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Following from his first release of 2025, Klems returns with a new exciting single, combining a dose of modern soul with vintage, country aspects. Taken from his ‘As I Am’ LP, which will be available later this year, ‘My Little Motown’ is a brand-new Soultronic hit that channels relaxation, nostalgia, and dancefloor finesse. With a vibrant rounded bassline, smooth Rhodes keys, vintage percussions mixed with electronic textures, and a soothing acoustic guitar, Klems has created a song that is both evocative and remarkably modern. It represents the beginning of a new era for the artist, whose upcoming LP will explore his hybrid world in greater detail and combine storytelling, rhythm, and emotion. Discover KlemsThe French DJ and producer launched his career with Armada Music and initially proved himself in the progressive house world, delivering catchy, impactful songs. Klems‘ style has developed over time into a sophisticated fusion of modern dance music, French Touch, Soul, and Funk, producing a distinctive and recognisable sound identity. In addition to his principal alias, the artist has also recorded music under a variety of names, garnering millions of plays on several platforms and regular support from tastemakers, editorial playlists, and electronic labels all over the globe. Now, it is time for ‘My Little Motown’ to shine on the dancefloor. Stream Klems’ new single below.

Alphones returns with his latest Tech House single, ‘What’s That Called Again?,’ continuing to craft engaging sonic journeys while delivering more high-energy music for his listeners. Released via Decypher Deep, he brings his creative vision to life in this latest production: funky beats coupled with unique vocal layers, the track sees Alphones deliver a sound suited for the dancefloor and beyond, building on his momentum as he adds another strong entry to his discography. Originating from Turin, Alphones embarked on a musical journey driven by his passion for Techno and House, navigating through fresh sonic landscapes to evolve and grow in his artistry. Leaning on inspirations that vary from classic and funky House grooves to harder, Tech beats, he shapes a sonic identity that reflects his influences, all the while drawing from his wealth of live DJing experience. As he continues to explore the nuances of his sound, aiming to craft an approach that elevates dancefloors and excites genre fans worldwide, Alphones keeps his motivation high, maintaining a strong drive to showcase his talents, creativity, and signature style. In ‘What’s That Called Again?,’ Alphones retains the groovy quality of his sound, skilfully constructing an arrangement of uplifting instrumental elements. From the steady beats, shuffled percussion, tight bassline, and bouncing synth details, the production offers a driving energy that continues to build as the track unfolds. The expressive vocal sample adds a nostalgic layer to the soundscape whilst refreshing elements continue to join the mix, weaving in fluid melodic hooks, dynamic leads, and soaring interwoven lines. Coming together as a vibrant display of Alphones’ approach, the track captures the essence of his identity as a forward-thinking Producer, delivering another production where his groove-led sound meets sonic sophistication. As he continues to look ahead, ‘What’s That Called Again?’ adds another layer to Alphones’ developing sound, offering a clear reflection of where his music is heading, all the while marking another confident step forward in his journey. So, be sure to keep up with this Producer and DJ by following him across social media and listening to his latest single, ‘What’s That Called Again?’ today, available to stream and download across platforms. Listen and Buy ‘What’s That Called Again?’ here. Alphones Online     Beatport | Instagram | Spotify | Soundcloud    Decypher Deep Online     Beatport

Despacio – the mighty sound system created by James Murphy, Soulwax, and audio expert John Klett – is coming to Portola music festival this September. The sound system is not like any other out there, and MusicTech went as far to call it the “world’s greatest” when we got to take a look inside the system itself back in 2019, prior to its appearance at Meltdown Festival. READ MORE: “I need to build the room I want to play in”: Floating Points has created his very own sound system that he’ll use at this summer’s festivals – here’s why So, having awarded it such a grand title, it only makes sense that we refresh your mind on what you can expect from the system that Klett has called an “emotional transmission machine”. What is Despacio? Despacio is a high-end sound system created by James Murphy of the band LCD Soundsystem along with Soulwax’s David and Stephen Dewaele (aka 2manydjs), and designed with the expert input of audio engineer John Klett. The sound system made its debut in 2014 at the Manchester International Festival (MIF), but due to busy schedules and organisational factors, it doesn’t make an appearance all too commonly at events. Despacio gets its name from the Spanish word for ‘slow’. The tracks played through it are often slowed down, with the intent of creating an antidote to hyper dance music and DJ sets where all the anticipation lies within waiting for drops. The three DJs behind it remain hidden away during use, “playing some of the wildest sounds out there, on strictly vinyl only”. How does Despacio work? Despacio is propelled by seven McIntosh-powered speaker stacks. McIntosh amplifiers made up part of the famous ‘Wall Of Sound’ The Grateful Dead created. The concept for the stacks was based around forward-facing speakers with their acoustic centres aligned to the same vertical plane. Each stack has a five-way system with 21-inch drivers doing low bass, 15-inch drivers powering upper bass and 12-inch drivers doing low-midrange, as well as a large bi-radial horn behind upper midrange. They also each have 10KW available (10,000 Watts) per stack, but for the majority of an event, only 200 and 1,000 Watts per stack tend to be used. What to expect from Despacio at Portola 2025 Those heading to Portola will be in for a treat. In the words of McIntosh Laboratory president Charlie Randall, “you have to not only hear it, but experience it”: “When you get in the middle of those seven speaker stacks and James, David and Stephen start playing music at the slow speed, it’s truly amazing. It’s something each concert goer will probably remember for the rest of their life,” he told MusicTech back in 2019. Klett also told us that Despacio “is supposed to move you”. He said, “You are not a scientific-measurement instrument… so tuning up is technical up to a point, then we just dial it in until we are all smiling.” Head over to the Portola website to view its full lineup and find out more. You can read the full feature on Despacio right here on MusicTech. The post We called Despacio the “world’s greatest sound system” – here’s what to expect at Portola 2025 appeared first on MusicTech. View the full article

The great pre-recorded DJ set debate has risen once again, and this time, it’s among artists James Hype and deadmau5. The beef between the two was ignited as Hype shared a promotional video to his Instagram page for his new live show, SYNC. Within it, he references old comments from 2021 made by deadmau5 where he claimed DJs were often required to play pre-recorded sets at large scale events and festivals. READ MORE: The best rotary mixers to buy in 2025: 15 best mixers for DJs The video in which deadmau5 made these comments resurfaced in 2023, prompting him to respond and refute the debate, and re-iterate that he does not consider himself to be a DJ: “The fuck do I care. I’m an engineer first, producer second, performer third. Pre-recorded, on the fly, DJs, live PAs… who cares, everyone does shit their own way,” he said. “So maybe just try to have a good time?” In Hype’s new SYNC promo, he says, “deadmau5 said that you had to pre-record your set if you wanted to sync it to visuals, I think this proves him wrong,” before triggering the deadmau5 logo to flash up around him in response to the sounds he plays. “This is my new live show, SYNC, and it really is live,” he concludes, before another, much larger image flashes up of deadmau5. Anyone familiar with deadmau5 will know he’s not one to keep quiet, and he’s already responded both in the comments under Hype’s video, and via two of his own posts. In the comments, he writes, “Good shit! Now do it without MIDI and resolume. Hint: UDP socket / port 50000.” He also adds, “If you’re going to map the top of that table, make it a projection with perspective with a height variable so you can adjust it at venues for the folks above deck height. Looks like shit if it’s just flat mapped like that.” In his own posts, deadmau5 has shown himself using a CDJ to trigger the words “It’s not that hard” to appear on a desktop screen, and in another has mapped the CDJ to control the Elden Ring video game. Though DJ and producer Louie Gonzo has weighed in under his post stating, “but you were the one that said u hadda [sic] pre record a set to sync visuals”, deadmau5 has responded claiming he never made the comments, and that things have been taken out of context. He says, “Didn’t say that. Much of the out of context brain rot you rely on as education may have put that in your head though.” “Next time don’t bring a wet sponge to a tech fight. I can’t even imagine what it’s like renting a stage / film crew / video tech / audio tech to film a deadmau5 burn only to get ruined by a response made with an iPhone, 100 lines of cpp and MS paint. Feel better soon,” he later responds to Hype once again. At the time of writing, he has not yet responded to deadmau5. Both James Hype and deadmau5 are playing shows this spring and summer. You can get tickets to see them via their respective websites. The post “Next time don’t bring a wet sponge to a tech fight”: deadmau5 and James Hype are feuding – here’s what’s going on appeared first on MusicTech. View the full article

The Lot Radio · Daria Kolosova @ The Lot Radio 02-09-2025 A selection of techno and hardgroove from Daria Kolosova, recorded for Lot Radio with our Mix of the Week Daria Kolosova’s 14 years of experience as a DJ, combined with her deep passion for electronic music, have shaped her into a remarkably versatile and proficient artist. Daria was born in the small town of Lutugino in eastern Ukraine. Her love for music was instilled by her father, and her devotion to electronic music began at the age of 9 when she first heard “Diesel Power” by The Prodigy. Her passion for music deepened when her mother sent her to music school, where she studied piano. Yet being drawn to DJing from an early age, Daria embraced her vocation, which led to her first performance in February 2010. Following this debut, she continued to actively perform in clubs across Lugansk and other cities while also organising her own parties. After being inspired by the Kyiv electronic scene and absorbing the vastness of electronic music genres, Daria honed her taste and returned to Kyiv. There, she became a resident DJ at Keller, performing under the alias Dar:k and co-launched the party series Materia UA. After actively being involved in the electronic music scene for some time, Daria started to use her own name, leaving her Dar:k moniker aside as an experimental project. She began headlining most of Kyiv’s underground nightclubs like K41, Closer, Otel and began expanding her reach internationally, performing outside of Ukraine and securing her place on the global stage, with bookings at high-profile events and venues across Europe and beyond. Currently, Daria is one of the most actively growing names in the techno scene. She has played at some of the world’s most renowned institutions, with frequent bookings at Berghain, Bassiani, Fabric, London’s Fold and festivals like Tomorrowland, Junction 2, Awakenings, Time Warp and played at Amnesia, Hi and DC10 in her first Ibiza season. The post Mix of the Week – Daria Kolosova appeared first on Decoded Magazine.

Geeks On Hubbard EP by DEAS featuring DJ Rush Deas, aka “analogue gear freak”, is the owner of a Bauhaus-inspired label called Bau Muzik. A multitalented artist, curator, performer and self-confessed ‘machine freak’, who has released records for such labels as CLR, Planet Rhythm, and Dynamic Reflection. His tracks are often tested on live audiences by top figures in the techno scene, including Richie Hawtin, Daria Kolosova, Chris Liebing and Luke Slater. This future anthem (Geeks On Hubbard feat. DJ Rush) is an organic, unplanned spontanous creative action – it’s a story charged with friendship, emotion and love of music that we love the underground so much for. Deas has been working on new music and one of the new tracks was almost ready. But there was still something missing… “I was mulling over it for hours, when suddenly I had a real flashback in my head. I decided to reach for the beloved Chicago classic track by DJ Rush and use his vocal samples, which have always captivated me so much. I remember sitting in the backstage of the Crackhouse club in Gdansk with a resident of the club Cranz (Kysh Records), and playing and discussing the classic techno tracks that inspired us. “Freaks on Hubbard” was definitely one of them!” recalls Deas. “The vocal samples from a Chicago track that came out in 1998 on the UK label Pro-Jex Recordings were just perfect for my song while paying respect to the original. From the start, I knew it had to be an official release and not a bootleg, so I decided to send it to DJ Rush accordingly, with whom I played together a couple of times and who often supports my music. The response came almost immediately: I had the artist’s permission!“ Available via Bandcamp The post Deas takes on a DJ Rush classic techno anthem appeared first on Decoded Magazine.

Enigmatic producer Aiwaska highlights his 20 years of experience creating melodic and spiritual music through his forthcoming LP release, Flora Fauna. The seven-track journey navigates through an evolving soundscape, exploring a fusion of deep, emotive House, Melodic House, and Indie Dance with his signature edge. The collection is crowned by the lead track, Love to Hate, capturing Aiwaska’s force perfectly, incorporating rolling basslines, crisp percussion, moody synths, and magnetic vocals from Aquarius Heaven that blur the line between singing and spoken word. It’s a late-night cut built for the underground, with all the hallmarks of Aiwaska’s rising presence on the global scene. Aiwaska’s pivotal releases have been featured on major labels like Exploited, Crosstown Rebels, Bar 25 Music, Get Physical & Hot Haus and he marks a new chapter with this upcoming release on Aiwaska Planet. Flora Fauna sees Aiwaska also team up with Prana Flow, Megane Mercury, JAW, and Thomas Gandey, each bringing their distinct flavour to this journey through House, Melodic House Indie Dance. . Known for his signature mask, a gift from Peruvian shamans, he’s collaborated with icons like Egyptian Lover, Roland Clark, and Robert Owens, and delivered standout remixes for artists including Patrice Bäumel, Eelke Kleijn, Kino Todo, and Tensnake. With support from Black Coffee, Solomun, Adam Port, and ARTBAT, his music speaks across the global underground. Having graced legendary stages including Burning Man, Odyssey, and Alfa Future People, and having hosted Insomniac, Sonica, and Ibiza Global radio shows, Aiwaska is continuing to rise. With praise from Mixmag and DJ Mag amplifying his reach, Flora Fauna promises to cement his place as one of electronic music’s most impactful figures. Aiwaska’s Plant label and event series go beyond the music, blending sound with environmental action. Each release features animal-inspired artwork, with proceeds from every event supporting wildlife conservation. Now, with the launch of the Aiwaska Planet Project, an immersive, NFT-powered event series, he’s bringing together eco-conscious fans through music, art, and purpose, raising funds for environmental causes around the globe. Aiwaska’s Flora Fauna will be available on all major digital platforms from June 6th, offering a journey of discovery and themes of spirituality and nature Aiwaska – Flora Fauna Released 06/06/25 Presave Find Out More & Follow Aiwaska Instagram | Soundcloud | Spotify | Youtube The post Aiwaska’s Visionary ‘Flora Fauna’ LP Interconnects Spirituality & Nature appeared first on Electric Mode.

The highly anticipated Into The Wild Festival returns to the stunning Chiddinglye Estate in Sussex from 21st – 25th August, 2025. Now in its 11th year, the festival continues to weave together world music, rewilding, and cultural exploration, actively creating a space where people of all ages can reconnect with nature, community, and the wild arts. A soulful celebration of music, arts, and conscious living, Into The Wild provides five days of deep connection, creativity, and wild beauty. Set amongst ancient forests and rolling meadows, it openly invites festival-goers to step into a transformative weekend of introspection, self discovery, and reconnection. Following on from the success of last year’s programme, which saw a blissful weekend of workshops and activities, including wild crafts, yoga, dance, and bushcraft skills, with attendees enjoying world music performances, storytelling sessions, and nature walks. Fostering a deep connection with nature, the event serves as a platform for all individuals to immerse themselves in the beauty of the natural world while participating in diverse cultural and educational experiences. This year’s edition will feature a diverse array of spaces, each offering a unique atmosphere and experience. From the energy of the Main Field and the rhythm of the Sequoia Forest to the sacred stillness of Wise Owl Woods and the playfulness of the Kids Area, every corner invites exploration. Khan’s Kazbah brings an eclectic mix of stalls, while the Forest of Flavours serves up culinary delights. Over 200 workshops and activities will unfold across the Wildcraft and Wellness Areas, from foraging and wild crafts to sound journeys, kirtan, and transformative ceremonies, inviting connection, creativity, and deep restoration. Into The Wild 2025 promises an unforgettable experience, bringing together an eclectic mix of live performances, inspiring talks, and immersive experience zones. With a carefully curated atmosphere designed to captivate music lovers, nature seekers, and spiritual explorers alike, attendees can expect a dynamic blend of music, wellness, and adventure for all ages. With artists and names soon to be announced, Into The Wild 2025 is primed to be an unmissable and unique gathering once again. Now an annual pilgrimage, it delivers an unparalleled atmosphere of pure creativity, connection, and renewal in the heart of Southern England. With early bird tickets selling out in under a month, demand for Into The Wild 2025 is higher than ever. Don’t miss your chance to be part of this unforgettable weekend, secure your spot and prepare to immerse yourself in the expanse of nature, music, and community. For more information and to purchase tickets visit: https://events.liveit.io/into-the-wild-events/into-the-wild-2025/?dc=QR2025 Find Out More & Follow Into The Wild Instagram | Website The post Into The Wild Festival Returns For A Celebration Of Music, Nature & Connection appeared first on Electric Mode.

Marking 45 years on the Balearic Islands, Café del Mar Ibiza reopens this season with a new look, a refreshed sound, an innovative culinary offering, and a special anniversary compilation celebrating its iconic musical legacy. A globally recognised institution known for capturing the spirit of the island through sunset sessions, iconic events, mediterranean vibes, and world-renowned chillout sound, Café del Mar is synonymous with the Ibiza lifestyle. In a new era, the lifestyle brand is set to explore a refreshed identity centered on an impressive expansion and refurb and refined food and drink experience, featuring a new kitchen and an expansion of their signature alcohol line. Stepping into this year’s season, Café del Mar is set to evolve. While staying true to its legendary essence, they’re bringing a deeper focus on Ibizan roots and a spotlight on post-sunset parties, resident DJs, promoters, and the labels defining the island, hosting curated lineups, exclusive events, and collaborations. To kick start the anniversary celebrations, Café del Mar released the fifth volume of their infamous Chill Out Mix earlier this year. Highlighting the 45th year, a special anniversary compilation of 30 tracks is also set for release, featuring legends like Frankie Knuckles, Aphex Twin, Röyksopp, Derrick May, Todd Terje, Moby, and Gerald. With more releases on the horizon, fans can look forward to a fresh set of mixes, vinyl repressings of classic Café del Mar compilations, and their new artist album series, kicking off with Pig&Dan on June 13th. The venue also welcomes Ibiza’s first ever installment of the legendary Elara.6 mixer, contributing to an unparalleled booth and sound. Headed up by infamous audio engineer and mixer designer Andy Rigby-Jones, the pioneer of the Master Sounds and Allen & Heath Xone series, the mixer is a celebrated leader in the industry. Offering solid construction, enhanced workflows, and top-quality sound, visitors will experience an elevated and unforgettable listening journey this summer. Set to launch in June, in a new wave of innovation, the venue welcomes a refreshed menu. As Ibiza continues to evolve as a champion destination of lifestyle, music, and culture, food remains a central thread in the island’s vibrant landscape. This next chapter promises to deepen their creative flair and offer a dining experience unlike any other. Music Manager and resident DJ Ken Fan comments: “We’re incredibly excited to be reopening Café del Mar this summer season and, most importantly, to be celebrating 45 years as an institution on the island. From pioneering the Balearic sound to releasing one of the most beloved chill-out compilation series in the world, we’ve been the backdrop to countless sunsets, memories, and musical journeys – and the story continues this season.” For the last 45 years, Café del Mar has been a sanctuary for sunset seekers in Ibiza. Founded in 1980 on the San Antonio coastline, the imprint birthed a musical movement defining balearic chillout, placing Ibiza on the cultural map as much for its style as for its nightlife. Now a resident brand across Spain and Thailand, Café del Mar has cemented itself as a cultural hotspot. With a historic season of parties, dining, and the summer sun set, 2025 stands as a living testament to the enduring legacy of Café del Mar. Find Out More & Follow V Chill Out Mix Café del Mar Instagram | Website | Youtube The post Café Del Mar Celebrates 45 Years Of Iconic Balearic Soundtracked Sunsets appeared first on Electric Mode.

French producer Myd wants you to know that even the best musicians are intimidated by a blank DAW. The artist, real name Quentin Lepoutre, recently wrapped up a week-long Twitch livestream from his LED-drenched studio in France, where he cooked meals, did yoga, slept, hosted DJ sets, and – importantly – made music in front of a live audience. While the stream was partly born out of necessity (he’d lost two key tracks and needed to finish them before a label deadline), it became a real-time experiment in balancing creativity with well-being. READ MORE: Kel P: “I love producing Afrobeat so much. I guess it was unique enough that when the world heard it, they loved it too” For starters, the marathon session helped Lepoutre break down the “fantasy” he once had that spending more time in front of your DAW makes you more productive. The artist now swears by a routine of four to six hours of studio time each day (not night) and says he doesn’t put any pressure on himself while he’s inside. “I discovered little by little that it’s not the solution; it’s about having your brain in good condition, taking care of your health, and seeing people getting inspired,” Myd tells MusicTech. “It’s as important as what you will do when you are in front of your computer or in front of your synths or drum machines.” Still, opening a blank DAW project remains “frightening”, even for a seasoned producer like Myd. The solution? Get into a routine of being in the studio and constantly flexing your creative muscles, he says. Crediting the elusive Gesaffelstein for this realisation, Myd – who used to be labelmates with the French techno artist – explains, “One day [Gesaffelstein] told me, ‘I’m starting my new album’ – I don’t remember which one, maybe his second album – and I was like, ‘Oh, that must be so cool’. And he said, ‘No, that’s not cool. That’s frightening as fuck.’” “And he was already big [at this point] and had a thing going, so I’ve never forgotten that,” says Myd. “It made me realise that it’s part of [being creative]. And a lot of artists, especially young ones, need to understand that it’s just part of music production.” Myd’s new album All that Glitters Is Not Gold arrives in less than a month. Check out his latest single below. The post “A lot of artists need to understand that it’s part of music production”: Myd on overcoming the fear of a blank DAW appeared first on MusicTech. View the full article

UK imprint Famous When Dead Records keeps their momentum rolling with a solid flow of club-focused cuts fueling dancefloors and climbing charts with every release. The forthcoming collaboration features label head CASH ONLY teaming up with rising West London rapper and vocalist VSTRV (Pronounced ASTRA) for “No Way”, which has been weaving its way into tastemaker sets in advance of its mid-May release. This signature track showcases the bold artistry propelling the label toward becoming one of this year’s top independent forces. The song dives deep into Afro-inspired rhythms, taking on a resounding Melodic House persona with a succinct driving bassline, punctuated synths interplayed with uplifting piano riffs, and a standout vocal hook. The highly talented VSTRV is known for his raw, genre-blending style actively influenced by R&B, Hip-Hop, and UK-Afro vibes. His lyrics proudly push the song into a crossover single that’s destined to cycle throughout the summer. Supported by a string of leading players including Don Diablo, Sam Divine, Hector Romero, Shiba San, Soul Central, Re-Tid, and Robert Owens, “No Way” champions themes of resistance, self-assurance, and cutting through the noise. It provides a striking blend of underground House with vocal-driven energy that instantly highlights the synergy between CASH ONLY on production and the lyrical power of VSTRV. CASH ONLY comments, “This track has been a secret weapon for me over the last 18 months and has evolved over several different versions until we got it to a place that felt right. The final version represents everything I love about this side of House Music. VSTRV is such a talent, and I’m excited to get more of our collabs out soon!” Since returning to the studio in late 2023, CASH ONLY has been on a sharp rise, with standout releases like ‘Take It Down’ ft Reigns and ‘Holy Water’ ft China Charmeleon hitting #2 on the Afro Chart TS and approaching a million streams. With over 30k monthly listeners and releases on Dvine Sounds, Nervous, and King Street Sounds, he’s fast becoming a global name to watch, backed by a growing DJ career with upcoming sets at Glastonbury, Defected Croatia, Reading, and Parklife. Famous When Dead Records, co-founded by CASH ONLY and abstract street artist Famous When Dead, has earned a reputation as a launchpad for emerging talent, merging electronic music with visual art through a bold, anti-establishment lens. With past collaborations from artists like Xamount, Konstantin Kobra, and Reigns, the label continues championing creative evolution, now adding VSTRV to its fast-growing roster. No Way drops on all major streaming platforms May 16th, solidifying CASH ONLY, VSTRV, and Famous When Dead Records as key players in today’s electronic music landscape. CASH ONLY Feat. VSTRV – No Way Out Presave: https://snd.click/CAVNW Released 16/05/25 Find Out More & Follow CASH ONLY Instagram Famous When Dead Instagram VSTRV Instagram The post CASH ONLY & VSTRV Drop Highly Anticipated Afro-House Hit ‘No Way’ appeared first on Electric Mode.

A rising force in the Afro House scene, DJ Hydra’s ‘Moyo Wa Upendo’ marks OVAVA Music’s 8th release. Having gained serious momentum in the run-up to his debut single release ‘Bamidele’ set for May 30th, this two-track EP further establishes DJ Hydra’s position as one of the genre’s most exciting new talents. The emotionally charged track ‘Moyo Wa Upendo’ leads the EP. Meaning ‘heart of love’ in Swahili, the single uses an emotive blend of Afrocentric rhythms, warm electronic textures, and original Swahili vocals. Blending tight rhythms, textured electronic soundscapes, and evocative storytelling, it showcases DJ Hydra’s signature style and bold artistic vision. Rooted in tradition yet forward-thinking in its execution, ‘Moyo wa Upendo’ is a powerful tribute to heritage and a symbolic return to his roots. An intimate journey inviting listeners to connect with sound, culture, and identity, this release cements Hydra as one of Afro House’s most compelling new voices. The B-side track, ‘Like House’, completes the stand-out EP, complimenting the lead with high-energy percussion and a raw Afro House spirit, crafted for the dancefloor but standing in authenticity. Together, the tracks showcase DJ Hydra’s distinct musical vision, bridging introspective storytelling with energetic impact. Set to drop his own label, Suru Records, with the release of Bamidele later this month, DJ Hydra has spent years refining his signature sound. Drawing inspiration from musical legends like Keinemusik and Black Coffee, his releases span intimate dancefloors and the biggest stages. Adding to his momentum, this signing on OVAVA music is set to elevate the artist’s success to another level. Following a standout year for OVAVA Music and its label head Ollie Mundy, the institution continues to celebrate major successes. Since its launch, OVAVA Music has become a recognised industry leader for its cutting-edge releases, collaborations, and chart-topping hits. With high-profile support, Ollie Mundy and the label have been spotlighted in the likes of Mixmag, DJ Mag, and Techno Mood and with an exciting year ahead, including his returned residency at the renowned Pikes ‘Back To Mine’ in Ibiza, fans can look forward to a stream of releases and milestones for the summer and beyond. With this release, DJ Hydra continues his ascent as one of the most compelling new voices in global Afro House, amplified by the support of OVAVA Music. ‘Moyo Wa Upendo’ will be available exclusively through Beatport on June 6th and will follow on all major digital streaming platforms. DJ Hydra – “Moyo Wa Upendo” Presave | Beatport Preorder Release Date: 06/06/2025 Find Out More & Follow DJ Hydra Instagram | Soundcloud | Youtube OVAVA Music: www.ovavamusic.com The post Rising Force DJ Hydra Drops Debut EP ‘Moyo Wa Upendo’ OVAVA Music appeared first on Electric Mode.

Allan J. Hall had no intention of building synthesizers for a living when he first created the MiniMod. It was a DIY project purely for himself. He’d played guitar and dabbled in keyboards for years as a hobby, but it wasn’t a career. Then, he sold the company he owned and, suddenly, Hall says, “I didn’t really need to do much and I had a lot of spare time.” Free from the responsibility of running a 25,000 square-foot factory building decorative fireplaces (and a few million dollars richer), he threw himself into his hobby, and specifically spent a lot of time on the technology side. Hall built some guitar pedals, tackled a few DIY synth projects, and even spent time as a technician fixing up synthesizers and other music gear. READ MORE: Myd locked himself in the studio for 168 hours and livestreamed every minute — but did it really help him finish an album? Hall had plenty of vintage instruments and had built out a sizable 5U system, but when he ventured into the smaller form factor of Eurorack, he was disappointed. “I just thought, they sound terrible, why on Earth don’t they sound like the 5U stuff? Why don’t they sound like the vintage Moog stuff?” he says. This led to his fascination with vintage synth circuits; he needed to understand what made them sound different from his Eurorack system. He set his sights on the Minimoog Model D, which he refers to (repeatedly) as the “Stradivarius of monosynths.” And what he discovered was, it’s not what vintage synths do well, it’s “what they don’t do well that makes them sound so damn good.” Eventually, he’d cobbled together essentially a Model D in Eurorack form. This wasn’t the “one trick pony” of a real-deal Moog, though. Hall embraced the open architecture of modular synthesis, breaking the Minimoog down into its constituent parts that could be freely assembled, patched and rearranged as desired — the first MiniMod system. “So if you wanted to try five VCOs with or try it with an Oberheim filter,” you’d be able to do that, according to Hall. All of this was simply something to occupy himself, something he was doing for fun, having more or less retired at 42 years old. But a few friends heard the system and asked if he’d build one for them. And as the requests piled up, Hall began exploring the possibility of turning his creation into an actual commercial product and, 18 months later, AJH Synth debuted the MiniMod at Frankfurt Musikmesse in 2015. Ten years later, AJH Synth has grown from a hobby to one of the most respected manufacturers in the Eurorack space. Part of that is down to the quality of the modules. AJH’s oscillators and filters do capture the warmth and edge of the vintage gear it’s modelled after, but adapted for use in the expansive universe of Eurorack with tons more inputs, outputs and controls than the Model D. The other factor is that Allan claims his decisions for what modules to make are “never ever driven by the market.” The company doesn’t waste time chasing fads. Instead, Allan’s own whims decide what to make next. “The thing I did then, and I’m still doing now, is I’m building myself the ultimate modular system,” he says, so he just goes where his interests and desires for his own system lead him. This has led to some slightly wacky devices like the Lunar Module, which is designed to recreate the sound of Apollo-era space-to-ground communications. That sincerity is obvious when you talk to Hall, and it’s likely part of what has endeared him to the synth scene. His passion and knowledge are obvious. But he also recognises the lucky position he finds himself in. “I’d just do this stuff for fun, and people are kind enough to buy this stuff,” he says. This authenticity and dedication to quality are likely part of what caught the attention of Hans Zimmer. Hans had been using an AJH system for some time, including on his many scores for Christopher Nolan, like The Dark Knight. He’d gotten in touch with Allan just to compliment him on the quality of his work. Still, when Hans decided to recreate the BBC Radiophonic Workshop, it was something of a surprise to Hall when he was tapped to create “the ultimate modular system” for it. It’s a daunting and admittedly sort of vague design brief, but ultimately, Hans and Allan landed on a system based loosely on the EMS VC3 layout with a stereo signal path — a necessity when scoring film. The two batted around a few ideas for what shape the synth would eventually take. But Allan chose the VC3 because of its importance to Hans. The EMS VC3 was the first synth that Hans Zimmer ever owned, but being a struggling musician in London, he was eventually forced to sell it, something he told Allan he always regretted. But don’t worry, the story does have a happy ending. Hans eventually tracked down his VC3 and bought it back. Allan would tell you, unequivocally, that creating that system (two of them in fact) for Hans Zimmer and being part of an effort to resurrect the BBC Radiophonic Workshop is the highlight of his career at AJH. But that doesn’t mean he’s ready to say he’s peaked and move on. Ten years after the introduction of the MiniMod, when asked what’s next for AJH, Allan Hall simply responds, “The next 10 years.” The post How Allan Hall went from hobbyist to Hans Zimmer’s favourite synth maker appeared first on MusicTech. View the full article

In this episode of My Forever Studio, brought to you in partnership with Audient, we speak with self-taught production prodigy Charlie Deakin Davies. After kickstarting their professional career as a teenager recording in their shed, Davies went on to become the youngest producer ever to get BBC Radio 2 airplay, and has worked with huge artists like Fred Again, Laura Marling, and other My Forever Studio guests, Gary Barlow and Ellie Dixon. But our guest wears more than one hat, and takes to the stage as Charlieeeee, a crossover indie Drum ‘n’ Bass artist with a live show that’s driven by high-energy singable tunes, audience participation – and Beyblades. This time, Charlie joins us at TYX London as we learn what they use for an instantly great vocal sound, how they survived having their laptop drowned the day before Glastonbury, and why they chose to record two simultaneous drummers on a monster live Drum ‘n’ Bass session. Watch the full episode below. Last week, we heard from TOKiMONSTA, who joined us fresh off the release of Eternal Reverie to talk affordable bass synths, using field recordings, and the classic synth she’d steal off an iconic producer — if she could. The Brainfeeder mainstay reflected on her creative roots, her battle with Moyamoya disease, and how breaking the rules often leads to the most honest music. The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio, wherever they want in the universe. However, hosts Chris Barker and Will Betts impose some strict rules in the Forever Studio. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles! Subscribe to My Forever Studio on Apple Podcasts and Spotify, and check out all episodes so far via MusicTech. The post My Forever Studio: Charlie Deakin Davies’ perfect vocal chain is attainable appeared first on MusicTech. View the full article

John Summit takes control of Hï Ibiza this June with his Experts Only takeover. The Chicago-born superstar brings two powerful nights that promise to shake the island. Known for his massive festival appearances and viral energy, John Summit flips the script by curating a residency focused on underground talent and community-driven club culture. This is a key highlight to a long list of Ibiza residencies this summer. Experts Only is more than just a name. It’s Summit’s personal mission to celebrate the entire spectrum of electronic music. From massive techno drops to groove-heavy Afro House, Summit’s curation reflects his love for sounds that live beyond the charts. This summer, the world’s most awarded nightclub becomes his playground. June 20 and June 27 mark the first-ever Experts Only residency at Hï Ibiza, headlined by John Summit in Theatre, delivering his signature mix of high-energy house, tech-house, and surprise edits that fans have come to expect. But he doesn’t do it alone. He shares the stage with global heavyweights and underground heroes. June 20: Big Room Meets Underground Roots The first night kicks off on June 20 with a high-impact b2b set from Chris Avantgarde and Kevin de Vries. Both artists are known for their melodic techno mastery, creating a journey built on emotion and power. Joining them is Max Styler, a rising star pushing the boundaries of tech-house, and Kitty Amor, one of the leading voices in Afro House. While the Theatre delivers headline energy, the Club Room goes deep. Ewan McVicar returns to Ibiza with his relentless house selections. Sally C brings her gritty, old-school sound. Dam Swindle, known for his Amsterdam roots in house and disco, rounds out the vibe with grooves that feel timeless. June 27: A Chicago Legend Returns Summit returns on June 27 with Green Velvet, the Chicago house legend behind iconic tracks like “La La Land” and “Flash.” Velvet’s unmistakable voice and jacking beats make him a perfect match for Summit’s energy. Layton Giordani, a new-school techno tastemaker, adds weight to the lineup with driving beats and emotional builds. Adding depth to the night is Milushka, whose emotionally charged sets bring raw feeling to the dance floor. In the Club Room, Ewan McVicar returns alongside Young Marco, the eclectic selector known for his genre-blurring sets that span everything from disco to trance. More names will be announced soon, building anticipation for a lineup already loaded with talent. John Summit Experts Only: For the Next Generation While John Summit headlines festivals and stadiums worldwide, Experts Only brings him back to the club roots that shaped him. He built the brand not just as a record label, but as a movement for the underground. By booking artists who thrive in smaller, intimate spaces, Summit uses his platform to lift others. “Experts Only is about building a community that celebrates every side of dance music,” says Summit. “It’s not just about the big names, it’s about giving a space to those who deserve the spotlight.” This residency at Hï Ibiza captures that spirit. It bridges Summit’s superstar profile with the raw energy of emerging artists. It’s a bold statement about where club culture is headed, and who gets to shape its future Experts Only at Hï Ibiza takes place on June 20 and June 27, 2025. Doors open at 23:30 both nights. Tickets are now available at hiibiza.com. The post It’s Official: John Summit Brings Experts Only to Hï Ibiza appeared first on EDMNOMAD. View the full article

GTA 6 tapping into EDM and rave culture is not far from possible. From underground nightclubs to international DJ cameos, the Grand Theft Auto franchise has brought some great electronic dance music culture in gaming. As anticipation builds for GTA 6, fans and music lovers alike are asking: what kind of nightlife and EDM experience will the next chapter bring? Rockstar Games has a track record of merging real-world club culture with immersive gameplay. With GTA 6, it is likely that the publisher will take a step even further with its EDM offerings. Here’s a look back at how EDM has already shaped the world of GTA, and what we might expect when the lights go down in Vice City once again. How GTA Became an EDM Playground With the release of the After Hours update in 2018, Rockstar transformed GTA Online into a full-blown digital nightlife experience—centered around a rotating cast of real-world DJs. Players could own and manage nightclubs across Los Santos, and even book legendary electronic artists as resident performers. Rockstar motion-captured and voiced each DJ, building custom in-game missions and exclusive music mixes to bring their residencies to life. Los Santos Underground Radio & The After Hours Era Central to this update was Los Santos Underground Radio (LS-UR). A new in-game station powered by exclusive DJ mixes from some of the most respected names in house and techno. It starts with Solomun. Players must complete a mission to secure his residency, unlocking his hypnotic deep house set “25/8”. A 90-minute mix that included “Customer Is King,” a track with a GTA-themed music video shot entirely in-game. His performances inside the club featured reactive lighting and crowd movement, delivering an authentic Ibiza-style experience. Next came Tale of Us, the Italian melodic techno duo known for emotional, cinematic sets. Their mix, “Afterlight,”included unreleased material and matched their signature Afterlife vibe. Their setup mission and sleek avatars mirrored their real-world mystique. Dixon followed, bringing Berlin’s deep house sensibility to the mix. After completing his chaotic airport pickup mission, players were treated to a moody, 63-minute set that reflected his Innervisions sound. It is perfect for late-night club sessions under dim lights and minimal visuals. Finally, The Blessed Madonna (formerly The Black Madonna) added a bold, disco-infused presence to LS-UR. Her mix “We Believe” blended house and rave energy, backed by a Rockstar-style mission and a knockout trailer moment that made her entrance unforgettable. The Music Locker Radio In 2020, Rockstar doubled down on dance culture with the introduction of The Music Locker. It is a subterranean club in GTA Online: The Cayo Perico Heist update. This time, it wasn’t just about the club—it came with a dedicated EDM radio station. It featured real DJ sets from global icons. Players could experience these sets in the club itself or tune in while driving through Los Santos, blurring the lines between gameplay and dance floor immersion. Moodymann, the deep house legend from Detroit, was the first to take over the decks. He brought his gritty, soul-infused style and even appearing as a character in GTA Online missions. Berlin’s Keinemusik collective followed with hypnotic afro-house and melodic techno, their digital avatars performing signature tracks like “Muye” live in the club. Rounding out the rotation was UK favorite Palms Trax. His retro-tinged house and disco vibes added warmth and groove to the station’s otherwise darker tone. Music Locker Radio was a digital residency, a festival circuit reimagined inside Los Santos. It showcased subgenres often overlooked in mainstream gaming and gave players a genuine sense of what it feels like to be inside an underground club. With rotating sets, fully voiced DJ characters, and a dedicated venue, Rockstar not only simulate EDM culture— but also embedded it into the core of the game. Could Club Space Miami Appear in GTA 6? With GTA 6 expected to return to a Vice City setting—clearly inspired by Miami. A speculation is mounting about the possible inclusion of Club Space, one of the most iconic nightclubs in the U.S. Here’s why it sounds plausible. Club Space has been at the heart of Miami’s nightlife for over two decades. The club has hosted artists like Charlotte de Witte, Carl Cox, Peggy Gou, and Marco Carola. Given how the Rockstar has previously featured real-world venues and modeled fictional spaces on iconic locations (like The Music Locker’s clear Berghain inspiration), Club Space seems to be a natural fit. While not officially confirmed, fans have noticed architectural details in teaser trailers and screenshots that resemble Space’s unique rooftop design. With GTA 6 set to release in May 2026, Rockstar has the chance to push this fusion of gaming and EDM even further. They can turn Vice City’s streets into digital dance floors. For fans of nightlife, club culture, and electronic music, the next instalment might just be the most musically immersive Grand Theft Auto yet. The post GTA Meets EDM: Is Vice City The New Rave Playground? appeared first on EDMNOMAD. View the full article

Photo Credit: CBGB Festival New York City’s CBGB gets a revival in 2025 as a one-day fest under the K-Bridge in Brooklyn on September 27. Even though New York’s beloved punk venue, CBGB, closed its doors in 2006, the name lived on within CBGB Fest, which was revived in 2012, 2013, and 2014. Now, the festival is back for a new edition in 2025, co-presented by CBGB & OMFUG and The Bowery Presents. Previous editions of the festival were multi-day events across multiple venues, CBGB Fest 2025 will be a one-day festival featuring three stages. The event takes place Under the K-Bridge in Brooklyn on September 27, headlined by Iggy Pop and Jack White. This is also the previously “TBD” Brooklyn date listed on the Sex Pistols’ announcement of their first North American tour in over 20 years. Other artists slated to play include The Damned, Johnny Marr, Lunachicks, Marky Ramone, Angel Du$t, Cro-Mags, Destroy Boys, Gorilla Biscuits, Lambrini Girls, The Linda Lindas, Melvins, Murphy’s Law, Scowl, Teen Mortgage, Lip Critic, Pinkshift, Soul Glo, and YHWH Nailgun. Fans can register now for presale access. Tickets go on sale Friday, May 16 at 10 AM ET, with a presale beginning Thursday, May 15 at 10 AM ET. Discounted “Young Punk” general admission tickets will also be available for NYC residents under 25, and will be sold on Saturday, May 17 at the Music Hall of Williamsburg box office beginning at 12 PM ET. There will be 350 of these available, selling for $73—a nod to CBGB’s official venue capacity, and the year the club opened in 1973. The CBGB was an icon of “raw energy, rebellion, and underground music,” and helped launch the careers of the Ramones, Blondie, Patti Smith, Talking Heads, and many more. The CBGB Festival pays tribute to New York City’s “gritty, sticker-covered past through the lens of modern punk.” Under the K Bridge Park was chosen as this year’s venue for its cultural relevance in the heart of Brooklyn. View the full article

Photo Credit: Quick PS U.S. House Republicans have introduced a sweeping provision in the latest budget reconciliation bill that would prohibit states and local governments from regulating artificial intelligence for the next decade. Late Sunday night, new language was added to the budget reconciliation bill stating that “no State or political subdivision thereof may enforce any law or regulation regulating artificial intelligence models, artificial intelligence systems, or automated decision systems during the 10-year period beginning on the date of the enactment of this Act.” The definition of ‘AI regulation’ in the bill is broad, potentially blocking enforcement of both existing and future state laws aimed at ensuring transparency, bias audits, copyright protection, and consumer rights. States like California and New York have recently passed or proposed laws requiring transparency from AI developers as well as audits of AI systems used in employment or creative production. Under this proposal, enforcement of these laws would be suspended—stripping artists and rights holders of crucial AI protections. Without state-level regulations, AI companies could continue training models on unlicensed music, making it harder for artists to control or profit from their work. It could also accelerate the flood of AI-generated music on digital streaming providers (DSPs) like Spotify, further diluting royalty pools for human musicians. Laws requiring AI companies to disclose what data they use or to audit their systems for bias would be unenforceable at the state level. This action could make it nearly impossible for artists to know if their work was used to train large language models without permission. Streaming services could increasingly favor AI-generated music to cut costs, potentially sidelining human creators and reducing opportunities for emerging talent to grow their business. The bill is set for markup in the House and its future in the Senate is uncertain. Critics argue that the tacked on provision is a major gift to Big Tech, prioritizing profits over the rights and livelihoods of human artists and creators. If enacted as is, the bill could set a precedent for deregulation of AI systems at a time when the music industry is already struggling to adapt to AI’s disruptive potential. View the full article

Photo Credit: The Come Up Show / CC by 2.0 With the ugly Drake v. Universal Music defamation lawsuit – and the discovery process – moving forward, both sides have requested and received a protective order covering “highly confidential or proprietary business information.” The presiding judge signed off on that protective order this afternoon, on the heels of Universal Music’s firmly worded attempt to dismiss the amended complaint. By now, most are at least generally familiar with the high-stakes legal battle and Drake’s “Not Like Us” defamation qualms. Less widely known, however, are Team Drake’s aggressive discovery demands. As we reported early last month, the plaintiff and his counsel disclosed plans to seek copies of “all” Kendrick Lamar’s UMG contracts, an abundance of internal communications between UMG execs, and a whole lot else. Against this backdrop, the major label and the Toronto-born artist agreed that their dispute “is likely to involve the production of certain categories of highly confidential or proprietary business information, specifically, previously undisclosed contracts and information regarding business relationships with non-parties to this litigation.” In the same letter to the judge, a Drake attorney noted that her side and Universal Music alike had proposed “certain, limited changes” to the court’s protective-order model. Unfortunately for the public, the now-approved order will therefore provide each side with considerable room to label pretty much any contract-related document “attorneys’ eyes only.” For Universal Music, the attorneys-only designation is expressly allowed when it comes to professional “relationships with other recording artists or non-parties to this litigation.” That includes but isn’t limited to “confidential financial or payment information, revenue reports, royalty rates, licensing rates, and any other commercially sensitive documents,” the legal text spells out. On the opposite side of the equation – and perhaps more interestingly – Drake and his attorneys can slap the mentioned designation on “any documents identifying confidential or proprietary business information regarding Plaintiff’s business relationships with non-parties to this litigation.” As to where things go from here, the discovery wheels are certainly in motion – though assuming a resolution doesn’t materialize, they’ll remain that way for a while yet before an anticipated three-week trial initiates. Just scratching the scheduling surface, an order last month set a tentative February 13th, 2026, wrap date for fact discovery, compared to a May 29th, 2026, cutoff for expert discovery. Closer to the present, Kendrick Lamar (who’s technically not a party to Drake’s UMG complaint) is now facing a separate lawsuit, filed this time by Rodney O, over a Drake diss track. View the full article

If you've ever been to Lightning in a Bottle, you know it's just as much a festival as it is an adult playground disguised as one. The team behind Do LaB continues to treat staging like sorcery. The genius of their curation lies not just in their genre-spanning lineups, but in their understanding that context transforms sound. Watching a DJ spin beneath intricate geometric structures as desert winds carry notes across the water creates memories that streaming services could never replicate. Lightning in a Bottle will once again guide attendees through its whimsical core stages, Lightning, Woogie and Thunder, onwards to its community-driven programming at The Stacks, The Junkyard and The Grand Artique. Each environment features its own unique aesthetic, vision and sound. This year's lineup is a genre-fluid dream, dipping into indietronica, skittering across UKG and plunging headfirst into dubstep swamps and house grooves. Read on to discover a handful of performances you simply cannot miss in 2025. Lightning in a Bottle returns over Memorial Day Weekend from May 21-25, 2025. Tickets are on sale via the festival's website. Tape BTape B, who was recently named to the EDM.com Class of 2025, is one today's most sought-after dubstep and bass music producers. Nostalgia is his love language, threading hip-hop throwbacks with growling beats while dusty vinyl crackles ripple through with analog warmth. View the original article to see embedded media. Girl MathGirl Math is the formidable duo of Nala and VNSSA, who joined forces to infuse a punk edge into their hip-shaking house beats. The former brings Riot grrrl-influenced vocals to the table while the latter smashes it with metal-infused drums. "I thought being a drummer in a metal band was the coolest thing you could ever do prior to being a DJ," Nala told EDM.com in a late-2024 interview. "So I was like, we need to incorporate this history on both sides and turn this into something that's rowdy and fun and chaotic." View the original article to see embedded media. Claude VonStrokeDirtybird founder Claude VonStroke recently took flight on a comeback tour following a two-year hiatus that saw him sell his prized record label. After dropping a stunning EP, he's now heading to Lightning in a Bottle for the tour's first festival performance, which is officially billed as "The Return of Claude VonStroke." View the original article to see embedded media. Sultan + ShepardFew duos in electronic music have stood the test of time quite like Sultan + Shepard, whose emotionally charged sound blends textured synths with pulsating rhythms. Whether they're producing generational progressive house anthems like "Walls" or aching deep house tracks like "Under The Surface," they thread nostalgia and wonder through every release. View the original article to see embedded media. Mary DroppinzMary Droppinz's music is a kaleidoscope of genre-defying sounds, fusing house, breakbeat, dubstep and drum & bass under one electrifying umbrella. She's also known to bring unbridled energy to the stage, and with upcoming performances at Lollapalooza, Red Rocks and many more, she's rising at a breakneck pace. View the original article to see embedded media. Follow Lightning in a Bottle:X: x.com/LIBfestival Instagram: instagram.com/libfestival TikTok: tiktok.com/@libfestival Facebook: facebook.com/LIBfestival

Snoop Dogg, who’s officially set to host a live New Year’s Eve special on NBC. Additionally, the Death Row owner is preparing to serve as a coach on the forthcoming 28th season of The Voice. Photo Credit: TechCrunch The Olympics, The Voice, and now New Year’s Eve: Snoop Dogg is officially set to cap off 2025 with a two-hour special from Miami. NBC formally announced that year-end programming, aptly entitled Snoop Dogg New Year’s Eve, in a brief release today. As things stand, concrete details are limited; we are, of course, seven months and change out from 2025’s end. But the network teased guest appearances (hinting strongly at a Martha Stewart showing), “unforgettable music performances,” and more for the live event, which will air on Peacock and NBC proper between 10:30 PM and 12:30 AM local time. (Incidentally, Stewart is hosting a cooking-competition show, Yes, Chef!, that premiered on NBC late last month.) Furthermore, Snoop Dogg New Year’s Eve will follow the Death Row Records owner’s lucrative Olympics correspondence on NBC, where Snoop has lined up another coaching gig on The Voice. NBC and the Reservoir-partnered rapper also confirmed that return today. Having previously occupied the coach’s chair for the music-competition show’s 26th season, Snoop is poised to join Michael Bublé, Reba McEntire, and Niall Horan on season 28 of The Voice this fall. In other words, tapping Snoop Dogg to liven up programs and events seems to be paying off for NBC, which is presumably drawing casual fans into the viewership fold. (Keith Urban and former Voice judge Blake Shelton are opting instead to take a new stab at the music-competition genre. Meanwhile, Netflix’s Building the Band is reportedly still teed up for a 2025 release despite judge Liam Payne’s October 2024 passing.) Specifically when it comes to New Year’s Eve programming, it’s safe to say competition for watchers is stiffer than ever; live-performance lineups are decidedly deep as well. Last year, Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest attempted to attract viewers to ABC with sets from the aforementioned Shelton, Luis Fonsi, Lenny Kravitz, Hardy, Laufey, and a variety of different talent. Likewise looking to get in on the year-end TV action is four-year-old New Year’s Eve Live: Nashville’s Big Bash. Ringing in 2025 on Central time, the CBS and Paramount+ broadcast featured headline performances from the above-noted Urban, Kane Brown, and Jelly Roll. And CNN’s New Year’s Eve Live saw 50 Cent, Diplo, Sting, and more take the stage. View the full article

In a bout of internet beef, James Hype and deadmau5 traded digital blows over a promo video for Hype’s new “SYNC” live show. Earlier today, Hype, the British house DJ and producer who has risen to fame on the mantra of “Real DJing” and forgoing pre-recorded sets, shared a video on Instagram to plug the summer dates for his new SYNC performance, a concept that connects on-screen visuals to Hype’s live mixing on the decks. In that video, Hype took a surprise stab at deadmau5, alluding to the Canadian EDM legend’s famous comment that he regularly plays pre-recorded sets, and claiming to “prove him wrong” with music-synchronized visuals of deadmau5’s famous mouse head, before closing the video with a photo of deadmau5. Check it out below. Ever up for a social media spat, deadmau5 quickly responded with a video of his own, showing off a home prototype of Hype’s SYNC production that he claims to have made in five minutes. In time with deadmau5’s tapping on his CDJs, the words, “ITS NOT THAT HARD” and “REALLY ITS NOT.” flash on screen. Deadmau5 also offered up plenty of tech suggestions for Hype’s new show in the comments on the original video. Hype has not publicly commented. “Next time don’t bring a wet sponge to a tech fight,” deadmau5 wrote. “ I can’t even imagine what it’s like renting a stage / film crew / video tech / audio tech to film a deadmau5 burn only to get ruined by a response made with an iPhone, 100 lines of cpp and MS paint. Feel better soon.” Check out the back-and-forth in the posts below. Featured image courtesy: deadmau5. Credit: Leah Sems. The post James Hype & deadmau5 Spat Online, Following Hype’s Promo Video Troll appeared first on EDM Maniac. View the full article

South East London artist BLONDETING is stepping into her own sound with two new releases that reflect personal moments and real-world chaos. Known for her earlier liquid Drum and Bass work, she now offers something bolder, still intimate, but with a stronger pulse. “I’m Calling (You)” Feels All Too Familiar There’s a kind of silence that feels louder than words, and that’s what sits at the heart of “I’m Calling (You).” The song was written about trying to reach someone who won’t pick up, a situation that many know but rarely talk about. It’s not just about missed calls, but missed understanding. She premiered the single live in Brighton at Volks, supporting Emily Makis during a night that highlighted women in DnB. The event also included previews of unreleased songs set to feature on her upcoming EP. Compared to her past releases, this one leans into a rougher rhythm. But the softness in her vocals remains. That contrast creates tension, and it suits the theme of chasing someone who keeps slipping further away. “AFTERPARTY” Captures What Comes After the Main Event “AFTERPARTY” moves in a different direction. This piece isn’t about longing or silence. It’s about the rush of being completely lost in the night. The idea came from those moments when everything is loud and unpredictable, when your phone stays in your pocket and plans fall apart. You think you’ve missed something, but where you are feels more real than anything that was meant to happen. The cover artwork captures this mood clearly. A dropped camera, cigarette ends, and scattered memories tell a story of a night that ran off course. It doesn’t rely on perfect recollection, only the feeling that something important happened. From Intimate Rooms to Iconic Stages BLONDETING has steadily expanded her reach as a live performer. Her name has appeared on lineups at venues such as The Roundhouse, Moth Club, and Colours Hoxton. She brought her voice to BBC Radio 4’s Loose Ends, and her work has received consistent support from BBC Introducing London and BBC 6 Music. Her release “Control (Watch Me)” was featured on BBC 6 Music’s unsigned artist roundtable and has been played on Jaguar’s BBC Radio 1 Dance Show. Most recently, she performed at the BBC Music Introducing showcase at Omeara, cementing her place as one of the scene’s most promising names. Alongside her own work, she has collaborated as a writer, contributing to Lola Young’s “On The Radar” and showing that her creative range extends well beyond her solo catalogue. What’s Ahead With more unreleased pieces hinted at during her Brighton set and a full EP in progress, BLONDETING is continuing to shape her own path. Her focus is not on following trends but on making music that reflects how people actually feel. Whether through the ache of being ignored or the high of a night that slips out of view, her work captures moments that are easy to overlook but hard to forget.

Portola, which is quickly establishing itself as the Bay Area’s premier electronic music festival, returns to San Francisco's Pier 80 this September with an electrifying 2025 lineup and a wave of rare performances. Presented by Goldenvoice, the two-day fest from September 20-21 follows a sold-out 2024 edition and promises a genre-spanning bill that includes dance-punk icons LCD Soundsystem and Australian house music superstar Dom Dolla in headlining slots. In one of the festival's most surprising bookings, Christina Aguilera is set to bring her pop prowess to the electronic stage. Elsewhere on Portola's 2025 lineup are The Chemical Brothers, closing Saturday’s Warehouse with their only West Coast DJ set of the year; Moby, performing live in San Francisco for the first time in over a decade; and Anti Up, the formidable house duo of Chris Lake and Chris Lorenzo. This year also marks the San Francisco debut of "DESPACIO," the vinyl-only, audiophile dancefloor environment co-created by James Murphy of LCD Soundsystem, the Dewaele brothers of 2ManyDJs/Soulwax, and sound engineer John Klett. The trio will curate all-weekend DJ sets inside the "immersive audio experience," according to a press release. Loyalty passes go on sale Wednesday, May 14th at 12pm PT before the general on-sale begins the following day at the same time. 2-day GA starts at $399.95 and 2-day VIP starts at $649.95, while single-day GA starts at $279.95 and single-day VIP starts at $399.95. You can check out the full lineup below and purchase tickets here. Goldenvoice Follow Portola Music Festival:X: x.com/PortolaFestival Instagram: instagram.com/portolafestival TikTok: tiktok.com/@portolafestival Facebook: facebook.com/portolafestival

Photo Credit: Madonna for Live Nation A Netflix limited series about the life and music of Madonna is in early development with director Shawn Levy at the helm. Madonna is partnering with Netflix and director Shawn Levy on a limited series about her storied career. The show is not related to the previous Madonna feature film at Universal Pictures that was scuttled in 2023 when the singer announced her worldwide Celebration Tour. According to Variety, sources say Madonna “remains committed to making a film about her life one day,” and the star co-wrote two drafts of the film’s script. The film would have starred Julia Garner as the singer, but it’s unknown who might portray her in the newly announced series—or if Garner still has the gig. “I want to convey the incredible journey that life has taken me on as an artist, a musician, a dancer—a human being, trying to make her way in this world,” said Madonna when the feature film was first announced back in 2020. The star hinted on Instagram last year that the scrapped film might become a TV series. Levy is best known for the Netflix mega-hit “Stranger Things,” and limited series “The Perfect Couple” and “All the Light We Cannot See.” His 21 Laps has secured an exclusive TV deal at Netflix as an executive producer. As the best-selling female artist in history, Madonna has sold 400 million records worldwide and was inducted into the Rock and Roll Hall of Fame in 2008. Her impact on pop culture has extended beyond her influence in the music industry, and she has been an outspoken figure for women’s rights and sexuality, and a strong supporter of the LGBTQ community. Her most recent album, Madame X (2019), sold over 500,000 copies worldwide and became the ninth No 1. album of Madonna’s career. Her career-spanning Celebration Tour became one of the fastest selling tours of all time, with over 1.2 million tickets sold. The star played 80 shows to an audience of 1.1 million. View the full article