of the soulful house music movement for over three decades. Armada Music and BEAT aim to honor this rich history by infusing new energy into the label. With the visionary Hisa Ishioka at the helm and backed by a team of Armada’s finest, the relaunch promises a revitalized connection with fans old and new. The ‘King Street: Beat Match’ remix series is a testament to this blend of heritage and innovation, featuring diverse reinterpretations by artists like Kasango, Demi Riquísimo, and Demuja of classics from Dennis Ferrer, Barbara Tucker, and Mood II Swing. Set to drop on April 12, 2024, these remixes span genres from Afro house to garage, symbolizing the label’s dynamic evolution. “Relaunching King Street Sounds signifies a big step for Armada Music and BEAT as we strive to bolster and honor dance music’s existing footprint,” “We are incredibly excited to continue to work alongside Hisa to preserve the legacy King Street Sounds holds in dance music while working toward new opportunities as the label evolves.” – Maykel Piron, CEO of Armada Music and BEAT Music Fund. A Visual Renaissance The relaunch also unveils a striking visual transformation, rooted in the vibrant street culture of 1990s New York. The redesigned logo, adopting a minimalist and timeless aesthetic with a nod to the iconic crown, together with new motion assets and artwork, pays homage to the label’s legacy while looking firmly ahead. This rebrand extends to the label’s extensive catalog, with tracks receiving updated digital artwork that blends the new branding with a nostalgic CD motif, a reminder of the era when music was a tangible experience. The integration of iconic New York typography, inspired by the city’s subway system, reinforces King Street Sounds’ deep connection to its urban origins. “For decades, King Street Sounds has been dedicated to bringing people together with the best of house music,” “Collaborating with Armada Music to tell the story of King Street in exciting ways that celebrate this journey has been rewarding. We’re looking forward to highlighting how the label has paved a path for underrepresented artists – and made incredible music along the way.” – Ed Hill, SVP, The Beatport Group. Fostering Future Talents In addition to celebrating its illustrious past, King Street Sounds, backed by the combined forces of BEAT and Armada Music, is setting the stage for the future of dance music. The announcement of dedicated writing camps, the first of which will take place this month, underlines a commitment to nurturing and promoting contemporary talent. These initiatives are designed to ensure that King Street Sounds remains at the forefront of the music industry, continuing to shape the global dance music landscape. “We are thrilled to celebrate the rich history of King Street Sounds and breathe new life into the extraordinary music that started it all,” “We couldn’t ask for better partners than Armada Music and Beatport to help us usher in this new era, and we can’t wait to see how this collaboration further empowers the label, our creators, and the dance music genre in today’s landscape.” — Hisa Ishioka, label founder of King Street Sounds. The relaunch of King Street Sounds under the guidance of Armada Music and BEAT heralds a new chapter in the annals of dance music history. With a legacy of over thirty years, this revitalization promises to usher in an era of renewed creativity and innovation, bridging the gap between the rich heritage of house music and the endless possibilities of the future. In conclusion, for more information on all things King Street Sounds, be sure to check out their official website, here. The post Armada Music Breathes New Life into the Legendary King Street Sounds appeared first on EDMTunes.

Finally, long-time Drumcode contributor and Tronic boss Christian Smith debuts on Truesoul with a terrific pair of cuts, the ‘Here to Stay’ EP. The long time Techno boss has propelled his label to its upcoming 500th release. Moreover, he has guided multiple top Beatport artists through the years, including ANNA, Paco Osuna, Enrico Sangiuliano and Wehbba. Now, the Swedish DJ joins Adam Beyer‘s independent label TrueSoul for the first time, to showcase his ability to reinvent within his own longevity in the scene. A splash of melodies and technology, let’s dip our feet in ‘Here to Stay’ EP. ‘Here to Stay’ The Techno stalwart shows us the groovier and more melodic side of his music personality. ‘Here To Stay’ is a slick slice of robot fun, underlined by an elegant melodic underbelly, rugged electro riffs and an intergalactic vocal. The groove embellishes the track by adding some light-heartedness to the dark tones you can point within the track. Furthermore, you will find yourself gathering your inner worries and launching them into space as your feet stomp to the beat. Its accompaniment ‘Our Destiny’, is a searing chord-led production ideal for warm-ups or silky morning sets. As much as it can be a chiller vibe than its counterpart, ‘Our Destiny’ carries as much power. You will notice both tracks utilize the vocals as a conduit for inspiring emotions and mantras. I recommend to place your intentions as you listen to these wonderful tracks. This will gather energy and manifest your goals for the rest of the year. You will thank us later. “I’ve always enjoyed making melodic house as well as techno! I spent a lot of time on these two tracks, refined them, played them out, and got great reactions on the floors. Excited that they are out now on Truesoul for all of you to enjoy them!” – Christian Smith Christian Smith continues to evoke powerful emotions on each of his tracks. ‘Here to Stay’ is an example of what true mastery of the craft sounds like. Speaking of which, are you… here to stay? https://open.spotify.com/album/2BbAJvTupZwjL5wOER4jGP?si=iYaS3v2FQG6rnLgdIaCBVA The post Christian Smith Evokes Powerful Emotions With New ‘Here to Stay’ EP appeared first on EDMTunes.

We are all feeling a bit need for speedy right now. Belgian Techno Mogul Charlotte de Witte just released her forthcoming single ‘Roar‘. After a fantastic 2023, the DJ brings out this massive track that feels like the mutation of ‘Doppler’, ‘Rave on Time‘, ‘Overdrive‘, and ‘High Street’ all together. Long-story short, it’s a fun and massive genre-bending track that makes you feel like you’re at the Formula 1 Grand Prix. Pretty Loud ‘Roar’ ‘ROAR’ is a sonic revolution – a turbo-charged anthem that showcases de Witte’s genius in crafting productions that pulse with a raw, unrelenting energy. Her ability to intertwine diverse musical landscapes into a compelling narrative has cemented her status as a global phenomenon and reshaped the contours of electronic music. The track leads with a filthy acid kick that opens the soundspace for a sick rap that flows throughout the entire song. You will feel light on your feet as you stomp through the dancefloor with the perfect pacing to dance all night. The track is the masterstroke that builds upon the roaring success of her 2023 Overdrive Campaign and tour. ‘ROAR’ emerges as a symphonic testament. It translates Charlotte’s unparalleled prowess and an audacious journey ahead. In effect, setting the pace for Charlotte’s imminent Coachella performances on April 13th and April 20th. The track encapsulates a high-velocity odyssey, marrying breakneck rhythms with a heart-thumping melody that promises to elevate the senses. Charlotte’s trajectory from Belgium’s underground scene to standing as an icon of the techno realm is nothing short of spectacular. Charlotte’s visionary approach as the founder of KNTXT underscores her multifaceted influence across the music industry. ABOUT CHARLOTTE DE WITTE Charlotte de Witte is a techno force of nature. With a distinct sound full of palpable energy, she is at the frontline of the ever-growing global electronic music scene. Her trademark includes a haunting style of “dark and stripped-back” techno . It is combined with other electronic music styles for a distinct, multi-talented point of view. She has helped bring what for years has been an underground genre into the mainstream. Moreover, she connects with audiences through her meticulously crafted productions and DJ sets. The result is her position as one of the most listened artists in electronic music today. In addition to her craft, she is the founder of KNTXT, a multi-hyphenate, boutique experiential platform for techno. KNTXT includes a record label, live event arm, concept shop and more. Now if you’re willing to excuse me, let me hop on this wild ride that is ‘Roar’ The post Charlotte de Witte Unveils Adrenaline-Fueled Single ‘Roar’ appeared first on EDMTunes.

Artists streaming on the platform must now share their revenues with record labels Continue reading...

April is a huge anniversary month for the iconic Brazilian club and label D-EDGE as it celebrates 24 years of history. The São Paulo club and its new sister venue in Rio have lined up a series of special events to mark the occasion. The British icon Pete Tong, Running Back boss Gerd Janson, drum & bass maestro DJ Marky, the Italian techno titan Marco Faraone, and the German tastemaker Stella Bossi, disco crew Horse Meat Disco will all play amongst many more. The iconic D-EDGE is recognized worldwide for its innovative concept and forward-thinking musical and visual experience. Its award-winning and sophisticated design has achieved a perfect balance between sound, light, and ambience – every detail is carefully considered to enhance the sensory experience of the audience and it was, for example, the world’s first club to use LED, tubo led, and light lines, while it also hosts world-class DJs each and every week, all under the stewardship if revered DJ, producer and founder Renato Ratier. D-EDGE was born in the city of Campo Grande and later moved to São Paulo on April 22, 2003, in the industrial region of Barra Funda. Over the years it has played a key role in transforming the area into a hub of important clubs in the city and has very much helped develop the local and national underground music scene through its events and record label. At the end of 2023, a sister club arrived in Rio de Janeiro in the D-EDGE Cultural Center, a true cultural complex occupying an old building with five floors: three of them dedicated to the club (two dance floors and a terrace), along with an art gallery, a restaurant, and a café, which also features a Ratier brand store. Amongst the highlights in São Paulo are Freak Chic Fridays with the Italian techno titan Marco Faraone and the German tastemaker Stella Bossi playing alongside Brazilians such as Ratier, FractaLL x Rocksted, Lu.cian x DJ Murphy, Aninha, Marina Diniz, Stanccione, and Kaká Franco. The energy always rises with Nave’s Saturdays, which in April feature stars like Pete Tong, Biesmans (Live), Gerd Janson, Monkey Safari, and Visages, alongside Brazilian talents like DJ Marky, Drunky Daniels, Andre Salata, Diogo Accioly, and Marian Flow. The Saturday fun seamlessly transitions into Sunday’s afterparty but it’s not just any afterparty, it’s Superafter, featuring artists like Anderson Noise, Rafael Paste, Dee Bufato, and Lettizia in the mornings at Pista 2 and Lounge. Just like in São Paulo, D-EDGE Rio comes on strong with plenty of superb parties. Highlights include the legendary BBC Radio 1 DJ Pete Tong, captain of the celebrated Essential Mix, who plays for Dog_ma, which takes over D-EDGE Rio on the 12th April. The night after is EPIC with DJ Meme, the godfather of house music in Brazil. Debuting his own party at D-EDGE Rio, he promises an experience beyond the usual, guiding everyone through a singular night of eclectic sound. Another night that promises to be historic at CCD is on April 19th, a Friday that will be marked by the presence of Danish-Filipino DJ and producer Manda Moor, French artist Sirus Hood, rising Brazilian talent GIU, and of course, to close with flourish, boss Ratier completes this lineup. On Friday 26th, Gerd Janson is in town. Responsible for the excellent curation of the Running Back label, he is a renowned party starter and is joined by the colourful Horse Meat Disco crew which began its disco mischief on New Year’s Eve 2004 at The Eagle in London. Alongside its famous neon logo of a horse hanging (“our Eiffel Tower”), its trademark of irreverent joy has become a form of futurism in itself. The post Brazilian brand D-EDGE announces month of 24th birthday celebrations across both iconic clubs appeared first on Decoded Magazine.

In a move that resounds with both curiosity and controversy, the Russian Republic of Chechnya has implemented a novel regulation on its musical landscape. The authorities have declared a ban on music considered outside the tempo range of 80 to 116 beats per minute (BPM), as announced by the Minister of Culture, Musa Dadayev. This directive, firmly endorsed by Chechen leader Ramzan Akhmatovich Kadyrov, is shaping the auditory experience in Chechnya, aligning it closely with what is deemed appropriate to the “Chechen mentality and musical rhythm.” A Harmonious Mandate At a glance, the decision to regulate music based on tempo might seem unusual. However, this mandate is rooted in a desire to preserve the cultural heritage of the Chechen people, as articulated by Dadayev. The designated BPM range is believed to align with traditional Chechen music and dance forms, thus ensuring that the region’s artistic expressions maintain a connection to their historical and cultural origins. This move, however, places restrictions on global music genres such as pop and techno, which often explore tempos outside the approved range, effectively silencing them from the Chechen musical scene. Beyond Beats: A Cultural Tapestry Chechnya, nestled in the North Caucasus region between the Caspian and the Black Seas, is a predominantly Muslim republic with a rich yet tumultuous history. Under Kadyrov’s leadership since 2007, Chechnya has witnessed significant efforts to quell dissent and maintain strict social norms, with the music ban being the latest in a series of policies aimed at preserving cultural values. Yet, this approach has not been without its controversies, especially regarding human rights issues and the suppression of minority groups, illustrating the complex interplay between cultural preservation and individual freedoms in the republic. A Note on Cultural Preservation The BPM regulation in Chechnya is more than a mere musical mandate; it symbolizes a broader attempt at cultural preservation in the face of globalization and modern influences. While the intention to maintain a tangible link to Chechen heritage is commendable, the impact of such restrictions on artistic expression and the global perception of Chechnya’s cultural policies remains to be fully understood. As Chechnya continues to navigate its unique path, the world watches, intrigued by how these rhythms of regulation will play out in the broader melody of cultural identity and human rights. The imposition of a BPM range for musical expression in Chechnya is a fascinating intersection of culture, governance, and identity. It raises critical questions about the balance between preserving traditional values and embracing the diverse tapestry of global music. As Chechnya moves forward, it remains to be seen how this unique approach to cultural regulation will resonate both within its borders and beyond. [H/T] – CNN The post Chechnya Bans All Music Outside of 80-116 BPM Range appeared first on EDMTunes.

Creative Australia yesterday released a research report entitled Soundcheck: Insights into Australia’s music festival sector. The first of its kind, the report provides a broad overview of Australia’s music festival industry. Showing that almost one in four music festivals in Australia are electronic (23% of the festivals in this report) this research is timely for the electronic music community considering the current turbulence we find the industry in. With the Australian sector currently experiencing one of its worst years on record (excluding Covid) it makes for some interesting reading. You can view the report here. The post Insight into Australia’s Music Festival Industry Report. appeared first on Decoded Magazine.

In a surprising move, Chechnya, a Russian republic, has reportedly issued a decree restricting the tempo of music played within its borders. According to the Moscow Times, the Chechen culture ministry announced earlier this week that all music must conform to a tempo range of 80 to 116 beats per minute (BPM). This regulation effectively bans a vast array of Western music genres, particularly EDM, rave and techno music. The new standard, imposing relatively slow tempos, starkly contrasts with the upbeat tempo of much modern-day pop music. This rule seems aimed at preserving the conservative Islamic society’s cultural integrity in Chechnya. Ramzan Kadyrov, the republic’s leader, has directed culture minister Musa Dadayev to ensure Chechen music aligns with the “Chechen mentality,” as reported by the Moscow Times. Dadayev has been quoted as saying, “Borrowing musical culture from other peoples is inadmissible,” signaling a move towards cultural autarky. This announcement reportedly came after a meeting between the republic’s ministry and local and regional artists. In an interesting twist, artists have been given a grace period until June 1 to rewrite any music that does not meet the new criteria. Failure to do so would result in a ban from performing the non-compliant music in public. Consequently, popular Western rave and techno tracks, known for their high BPM, would not be allowed under this new rule. In the broader context, Chechnya has been a vocal supporter of Russia’s controversial invasion of Ukraine. Additionally, the republic has faced international scrutiny and condemnation over a series of anti-LGBTQ+ incidents, including alleged anti-gay purges. The United Nations has described these as “acts of persecution and violence on an unprecedented scale.” This new music regulation is yet another instance showcasing Chechnya‘s commitment to enforcing its cultural and moral values, often at odds with Western norms and artistic freedoms. The impact of this decree on the local music industry, artists, and the general public remains to be seen, as it ushers in a new era of cultural policy in Chechnya.

The Vinyl Factory at 180 Studios presents REVERB, a major multimedia exhibition exploring the intersection of art and sound, opening on 23 May 2024. In the largest show of its kind, REVERB will bring together over 100 artists and musicians working across mediums including visual arts, music, film and live performance. REVERB will feature new site-specific audio-visual installations and sonic experiences, commissioned by The Vinyl Factory, from artists including Theaster Gates, Es Devlin, Julianknxx and Caterina Barbieri with UK premieres of artworks by Kahlil Joseph, Stan Douglas, Virgil Abloh and Cecilia Bengolea, and installations by Jeremy Deller, William Kentridge, Jenn Nkiru, Hito Steyerl, Carsten Nicolai and Gabriel Moses. Hi-Fi Listening Room Dream No.1, created by and programmed with New York artist Devon Turnbull, will create a meditative space within the exhibition to listen to vinyl with an evolving programme of unheard music, including exclusive test pressings and studio outtakes. A wide-ranging programme of live performances and talks will also sit alongside the exhibition. A new work by Theaster Gates, Amplified, will exist as a sonic installation during the day and transform into a space that hosts live performances by night, with shows by established and emerging musicians recorded and pressed direct-to-disc on The Vinyl Factory Lathe. Kaleidoscope Manifesto | Lafayette Anticipations 100 vinyl records created by artists and released by The Vinyl Factory will also be on display in a new space designed by Ben Kelly. These include releases by Nan Goldin, Arthur Jafa, Pipilotti Rist, William Kentridge, Mica Levi, Marina Abramovic, Grace Jones, Yussef Dayes, Es Devlin, Fred Again, Thom Yorke, Ragnar Kjartansson, Massive Attack, Pet Shop Boys, Maurizio Cattelan, Daft Punk, The xx, Rachel Rose, Kojey Radical, Taryn Simon and many more. For the past 20 years, The Vinyl Factory has been at the forefront of fostering pioneering collaborations between artists and musicians, embracing new ideas and exploring new ways of merging art and sound. REVERB is curated and presented by The Vinyl Factory. A public program of live musical performances will take place during the show with the recordings pressed as limited-edition vinyl records by The Vinyl Factory. Listings Information REVERB 180 Studios 180 The Strand, London, WC2R 1EA 23 May – 28 September 2024 10am – 7pm, Wednesday- Sunday (closed Monday and Tuesday) – More information via https://thevinylfactory.com/ The post The Vinyl Factory presents an immersive experience within art and sound appeared first on Decoded Magazine.

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Mau P has been on a tear the last year. This September, the global trailblazer returns to New York City at Under The K Bridge for another all-night-long show under his Baddest Behaviour party concept. After his NY debut at Knockdown Center in February, Baddest Behaviour quickly garnered a reputation and a huge following in the Big Apple. The new event will take place on September 13th and will see Mau P perform an open-to-close set at the one-of-a-kind venue in Brooklyn. Under the K Bridge is a new location found under the Kosciuszko Bridge in NYC. It’s an outdoor spot that is certain to complement Mau P’s selections and deliver an unforgettable experience to attendees. Mau P will once again be taking charge for the whole night, delivering his own brand of diverse sounds at the Brooklyn, NY spot. Mau P recently took over Miami Music Week, hosting two events and performing at several others. His Baddest Behaviour show at Floyd sold out well in advance, as well as his Mau P’s BACKYARD event at The Surfcomber. Topping a monstrous week off, Mau P was on closing duties at Elrow’s iconic show at Factory Town. Mau P was confirmed for a headlining back-to-back slot with Diplo at Coachella’s new Quasar stage and a slot at EDC Las Vegas’ esteemed mainstage. Baddest Behaviour is Mau’s very own event series, rooted in his desire to cultivate his own unique sound and a connected community. The events are already proving to be a huge hit with fans, with sell-out parties at the 3000-capacity Knockdown Center in New York and a successful show during Miami Music Week at Floyd, Space Miami’s sister venue. Final Tickets can be found here! The post Mau P Announces Landmark Under the K Bridge Show in New York City appeared first on EDMTunes.

Indie R&B singer Aryeè The Gem had an unconventional path in the music industry. Raised primarily by her cousin due to her parents’ inability to care for her, she turned this adversity into an opportunity to nurture her passion for music. “What sets me apart is my dedication and commitment to my craft,” she explains. “I’m always learning, so you’ll see constant growth and evolution in my journey.” Growing up without her siblings, dropping out of college, facing creative setbacks, and battling depression while struggling financially and emotionally provided Aryeè The Gem with clarity about her life’s direction. These experiences reinforced her alignment with her passions and the need to stay focused on her desired path. Recent years have brought Aryeè The Gem considerable success. Signing with Saint & Citizen in 2023, she graced the pink carpet at the VMAs, attended the Grammy Awards, and opened for Leela James in March 2024. Collaborations on her forthcoming album promise to reshape perceptions of her in the industry and introduce her music to new audiences. “My goal is to share lessons about taking control of your destiny through patience, self-awareness, and mindset shifts,” she states. “I want people to understand the benefits of commitment, self-belief, and cultivating positive relationships.” Aryeè The Gem’s magnetic energy shines through her music videos, notably in her song “To It,” where her sultry vocals glide over production reminiscent of SZA and other R&B artists. With nearly two million views on “To It” and 16,000 subscribers on YouTube, her passion and dedication to her craft are evident. Looking ahead, Aryeè The Gem envisions making an impact through music, fashion, and film on an international scale. She aims to defy conventions, empower others through mentorship and speaking engagements, and align herself with companies that share her values. Awards, acting roles, event hosting, and educational initiatives are all part of her aspirations to inspire and empower future generations through creative expression. The post Aryeè The Gem aims for stardom in music and beyond appeared first on Dancing Astronaut.

If the Coachella 2024 couldn’t get any better, Goldenvoice has certainly outdone themselves once again. After a historic amount of electronic bookings were announced in 2023, Coachella has decided to bring six more coveted electronic performances to a new stage. Taking over the grounds of the old Sahara tent, the Quasar Stage will include two gigantic LED walls, making for ideal production for electronic dance music sets. With all headlining sets guaranteed for three hours or more, attendees are in for a treat with specially curated sets that previously could only be experienced at a club. Weekend 1 starts off strong on Friday with Honey Dijon and Green Velvet, two of house music’s most established artists. Michael Bibi makes his triumphant return to the United States after winning an incredible battle against CNS Lymphoma. Finishing off the weekend is the experimental trio of Jamie XX, Floating Points, and Daphni. The following weekend includes unique DJ sets from RÜFÜS DU SOL and Eric Prydz back-to-back Anyma. Closing out the weekend is long time Coachella veteran Diplo playing with one of the hottest DJs in house music, Mau P. Hear more from Goldenvoice talent buyer, Jenn Yacoubian, below. Coachella’s new Quasar stage — where Prydz x Anyma, Michael Bibi, RÜFÜS DU SOL + more are playing — already looks wild It’ll be in the old Sahara Tent spot and will have two monolithic LED walls (: @coachella) pic.twitter.com/r67aYFOy18 — Dancing Astronaut (@dancingastro) March 19, 2024 Featured image: Coachella/Instagram The post Coachella adds brand new Quasar Stage to the 2024 lineup appeared first on Dancing Astronaut.

Taking multitasking to a whole new level, a New Jersey man is attempting to set a new world record by completing the London Marathon while DJing. Imagine running 26.2 miles with a 17-pound mini-stage strapped on your shoulders—that's the challenge for Gus Fraser. The New Jersey native, 45, says he'll attempt to run the grueling marathon in under five hours while mixing live on a Numark DJ controller to break the Guinness World Record for "Fastest Marathon whilst DJing (male)." This year's London Marathon will reportedly feature a staggering 79 Guinness World Record attempts, most of which are goofy, like "Fastest marathon in a full-body inflatable costume." But unlike most of those, Fraser's effort isn't fueled by hubris, but by altruism. Inspired by the loss of his father to pancreatic cancer, he's running with the goal of raising £100,000 for the nonprofit Cancer Research UK, who claims to be the world's largest independent cancer research organization. "This run is more than just a record attempt; it’s a personal crusade against cancer, a disease that affects one in two people today," Fraser wrote on his fundraising campaign. He's not the only one running the London Marathon for a good cause. Louise Butcher, a 50-year-old woman from Devon, is racing topless to raise awareness of breast cancer after her mastectomy and aesthetic flat closure surgery, according to Daily Star. The London Marathon is scheduled for April 21st. Fraser will be livestreaming his world record attempt on his YouTube channel.

Inspired by the timeless production of Gesaffelstein, Fred again.. has joined forces with the French electronic music icon for a new single, "BerwynGesaffNeighbours." Released in collaboration with Gesaffelstein and BERWYN, the song appears on Fred's compilation album, USB. The track is a rework of "Destinations," a haunting single from Gesaffelstein's influential debut album Aleph. Taking to social media, Fred said he'd been "obsessed" with the song and worked on a myriad of different bootlegs with different vocals over the years. He ultimately sought the help of London-based singer-songwriter BERWYN, a frequent collaborator with whom he released "Berwyn (all that i got is you)" from his Grammy-winning Actual Life 3 album. The release of "BerwynGesaffNeighbours" is accompanied by another new track, "ItsNotREEAALLLLLLLL," which features Duoteque and Orion Sun. You can listen to both below. Fred also launched a limited run of USB vinyl, which fans can access here by using the password "usb001." Follow Fred again..:Facebook: facebook.com/fredagainagain Instagram: instagram.com/fredagainagainagainagainagain X: x.com/fredagainagain1 Spotify: spoti.fi/3w2WKZD Follow Gesaffelstein:Facebook: facebook.com/gesaffelsteinmusic Instagram: instagram.com/gesaffelstein Spotify: spoti.fi/3cKr0Nv Follow BERWYN:Facebook: facebook.com/berwynberwynberwyn X: x.com/berwynberwyn_ Instagram: instagram.com/berwynberwynberwyn Spotify: tinyurl.com/bdhe9ytj