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Ten years ago, Hardwell, then recognized as the number 1 DJ in the world, celebrated a milestone with his label Revealed Recordings by releasing ‘Everybody Is In The Place’ as its hundredth issue. This track not only underscored Hardwell‘s mastery in big room productions but also paid homage to the electronic music pioneers, The Prodigy, by sampling their 1991 classic ‘Everybody In The Place’. Released in 2014, this track combined Hardwell’s signature high-energy style with nostalgic elements, making it an instant favorite among fans. ‘Everybody Is In The Place’ showcased Hardwell‘s skill in blending bone-shuddering basslines with euphoric piano melodies, a recipe that resonated with his global audience. The release held a special place in Hardwell‘s performances, being the opening track for his ‘I AM Hardwell’ show, which he had been touring for the past year. The anticipation and excitement among fans were evident, especially following the success of his previous release ‘Dare You’, which had made significant chart impact. At the time of ‘Everybody Is In The Place’ release, Hardwell was at the pinnacle of his career, gearing up for headline performances at Ultra Music Festival 2014 and a sold-out Revealed Recordings party at Mansion. This track exemplified his ability to create music that connected with audiences on a global scale, from Miami to Ibiza, reinforcing his status as a leading figure in the EDM scene. Robbert van de Corput, known professionally as Hardwell, began his journey in DJing at the age of 13, drawing inspiration from the dance parties he saw on MTV. His early start led him to a career marked by experimentation in remixing and producing his music, shaping the EDM explosion of 2012-2013. ‘Everybody Is In The Place’ remains a testament to Hardwell‘s talent and his impact on the electronic dance music world, showcasing his ability to blend nostalgia with contemporary sounds in a way that captures the essence of the genre.

A decade ago, Deorro, an emerging name in the house and EDM scene, released ‘Five Hours’, a track that showcased his versatility as a producer and firmly established him in the electronic music world. Erick Orrosquiesta, known professionally as Deorro (and formerly as TON!C), crafted this single with a distinct approach that differed from his typical high-energy Melbourne bounce style. Released in 2014 on PRMD Music, ‘Five Hours’ became a standout track for its melodic ingenuity and unique production style. Hailing from Los Angeles, Deorro began his music career as a teenager, gaining a following through his SoundCloud page and extensive touring. His early twenties saw him releasing a series of successful tracks on labels like Dim Mak and Mad Decent, including ‘Dechorro’ and ‘Freak’. However, ‘Five Hours’ marked a pivotal moment in his career, reaching the top ten in countries like France and Belgium and resonating with a broad international audience. ‘Five Hours’ is characterized by its captivating melodies and a structure that highlights Deorro‘s creativity and production skills. The track’s layout, featuring a gradual buildup and a hypnotic rhythm, created a unique listening experience that stood out in the electronic music scene. This release not only demonstrated Deorro‘s ability to evolve and experiment with different styles but also solidified his reputation as a talented and innovative producer. A decade later, ‘Five Hours’ remains a significant and beloved track in Deorro‘s discography. It serves as a reminder of his artistic range and his contribution to the diversity of electronic dance music. The track’s success is a testament to Deorro‘s skill as a producer and his ability to craft music that transcends the conventional boundaries of EDM genres.

In tried-and-true Cercle fashion, dance music and breathtaking global destinations are once again colliding to offer fans experiences they'll never forget. Adventure-seeking fans of electronic dance music can now book once-in-a-lifetime trips to locales across the world after the renowned event brand announced a new branded travel concept, Cercle Moment. "Cercle Moment offers a chance for those seeking extraordinary experiences to enjoy the luxury of an all-inclusive journey, tailored to create exceptional moments," Marcelo Velit, Cercle Moment's Program Curator and Project Leader, told EDM.com in an emailed statement. "The heart of each journey is a musical narrative featuring artists from our ecosystem, making each moment feel timeless and intimately exclusive due to our limited group sizes. We aim to provide journeys found nowhere else, sparking curiosity in those eager to explore experiences that touch the edge of possibility. We strive to be the kind of trip you've dreamed of, the kind that only Cercle, with its unique experience crafting, can offer." View the original article to see embedded media. Revered for its rare live events that place DJs in jaw-dropping settings, Cercle was honored in EDM.com's "Best of 2020: Industry Leaders" list. The brand has organized performances at Egypt's legendary Great Pyramids of Giza and in the skies of Cappadocia, Turkey, among other locales. "Last year, we introduced Cercle Moment with a single aspiration: to offer our community unique experiences, blending discovery, connections and, of course, music," added Lona Di Ruscio, Cercle Moment's Marketing and Communications Manager. "One thing guided us through the construction of this new concept: the opportunity to travel the Cercle way, living intimate journeys punctuated with exceptional activities and carefully curated musical events. Following our adventures in Egypt, Andalusia and the Swiss Alps last year, we are delighted to unveil the destinations for 2024." Fly Over the City of LightsHead to Paris for a five-day journey and learn how to fly a plane with a sightseeing experience onboard a two-seater above the Vallée de la Chevreuse. You'll also attend the Cercle Festival, stay at Le Meurice, Parisian Palace and party at the Eiffel Tower with exclusive DJ sets by Mochakk and Pedro Winte. Plus, cruise along the Seine with an onboard yacht performance by Alex Wann b2b Notre Dame. This experience has already sold out. French Riviera ReverieThis Cercle Moment lands in Côte d'Azur, France. A surprise guest will perform at an intimate party on Degaby Island, with jaw-dropping 360° views of the stunning Mediterranean Sea. Take in a wine tasting at the famous Château La Coste, ride a catamaran in Provence and enjoy five-star luxury at the Hotel Dieu Intercontinental. A special, secret itinerary featuring world-renowned artists is also part of this experience, which you can book here. Cappadocia's LegacyDiscover Cappadocia while soaring over Anatolia in a Turkish hot-air balloon as Cercle returns to the same location as their stunning Ben Bohmer hot-air balloon set. Tour the Kings Valley site with Turkish dancers and local music, gallop into Cappadocia on horseback and drive through the thrilling hills of Anatolia. This experience includes lodging at the lavish Aza Cave Suites, with gorgeous views of the Pigeon Valley and Uchisar Castle. Plus, throughout the trip, enjoy traditional food celebrating the flavors of each region. Explore this moment and plan your experience here. O Ritmo do RioLast but certainly not least, Cercle Moment is offering a once-in-a-lifetime adventure along the Costa Verde in Brazil. Soak up views of the Rio de Janeiro on a yacht with exclusive musical performances onboard. You'll also see Rio from the sky during a helicopter tour, or opt for a paragliding experience. On the islands of Angra dos Reis, enjoy special electronic sets, snorkeling and breathtaking tropical views. In Rio de Janeiro and Angra dos Reis, you'll stay at luxury five-star hotels and take in intimate DJ sets featuring the world's biggest electronic music artists in dreamlike locations along the Costa Verde. Learn more and book your moment here. The full music lineups for each destination have not yet been revealed at the time of this writing. You can learn more about the 2024 Cercle Moment series here. FOLLOW CERCLE:Website: cercle.io Facebook: facebook.com/cerclemusic X: x.com/CercleMusic Instagram: instagram.com/cerclemusic YouTube: youtube.com/c/Cercle FOLLOW CERCLE MOMENT:Website: moment.cercle.io Instagram: instagram.com/cerclemoment

Fifteen years ago, Calvin Harris released ‘I’m Not Alone’, a track that marked a significant shift in his musical style and cemented his status as a versatile and influential figure in electronic dance music. Released in 2009, this single signified a departure from the funkier, more disco-oriented sound of his debut album, showcasing a more electronic and dance-focused direction. ‘I’m Not Alone’ combined pulsating beats with emotive melodies, creating a sound that was both uplifting and melancholic. The track’s success was immediate, resonating with both club-goers and mainstream audiences, and it played a pivotal role in shaping the sound of electronic music in the late 2000s. Its blend of dance rhythms with a more introspective tone showcased Calvin Harris‘ ability to create music that was not only catchy but also rich in emotional depth. This release was a turning point in Calvin Harris‘ career, demonstrating his evolution as an artist and his willingness to explore new sonic territories. ‘I’m Not Alone’ was not just a commercial success; it was a statement of Calvin Harris‘ growing influence in the music industry, reflecting his skill as a producer and his knack for creating trendsetting music. Today, ‘I’m Not Alone’ remains a beloved classic in Calvin Harris‘ discography, a reminder of his talent for crafting songs that transcend the boundaries of electronic dance music. Its enduring popularity is a testament to its impact and Calvin Harris‘ continued relevance in the ever-changing landscape of music.

It’s now two weeks since Ultra Day 1, and we have finally regained enough brain cells to process what happened during MMW24. We took some time to think over all the events of the week beyond just Ultra to distill some of the biggest winners and losers from Miami Music Week 2024. Read on for the full lowdown. Winner: Mother Nature Music Week 2024 was an unexpected reminder that Mother Nature is undefeated in the universe. The best-made plans can go to s**t when storms come through, especially when it comes to music festivals. During EDM’s Golden Era festivals being rained out was somewhat common. EDC Orlando’s debut edition had to stop for quite a while during a thunderstorm. Ultra 2014 is memorable for Above & Beyond’s equipment getting destroyed by the downpour and they were forced to DJ on backup equipment facing away from the crowd. Of course, we all know the story of TomorrowWorld, where rain and mud literally destroyed a festival and bankrupted a publicly traded company. It was common for Ultra to shut down a stage or two for a bit due to pouring rain. That’s how many people discovered Resistance for the first time – escaping the rain. Then somewhere around 2018 we had several glorious years of perfect weather during Music Week. It did not rain at all from 2018 through 2023. Then Tomorrowland Brazil 2023 got flooded out on Day 1 and had to cancel Day 2 to clean up the muddy mess. Now Ultra and Music Week 2024 had the same experience. Are we about to see a few more years with rain in the Music Week forecast? We hope not, but you never know. The good news is that everybody powered through and salvaged the weekend anyway. Loser: Everybody’s Shoes on Friday As the rain poured down on Friday, people were prepared (for the most part). They had ponchos so the rain wasn’t cramping their style. The thing is, nobody was prepared for so much rain. Not many people came to Ultra in boots. As the rain got worse on Friday, people were desperately trying to hopscotch their way around Ultra or Factory Town to avoid the huge puddles of water and/or mud. For probably 90% of people, there came a moment where all of their efforts were for naught, and they had no choice but to submerge their entire foot and shoe in the water. For some, this moment happened twice (once at Ultra, and another later that night at Factory Town). The funny thing about it is that once you finally embraced the s**t and let your shoes get soaked, you were finally free of all inhibitions. The people who got the most soaked on Friday night were probably having the most fun. It’s an absolute fact that everybody at Factory Town on Friday night had to soak their sneakers, and something about that just released the feral energy inside everyone there. Friday night at Factory Town was probably the wildest event of the entire Music Week. Winner: Factory Town Factory Town was not only firing on all cylinders during MMW24, it was firing on extra cylinders we didn’t even know it had. It was slammed from Wednesday to Sunday, featuring every type of house or techno you could imagine. Factory Town had about as many stages as Ultra, which is crazy when you think about it. It was an entire five-day multi-stage music festival of madness. Without a doubt the best aspect of Factory Town this year was the rarely utilized Warehouse Stage. Who knew that we had our own Drumsheds right in Hialeah?! It’s dark, it’s hot, it can get a bit cramped, it’s industrial, and it’s glorious. Besides that, the Park Stage was in full swing as well – although it wasn’t covered enough to shield the rain on Friday night. That gives Factory Town three mainstages with different qualities. Pretty awesome. Factory Town gained even more appreciation in comparison with other venues in town with limited operating hours and crazy traffic snarls, which brings us to……. Loser: Afterlife Traffic We were so hyped for Afterlife to come to Miami Marine Stadium. It would feature the most epic production with the most gorgeous backdrop of the skyline and the bay. It had a massive crowd capacity so there was room for everybody to take it all in. Yet, Virginia Key once again became a bit of a quagmire, as Ultra learned in 2019. It works for boutique festivals that run from noon to 2am, but when it’s just 6PM-2AM and even the first opener is stellar, you’re stuck with a rush of people all at once – which means a rush of traffic. Unfortunately, the lessons Ultra learned over three days in 2019 were not passed on to this team and many of the same issues returned. The traffic was simply insane because there was one road in and out. It took about an hour to get from Brickell to the venue, and this trip normally takes about 10 minutes. It was bumper to bumper the entire way there and cars were driving on the shoulder to make it. As it turns out, rideshare vehicles were causing many of issues because they were stopping in arbitrary places and causing unnecessary traffic hold-ups. The traffic on the way out was even worse than on the way in. If you parked in the cheapest lot it probably took over an hour just to get out of the parking lot (and that’s if you got to your car before the show even ended). The team made some traffic management changes for day 2 which reportedly helped a lot. If the organizers incorporate the lessons learned and try again with more shuttle options perhaps it could work – but we wouldn’t be surprised to see Afterlife go back to Factory Town or maybe Island Gardens in the future. Losers: Resident Karen Organizations The main reason Afterlife (and probably any other large event) will not return to Miami Marine Stadium is the local Karens Alliance (or whatever they call themselves). Resident organizations and their condo commandos were ready and waiting to complain about anything and everything relating to music events during Music Week. Residents in Key Biscayne and Brickell started complaining when the Afterlife team was merely testing the lasers and lights in the days before the show. We can’t deny that they had some reason to complain with the traffic situation, but they had to take it to the next level of complaining that they couldn’t sleep because of the occasional errant laser and some faint bass they believed they heard. The Key Biscayne Karens swiftly kicked Ultra out in 2019 and we can be sure they will do whatever they can to block another big event from happening there again. Even the Miami Boat Show gave up on that space. The local Karens weren’t just complaining about Afterlife. The Downtown Karen Alliance was simply outraged that Ultra and its attendees could be granted an extra hour on Saturday night and and extra 30 minutes on Sunday night. Considering that Ultra lost about three hours on Friday night and untold amounts of money cleaning and preparing the site on Saturday morning, an extra 90 minutes seems like the least the City of Miami could do. Luckily for us, Miami felt the same way and granted the extension for this once-in-a-generation occurrence. The latest extension occurred on Saturday night when Ultra was allowed to run until 1 am, which is the most convenient night for such a thing to happen. The extra 30 minutes on Sunday allowed Ultra to run until 1030PM – not exactly late by any stretch. In the days after they were all over the press threatening to take action. The best action would be for all of these people to get a life. The local Karen organizations are, without a doubt, the biggest losers of Miami Music Week 2024. Winner: Strawberry Moon The MMW pool party landscape has seen a lot of negative change over the last few years. Many of our favorite pools, like The Delano, were closed down, sold, and are undergoing renovation. The worst part? When the incredible renovations are completed, there is little to no chance we’ll see a pool party there ever again. That’s why it was so refreshing to add a new South Beach pool to the mix in 2024. Strawberry Moon opened some years ago, but it quickly got into a spat with the Miami Beach government over sound ordinances. After a few big pool shows around its grand opening, it was forced to tone things down for a while. We’re not sure what changes occurred to allow Strawberry Moon to live up to its full potential, but we hope the changes are here to stay. It has a great layout and hosted some awesome events this year, such as the STMPD Pool Party. Loser: Pool Parties on Friday Ultra wasn’t the only one who got screwed by mother nature on Friday. A whole host of pool parties were set to occur that day, and most of them had to cancel. There’s just no way around it, and it was a major bummer for all involved. Luckily things turned around later on Saturday and were beautiful on Sunday. Winner: Adam Beyer Adam Beyer went from having an 8PM set on Ultra Friday to closing the megastructure on Sunday. The Drumcode maestro was about 30 minutes into his set on Friday when everything shut down, and he hadn’t even gotten to play PATT yet! Needless to say, this could not stand. Eric Prydz stepped aside to offer his closing slot to his B2B buddy who closed it down on Sunday in epic fashion. All told, Adam Beyer got to play 1 and a half sets at Ultra and he got to play his own set during Drumcode Friday in addition to his b2b with Layton Giordani. Plus, Beyer’s monstrous PATT remix got played by practically every DJ that week anyway. Loser: Chris Lake & FISHER Under Construction While some DJs got to play extra sets, the highly anticipated Chris Lake & FISHER Under Construction show couldn’t be rescheduled this year. The pair shared their intentions to play Ultra’s 25th Anniversary in 2025, but we’ll have to wait until the Fall to see if that comes to fruition. Alright, it’s the morning after the night before and we’ve woken up completely disheartened. We’d both worked for months in preparation for this show and were so excited about having the responsibility to close the main stage on the Friday. As two guys who love, love, LOVE… — Chris Lake (@chrislake) March 23, 2024 Loser & Winner: Bayfront Park Our dearly beloved Bayfront Park definitely lost this year. That torrential downpour on Friday turned it into a giant mud pit that was strung back together with mulch and plastic cladding so people could still walk around and enjoy the festival without swimming in mud. Between the rain, the mud, and the usual craziness of Ultra, Bayfront Park is looking ROUGH right now. Luckily for Bayfront Park, and Miami, Ultra is responsible for a total cleanup of the park and will have it looking brand-spanking new before too long. So why is it that Bayfront Park is also a winner? Well, Bayfront Park is still one of the most iconic festival venues in the world, but that’s not all. By the time Ultra returns for its 25th Anniversary in 2025, the long-dormant Bayfront Park fountain will be revitalized and functioning once again! The fountain will incorporate smart lights and water displays that you can bet will be incorporated into Ultra’s production. The mainstage views in 2025 will be more gorgeous than ever before. The post Winners and Losers of Miami Music Week 2024 appeared first on EDMTunes.

Brazilian dynamo Vintage Culture is back with the latest single from his highly anticipated debut album “Promised Land” – “Nothing Ever Changes.” Following closely behind “Weak,” this release single features the ethereal vocals of UK-based producer, singer, and songwriter Magnus and results in intoxicating experience. The track kicks off with a rhythmic foundation propelled by ambient drum patterns, gradually introducing Magnus’ captivating vocals that seamlessly blend into the evolving soundscape. Vintage Culture skillfully intensifies the pulsating production, leading listeners to a climactic moment highlighted by a resonant bassline. “I remember hearing Magnus’ vocal for ‘Nothing Ever Changes’ for the first time. I was minutes away from taking the stage with Swedish House Mafia in Paris. Magnus was midway through the vocal and lyrics in Amsterdam. I was immediately drawn in by the melody and lyrics of the song. I sent over notes regarding the direction, mood, and atmosphere we should create, then ran to the stage of Accor Arena to start my show. I’m very proud of ‘Nothing Ever Changes’ and believe it stands with my best work to date.” – Vintage Culture Reflecting on the inspiration and musical direction for “Nothing Ever Changes,” Magnus stated, “I wanted my first collaboration with Vintage Culture to have an emotional impact through the songwriting and production, plus a melody that would connect with fans around the world through Lukas’ massive shows. I began the demo in Amsterdam and finished it a few weeks later in Berlin. The song really came to life when Vintage Culture began its production. ‘Nothing Ever Changes’ reflects how I was feeling during a challenging time. We all go through these stages in life. The trick is to not allow it to consume you, but to harness these feelings and keep striving for improvement.” Listen below! This article was first published on Your EDM. Source: Vintage Culture & Magnus Drop Intoxicating Single “Nothing Ever Changes”

The elusive Deathpact is back with a new single, "NEMESIS," a genre-defying journey for those who crave sonic brutality. With all the signature hallmarks of a dark and doomy Deathpact record, it's the phantom electronic music outfit's first release of 2024. "NEMESIS" slithers in with distorted bass underneath tortured howls, its tense, eerie production a premonition luring us to the edge of a cliff. Those distress signals are then swallowed into the song's drop, a low-end leviathan with bass so thick it could worry a cardiologist. As "NEMESIS" progresses, its drum breaks become more frenzied. Deathpact eventually uncorks a vicious drum & bass sequence, a masterclass in versatility that brings the track home with unfiltered energy. Check out the track below. In other Deathpact news, the mysterious collective recently announced a high-profile headlining performance in Denver, where ticket-holders can partake in a branded VIP experience, "Eternity Research Group." Fans who complete an hourlong interview and "training session" will win merch and gain access to an exclusive VIP viewing area at the show, which is scheduled for June 22nd at the famed Mission Ballroom. For a deep dive into the intricate, arcane world of the anonymous artist collective, read our in-depth feature. You can find "NEMESIS" on streaming platforms here. Follow Deathpact:Facebook: facebook.com/Deathpact X: x.com/deathpact Instagram: instagram.com/deathpact Spotify: spoti.fi/30C9Q1Z

Since the launch of his own label and event series, WHYNOTUS, the acclaimed DJ-producer Malóne has been consistently dropping mesmerizing tunes in the Tech and Afro House space. Today, WHYNOTUS has released its inaugural compilation, titled ‘MIAMI GROOVE VA’, featuring six culturally-infused house tracks. Kicking off the collaborative endeavor is “Get It,” an entrancing single heavy on percussion, crafted by Amal Nemer. Enhanced with exotic vocals, this track sets the tone for the groove-filled journey ahead. Nemer’s ability to instantly hook your mind with her hypnotic grooves is a testament to her talent, making it a perfect addition to this compilation. “‘Get It’ is a track that makes you bounce up and down. It has crazy vocals and melodies that make you feel everything. Just when you think the drop is coming, the track makes you wait a little bit more. I love the effect this has on the dance floor.” – Amal Nemer MIAMI GROOVE VA also features contributions from Morpei, Damelo, Sounds Of Rituals, Pablo Alhach, Des & Del, DZR, and Sabrosura Boyz. What distinguishes this compilation is its ability to bring together artists from diverse ethnicities and regions. ‘MIAMI GROOVE VA’ embodies a fusion of sounds from Venezuela, Nicaragua, Mexico, Guatemala, Bolivia, Cuba, Israel, USA, and beyond, reflecting the rich musical heritage of each participating nation. Check it out below! This article was first published on Your EDM. Source: Malóne’s WHYNOTUS Label Debuts Afro House Compilation ‘MIAMI GROOVE VA’ Ft. Amal Nemer, Damelo, Del & Del + more

Snirco and Millero have joined forces to unleash the incredibly powerful, ‘Sweet Moment‘ on CAMELPHAT’s When Stars Align imprint. This anthem in the making, complete with a remix from CAMELPHAT themselves, has already been a huge highlight in CAMELPHAT’s sets throughout their recent U.S. Spiritual Milk tour. Snirco’s sound is filled with psychedelic sounds and unique grooves, drawing inspiration from a diverse range of influences, including psy-trance, house, and jazz. With a reputation for delivering unforgettable all-night sets and pushing the boundaries of electronic music, Snirco has garnered support from top DJs around the globe, including Solomun, Damian Lazarus, and CAMELPHAT. Meanwhile, Millero is an electronic project by Israeli DJ/producer Roy Miller. Millero brings passion to the dance floor with groovy bass lines, catchy vocals and energetic drums. Millero is one of the most promising names in the industry with releases on Renaissance Records, Monaberry, Maccabi House, and Engrave Ltd. His latest releases were supported by Solomun, CAMELPHAT, Ame, Damian Lazarus, Hernan Cattaneo, Massano, and more. Featuring a cool, slick groove, iconic synth riffs, and a delectable entrancing vocal, ‘Sweet Moment’ transports listeners to another level. The track has already made waves on CAMELPHAT’s recent U.S. tour, prompting the duo to step in and deliver an edit that takes the original to new heights. With an incessant groove and peak-time energy, CAMELPHAT’s edit is set to elevate ‘Sweet Moment’ to dance floor anthem status. The post Snirco & Millero Collab On The Powerful ‘Sweet Moment’ appeared first on EDMTunes.

Ahead of its highly anticipated release this Friday (April 5), the collaborative reimagining of Sharam’s 2007 classic ‘Party All The Time’ by Adam Beyer, Layton Giordani, and Green Velvet has already dazzled at Miami Music Week, closing out their sets throughout the week with the certified party anthem. On top of existing support from heavyweights including Armin van Buuren, John Summit, FISHER and Oliver Heldens ahead of Miami, the track has firmly earned its status as the track of this year’s Miami Music Week thanks to support from Vintage Culture, Mochakk, and more. Debuting at Miami’s Winter Music Conference back in 2006 and spending months building in the clubs and across airwaves to eventually peak at #8 in the UK Official Charts, Sharam’s hit has already been a beloved staple at Miami Music Week. Now, this contemporary rendition, which pairs the edgy, thumping production of Adam Beyer and Layton Giordani with the unmistakable vocals of Green Velvet, is poised to dominate the festival circuit following the hype in Miami.  Testament to the enduring appeal of ‘Party All The Time’ by original artist Eddie Murphy is evident in its various interpretations over the years, with artists such as Hannah Laing and Ultra Naté putting their own unique spins on the track. Each iteration breathes new life into the song, solidifying its status as an anthem for the ages.  The remix of Sharam’s classic is available right now via Armada Music and Drumcode. Stay tuned for more news! The post Sharam – PATT (Party All The Time) [Adam Beyer, Layton Giordani & Green Velvet Remix] appeared first on EDMTunes.

Talented DJ and music Producer Cammora strikes back with another hard-hitting release ‘Get Rid Of That,’ teaming up once more with Lazarusman, the Producer is ready to unveil his new sonic explorations, displayed in this new Melodic House & Techno release via his new imprint Collective Mob. Having collaborated with Lazarusman on their previous release ‘Peace’ alongside Gregorio, released via Sirup Music, Cammora joins forces with the prominent writer, poet and DJ Lazarusman to bring this new track that’s both motivating and entrancing. With releases reaching top charts across leading platforms, and with a great number of accolades behind his name, Cammora is clearly a name that’ll continue to grow in the Electronic Dance music world, as every release showcases his skills and innate talent for music production; ‘Get Rid Of That’ is an example of this, proposing an inspirational message packed with a powerful sound that displays Cammora’s new sound direction. ‘Get Rid Of That’ offers an immersive sonic journey, alongside a lively beat and uplifting pads and synth lines that carry the energy of the track. As the dynamic spoken vocals provided by Lazarusman guide the listening experience, the powerful low-end and the captivating synths release the track to a new level of energy. An introspective listen, the rhythmic and stimulating sonic elements paint different colors in the soundscape, as the vocal adds a layer of intensity and resolution, the track drops another hit through the powerful beat and its all-encompassing pads. A must-listen for lovers of the Melodic House & Techno genre, this track promises to be as uplifting as it is commanding, providing the perfect balance to allow listeners to lose themselves in the listening experience, and enjoy the unmissable journey. Make sure to follow Cammora to remain updated on his latest releases, projects and live show dates, as he promises to take this new sonic path to new grounds with the fresh productions he’s preparing. ‘Get Rid Of That’ is out now and available on all major online stores and leading streaming platforms. Listen to ‘Get Rid Of That’ Now: Beatport Cammora Online  Soundcloud | Instagram | Spotify  Lazarusman Online  Beatport | Instagram Collective Mob Online  Beatport The post Cammora and Lazarusman Return with Another Must-Listen Production with ‘Get Rid Of That’ appeared first on EDMTunes.

Slushii keeps the hits coming in 2024. His new track ‘If You Love Me Now,’ is out now via his new label SONICDream. The track is a return to the energetic happy hardcore sound that has built up his loyal following throughout the years. A beautiful piano melody, angelic vocals, bright synths, and upbeat percussion make this a mood boosting feel good track. If You Love Me” is vintage Slushii music. I started my label SONICDream specifically for this purpose: to have an outlet for my original productions and releases that make me.. me. This one is not only for those who have loved and supported me no matter what.. But also for me. To be able to make music that makes me feel like myself.” – Slushii 2024 has been a spearheading year for Slushii. SONICDream fulfills a lifelong dream, offering a creative outlet after exploring commercial music and hip-hop for the past two years. Last year’s viral lofi hit ‘Past Lives’ under his sapientdream alias proved his artistic range. He’s also been busy with remixes for Logic and Aviella, alongside several “Past Lives” reworks. ‘His latest track ‘If You Love Me Now’ marks his return to his signature sound that his fans adore, and is just the beginning for the year. The post Slushii Returns to Happy Hardcore Roots With ‘If You Love Me Now’ appeared first on EDMTunes.

TATE SEDAR has made a mark in electronic music, notably performing at the 2020 Insomniac Discovery Project: EDC Virtual Rave-a-Thon. Collaborations with industry heavyweights like Dada Life, Don Diablo, and more have cemented his status as an innovative artist. With over 5.7 million plays in 2023 and tracks along with remixes for the likes of Empire’s Terrell Carter’s “Hero” and an edit of Justin Bieber’s “Hold On” have helped garner him a global fanbase. We’re thrilled to premeire his latest single “San Francisco” for you to hear. San Francisco holds profound personal significance in TATE SEDAR’s artistic evolution. As a city renowned for its musical heritage spanning rock, funk/soul, and hip-hop, it becomes the thematic nucleus of his latest release. “San Francisco” pays homage to the diverse sounds that influenced SEDAR’s formative years while also acting as a platform for his ventures into uncharted musical realms. The track exemplifies the transformative influence of revisiting one’s roots to chart new creative territories. We had the chance to catch up with TATE SEDAR and discuss the single along with what’s ahead. Check it out below! The Genesis of “San Francisco”: Can you describe the moment or experience that inspired you to create “San Francisco”? Was there a specific event in the city that sparked this artistic endeavor? San Francisco was actually something I made by accident. I was playing around with lofi samples and I started to realize: “this sounds a lot like what I grew up with in SF.” Is there a specific event? Well, it’s my youth – my upbringing. And sometimes, you find yourself in other things. And I think that’s what happened with these samples and the production. “San Francisco” represents a fusion of diverse genres. How did you approach the process of blending elements of progressive rock, funk, hip-hop, and post-EDM to create a cohesive sound? I first started with the guitar melody and found out (while I didn’t even realize San Francisco was shining its way through) a sort of connection between rock and funk. The connection, of course, is where I’m from: rock and funk are part of the ‘San Francisco sound.’ And then…I kind of left the middle break alone for a bit. But when I started to hear SF, I thought: “I’m going to add hip-hop,” ‘cuz ‘cmon: the Bay Area – we’re known for that (laughs shortly). Post-EDM is the result of this track; it’s all these different sounds and genres in an electronic format, or at least what people consider, you know, EDM and electronic music now. I didn’t even realize at the time I was coming into the concept of post-EDM until after. Beyond its musical influence, how has the city of San Francisco shaped you personally and artistically? Are there any landmarks, cultural aspects, or personal memories that directly influenced the track? You know what’s kind of funny is: I was raised in San Francisco but have not spent all my life there. I lived there until I was about seven, moved around with family to the [US] East Coast, then London, went to school in [central] NY – and finally made it back to SF (now in LA). My mom always believed she made “SF part of my…identity” and I think it’s very true because, even though we didn’t live there full-time, we visited every summer and winter. It became important still in adolescence: those high school summers when you’re 16, 17, 18 are crucial in everybody’s upbringing. San Francisco has shaped me in terms of my outlook on life, social dynamics & experiences with people and some of my beliefs: I kind of am somebody who believes in and hopes for a world without judgment or discrimination – a world where everyone can be who they are or want to be, regardless of what people think. There is a warmth and care that San Francisco breeds, or at least used to (a story for another day) – but I think I’m still part of that [earlier] generation. I really only discovered what is glam or early progressive rock – Journey – when I lived in London and researched music from SF. Motown and R&B were always part of my youth. I think San Francisco is very much a “melting pot,” like New York City – and that is what this song is: a fondue of music (laughs). Those memories of finding this music is what made this. Some music might be inspired by what’s current now or trends, but this track is about what made me. It’s kind of a retrospective, but also a style and concept I haven’t encountered yet. Your career has now ventured into the realm of what is labeled ‘post-EDM,’ a genre that signifies progression from traditional EDM sounds. How do you define post-EDM, and what makes “San Francisco” a standout piece within this genre? The definition (or my interpretation) of post-EDM is: a progressive style of electronic music that incorporates sounds of what some may consider “the Golden Age of EDM” (2010-2014) and afterward as well as music from the past – really, it’s an amalgamation, a refinement of digital and analog sounds. And I realized this made the most sense, in terms of my career, because I felt limited with synthesized sounds. Yeah, sound design is great: it’s something fresh, people love novelty. But there’s something about what we know – what we’re familiar with – that engages people. You can’t deny that guitars, pianos or even an old vocal style each evoke a certain emotion and I feel like just staying with synthetic music is devoid of that [emotion]. “San Francisco” is the introduction to this sound because it incorporates the three most well-known genres of SF, all of which are pre-electronic music (rock, r&b and hip-hop) and its natural form exhibits the definition of post-EDM. Some people might say “it’s a funk-inspired” or “disco house.” track, and that’s ok. There’s a little more there though, and for those that really wanna take it apart and hear that – I think they’ll get the message. You’ve emphasized storytelling through your music. What story does “San Francisco” tell, and how do you use the different musical elements to convey this narrative? I would say this is more a story of sound than necessarily a narrative. Yeah, I have love songs and songs about finding yourself – but this is the story of San Francisco through music. And sure, it might feel like a history piece, but some people like history. And also, it just hits a lot of spots emotionally when you think of the different analog sounds that inspire it. What’s your plans for the future – how are you feeling about 2024 and where you are headed within the year? I am ready for 2024. I have a lot slated; I have so much music over the past couple of years that basically fit this sound and became the foundations of my rebrand. But also…feeling a little anxious. I committed to trying to put out [1] original and [1] remix a month. That’s a lot of work! I think there is something to offer for people to hear, but I just need to have a year where I get it all out and see what happens. I didn’t put out a lot of music last year and need to expand the catalog. And if it doesn’t stick, we try again! But I’m confident that some of this will connect with people because there is an audience who doesn’t even know they like electronic music – because they don’t know that these sounds that are familiar could also be part of electronic music. And that’s what I’m hoping to do – is to be able to bridge a gap. This article was first published on Your EDM. Source: PREMIERE: TATE SEDAR Drops Future House Anthem “San Francisco”

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