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deadmau5 recently went on the Q with Tom Power podcast and revealed some interesting thoughts. He took a look back at his 25-year career. He has become one of the most well-known DJs in our industry who’s polarizing comments at times spark the community. deadmau5, real name Joel Zimmerman, was quoted during his time chatting with Tom stating: “I don’t really enjoy dance music…I don’t partake. I don’t pump it in my car. I don’t walk it, I don’t talk it, I don’t breathe it, I don’t get excited about it” However, after all of this, Joel came back to saying he loves the process of making it. He likes the technical challenges and sonic development. deadmau5 was recently inducted into the Canadian Music Week’s Music Industry Hall of Fame. He is also in the middle of his retro5pective tour that celebrates his 25 years of excellence in dance. Funny enough, it was a British pop band who sparked his interest in electronic music. Joel says that his introduction to music came when his dad brought home a new hi-fi and about eight random CDs, and there was one in particular that made an impression. The band Tears for Fears brought him into music, and he never looked back. Joel’s first gig would be his high school talent show. He also has noticed the incredible shift in how producer’s have made music over the years. When he first started off, the gear we have today wasn’t readily available. I highly recommend you give the full podcast a listen below! The post deadmau5 Claims He Doesn’t Really Enjoy Dance Music appeared first on EDMTunes.

Tim Exile, founder of the now-shuttered app and music software business Endlesss, is in need of urgent support as he navigates a dire cancer crisis. After being diagnosed with aggressive bladder cancer in July 2023, Exile has undergone multiple surgeries all while fathering his twins and working to keep Endlesss afloat for both its employees and community of musicians. In November, he was told that his only chances of beating the cancer involved a major surgery to remove his bladder, prostate and a section of bowel. Preparing to undergo the surgery also meant finding a buyer for his company so he could focus on his recovery. The surgery took place at the end of April. Just a few weeks after the surgery, the deal sadly collapsed and the company shut down, leaving Exile and his family in a desperate state. He had dedicated almost a decade of his life building and funding the business, leaving him without any income or savings and facing a huge amount of debt. While he's now recovering from the surgery, complications arose and his family is in need of financial help while he heals, according to a fundraising campaign launched by his family. "Tim is making progress but his recovery will take time," reads the GoFundMe page. "He’s getting used to a body that functions very differently and he recently had to be readmitted to hospital with complications from the surgery. This has all taken a big toll on his strength. Tim and his family need to meet their living costs while he recovers. Once his strength is back, the hard work to rebuild their life begins." For more information and to make a donation, head here.

When it comes to Hardwell's Revealed Recordings, it's all in the name. Over a decade since its inception, the label's legacy is crystallizing not only for its deeply influential music, but also what it's since revealed about the EDM community. Revealed launched back in 2010, a time when the relentless kickdrums of big room house uprooted tooth fillings at every major EDM festival. Its 22-year-old founder, Hardwell, emerged at the time as a buccaneering beatsmith intent on changing the fabric of the genre with unconventional mainstage anthems like "Spaceman." Hardwell.c/o Press But the heyday of big room house disintegrated by 2018, the genre's popularity cratering due to rampant saturation. Citing the pressures of a grueling tour schedule, Hardwell's shocking indefinite hiatus threw another wrench into the Revealed rotor. The label, however, flourished. It continued to act as a magnifying glass on the dance music zeitgeist, highlighting the importance of fresh talent and strong branding. If you frequented EDM blogs at that time, odds are a large portion of the music releases bore the iconic Revealed Recordings triangle. The brand became a beacon of resilience as its proprietors refocused, signing young, hungry producers who were channeling the euphoria of electro and progressive house to mutate the genres into sounds all their own. Transformative Revealed anthems from Dyro, Paris Blohm, Thomas Newson and countless others continued to decimate every festival mainstage. A thousand releases later, there's perhaps no one better with whom Hardwell can savor the milestone than KAAZE, a Revealed ride-or-die who now counts a staggering 102 releases on the imprint. That means the Swedish producer is responsible for roughly a tenth of the label's entire catalog. The mighty song that opened the floodgates of Revealed's next era? "Move," a mainstage banger from Hardwell and Kaaze that turns the clock back to the label's golden era. We caught up with Hardwell to pull the yarn of his storied record label and discuss what the future holds. EDM.com: Revealed has been a powerhouse in shaping the sound of EDM since its inception in 2010. Looking back at its incredible journey, is there one specific release that stands out as a defining moment for the label? Hardwell: A great question but it's also a tough one, because as you can imagine, the label's had so many. So, 2012 was a colossal leap for the label because not only did that year start with "Spaceman" being released, but it also closed with "Apollo."—both of which grew into entities all of their own. Together they drew so much attention for the label that everything skyrocketed with Revealed from then onwards. EDM.com: What are some of the biggest challenges you've faced in leading such an influential label for so long? Hardwell: Not getting pulled into focusing purely on established acts. Running a label is a challenging undertaking for any person or team. Everybody wants the big wins—it's part of the game—and in some ways it's a safer bet to go with established acts in order to achieve big wins. But I started Revealed to be a home for my music, as well as a platform for new talent. As a label we of course do sign and work with established acts, but we’re also highly driven to championing new talent. EDM.com: "Move" feels like a perfect anthem for this milestone. What made this song the right choice to mark such a momentous occasion? Hardwell: KAAZE has been a part of the label for so many years now and he is such an inspiring figure within our family. To see him rise through the ranks of the industry and grow is pleasing to see. We've always had good chemistry when it comes to music and "Move" is the perfect example of that. The moment we nailed that melody, we both felt this track was going to be something special. The timing of the 1,000th release and "Move" being finished felt like the perfect synergy for having KAAZE join me in celebrating this key moment. Swedish DJ and electronic music producer KAAZE has now released 102 records on Hardwell's Revealed Recordings.KAAZE/Instagram EDM.com: Did you feel any extra pressure to deliver something truly special for this landmark release? Hardwell: Of course. I try not to, but I can’t help putting the pressure on myself when it comes to things like this. It’s unavoidable. But I want these moments to be special because they are a marker in the timeline. EDM.com: EDM has evolved significantly since Revealed's humble beginnings. How does "Move'' bridge the gap between the genre's past, present and what's to come for dance music? Hardwell: Well, there’s big room elements in there of course, but the track steers much more into our current mainstage sound with the hard-hitting kicks and bass elements, leaning on that techno soundspace. It's high-energy stuff. The bridge between it all is a driver to keep pushing boundaries, to make music that makes the fans want to "move." It’s called dance music for a reason and this song hopefully embodies that. EDM.com: This milestone arrives ahead of your long-awaited headlining set at Ultra Europe next month. Can you discuss the differences between performing at that festival and Ultra Miami, where you’re considered a legend? Hardwell: Ha, thanks. I’ve always felt a great connection with the Ultra crowd over the years. The festival in Miami has of course been played its part in some really key moments in my career, so it’s a unique place for me to play. But that said, Ultra Europe has equally given me a platform to spread my music with the fans on this side of the world. Both festivals have their own unique energy and vibe, with very individual settings, but I’d say the passion of the fans never changes. What is it about the Ultra brand that makes it so special? Hardwell: Ultra is one of the festivals where it all started for me; it's a place with a lot of history and memories. I and many other acts have a deep connection with the festival because it has been a platform to help break us, share new music and most of all connect with a crowd of likeminded music loving fans. Hardwell performing at Miami's Ultra Music Festival in 2023.Kelly Knisel/EDM.com EDM.com: Revealed has become more than just a label; it's a brand and a movement. What are your hopes for the label's future impact? Hardwell: To continue supporting new talent and releasing music we truly believe in. Also, the vision is to further involve our community. Our core is a record label, but through our events, academy, pop-ups and other social gatherings, we want to be able to bring everyone closer together as a community. We're constantly looking at ways to do this, both on and offline. So I'm looking forward to implementing new projects and concepts in the future with this in mind. EDM.com: What excites you most about the next 1,000 releases on Revealed? Hardwell: The possibilities that lie ahead. The talent that will come through and the exciting new music that will be released. When I look back, we’ve evolved so much as a label over these past 1,000 releases. It excites me with a huge amount of wonder at what the future will bring. Follow Hardwell:X: x.com/hardwell Instagram: instagram.com/hardwell TikTok: tiktok.com/@hardwell Facebook: facebook.com/djhardwell Spotify: spoti.fi/3s1xcJD

Walkers, it’s time to unite once again as Alan Walker is taking the Walkerworld vision to new heights. In a recent Youtube video, the masked DJ/producer announced his latest creation: the Walkerworld Creator Games, designed to celebrate creativity and the power of the community. “Over the years you have all blown me away with your creativity and passion. From incredible remixes to stunning fanart. Your contributions have made the walker community what it is today”, said Alan Walker in the Youtube video. This is his way to give back to the fans who supported him from the faded days till present, the fans who have helped nurture the walker community and brought it to new levels. Thus, get ready for an explosive and exciting opening ceremony on June 22nd and watch the magic unfold. It is through the Walkerworld Creator Games that fans will be able to partake in a series of challenges set over the course of several months. Each challenge has been designed specifically with the idea of motivating creators worldwide, with the games being perceived as a platform for creators to share their inspired work with the hashtag #WCG24. What’s the catch of all this? Well, aside from having your work shown all over the world….4 lucky winners will be awarded $10,000 each! As the Walkerworld Creator Games begin, don’t let your creativity remain “faded”. Echoing the lyrics, ‘Where are you now? Another dream, the monster’s running wild inside of me’, unleash your inner creativity and let it run free in the Walkerverse. Let’s show Alan Walker why we love him, his music and his vision so dearly and perhaps, you’ll end up being one of four lucky winners.. For more information and to stay updated on the latest challenges and news, visit the Walkerworld website!

Tomorrowland, a name recognized all over the world for bringing together the best of the best acts in the electronic dance music scene. It’s a place where magic happens and where dreams turn into reality. Recently, the world-renowned festival has partnered with the iconic James Hype and Afrojack to elevate its Tomorrowland Academy experiences. If you’ve ever wondered “Who does this?” when witnessing James Hype’s jaw-dropping transitions, or finding yourself belting the lyrics to Afrojack’s ‘Ten Feet Tall’ and ‘Take Over Control’, then this recent announcement by Tomorrowland should be like music to your ears. Recognized for fostering the opportunity to bring people’s visions to fruition, the Tomorrowland Academy has partnered with James Hype to bring to life the “From Beginner to Pro” masterclass. If you’ve ever wanted to learn what it’s like to mix like a ‘real DJ’ as James Hype is famously known for, then this is the course for you. Through a step-by-step guide, aspiring artists will be able to hone their mixing skills, learn viral DJ tricks that work on various setups and get a bit of that inside feel into what makes James Hype tick. His engaging and charismatic approach ensures that whether you’re a novice or a seasoned DJ, you’ll find plenty of “hype” to elevate your craft​. On the other hand, we have the Dutch megastar Afrojack bringing his own touch to Tomorrowland Academy through the inauguration of the Wall Pro Academy inspired by his label Wall Recordings. The course is comprehensive, covering 30 hours of content which includes every aspect of DJing and producing, in-depth tutorials on production, mixing mastering and even other aspects of this industry like marketing and management. Afrojack has experienced worldwide success not only on the mainstages but with his collaborations, thus, he brings his own experience to light through sharing trade secrets to success, offering personal coaching sessions and more. After this program, you’ll feel like you can touch the sky and walk ten feet tall! When combined, these classes promise to make Tomorrowland Academy the premier destination for aspiring producers and DJs. Aspiring DJ’s and producers will acquire the skills and knowledge required to excel on any stage by learning under two of the top professionals in the field. Are you prepared to fulfill your musical ambitions? Get started on your journey right now by visiting Tomorrowland Academy.

For many, pressing play on the perfect playlist is just as important as lighting candles or dimming the lights before getting down and dirty. And electronic dance music is a powerful aphrodisiac, a new study by ZipHealth suggests. According to data from the US-based online pharmacy, EDM is the sixth most popular genre to listen to while having sex, falling behind hip-hop and R&B, among others. Of those who enjoy listening to electronic dance music while getting frisky, the most popular artists played during intimacy include deadmau5 and Hippie Sabotage. They also examined the top 10 artists across genres who were most popularly played while having sex. The Weeknd took the top spot, and other major contemporary artists to appear on the list include Lana Del Rey, Kendrick Lamar, Taylor Swift and Rihanna. The study's methodology was based on the analysis of over 11,000 Spotify playlists branded with sexual keywords and phrases like "making love," "BDSM," "freaky" and more. ZipHealth also surveyed over 1,000 Americans on their music listening habits during sex. So, could listening to music during sex actually be good for you? The research found that 68% of respondents who listen to music during intercourse experience reduced performance anxiety while 63% said it significantly increases the duration of sex. Those who listen to music during sex were also found to have intercourse more often and feel more satisfied with their sex lives when compared to those who don't. Music could also be an indicator of sexual preferences like kinks—people who listen to music during sex were 36% more likely to have a fetish than those who don't. The study also claimed one in three people who listen to EDM during intercourse have had sex in public. You can read the full ZipHealth study here.

Just weeks after dropping their latest single ‘Hearts Up’, Luv Foundation UK and Ashley Paul are taking the track to the next level with a dynamic new music video and two exciting remixes. The song has already made a splash, reaching #1 on Ireland’s iTunes Dance Chart and gaining radio play from DJ S.K.T on Kiss FM and Christian Homan on RTE. With a visually stunning music video and remixes by Miami’s Robbie Rivera and BBC Introducing‘s “One to Watch” Lizzie Curious, ‘Hearts Up’ is set for even greater acclaim. The new music video adds a vibrant visual layer to ‘Hearts Up’, enhancing its energetic and uplifting vibe. The playful animations and dynamic visuals perfectly capture the essence of the deep house track, making it a compelling watch for both TV and online streaming audiences. Miami house music legend Robbie Rivera leads the remix effort, transforming ‘Hearts Up’ into a high-energy club anthem. Rivera‘s remix adds a fresh, pulsating twist while staying true to the original’s infectious spirit. This version has already garnered significant support, notably from StoneBridge on Sirius XM BPM. Adding to the remix lineup is renowned house artist Lizzie Curious, who brings her rave-ready energy to the track. Her remix infuses ‘Hearts Up’ with an electrifying hands-in-the-air vibe, providing a thrilling new dimension to the hit single. With these new elements, ‘Hearts Up’ is poised to continue its rise as a dance music favorite. The combination of an engaging music video and standout remixes ensures that the track will keep resonating with fans and attracting new listeners, solidifying its status in the dance music scene. Follow Ashley Paul Follow Luv Foundation UK The post Luv Foundation UK & Ashley Paul Drop Stunning Music Video and Remixes for ‘Hearts Up’ appeared first on Electic Mode.

Following the success of his recent hit ‘Stay’, which recently exceeded 1 million streams on Spotify, Alber-K returns with a new single titled ‘Imperfect the Same’. This release sees the talented Belgian artist collaborating with vocalist Nino Lucarelli, further solidifying his reputation for producing standout tracks. At just 28, Alber-K has quickly made a name for himself in the Belgian electronic dance music scene. Known for his innovative style and deep passion for dance music, he has been dubbed a “musical prodigy” by industry experts. Starting his musical journey at the age of 15, Alber-K‘s experience and keen understanding of the music landscape shine through in his latest work. ‘Imperfect the Same’ is the first time Alber-K has teamed up with Nino Lucarelli, and the result is nothing short of impressive. Lucarelli, who has collaborated with notable artists such as KAAZE, Burak Yeter, Dubvision, and Raiden, brings his exceptional vocal talent and meaningful lyrics to the track, perfectly complementing Alber-K‘s instrumental production. “I like lyrics that call for happiness, that generate a positive feeling. My dearest wish behind this track is that the people who listen to it have a great summer,” Alber-K commented. The single features a harmonious blend of organic and electronic elements, a hallmark of Alber-K‘s style. With catchy guitar riffs, a melodic violin, and infectious basslines, the song creates a lively groove that’s perfect for summer. ‘Imperfect the Same’ is poised to be a summer favorite, resonating with fans and new listeners alike. Follow Alber-K The post Alber-K Continues His Streak Of Awesome Tracks With ‘Imperfect The Same’ ft. Nino Lucarelli appeared first on Electic Mode.

In the quiet spaces between the iconic—and tormenting—performances, a new Avicii photobook unveils the soul of the musician who made the world dance. Unveiling a mosaic of memories, Avicii: The Life and Music of Tim Bergling includes "rare personal moments" from the life of the storied DJ and electronic dance music producer, who in 2018 tragically died by suicide at the age of 28. The photobook was developed in collaboration with the Tim Bergling Foundation, a charitable organization launched by Avicii's family in 2019 to fund research and develop preventative solutions for young people experiencing suicidal thoughts. All profits from the book will reportedly benefit the foundation. "We are proud to honor Tim with this book," Avicii's parents, Klas Bergling and Anki Lidén, said in a joint statement. "We keep hearing about how much he and his music have meant to people. We hope his fans will enjoy this photographic journey and the story of Tim." Avicii.Sean Eriksson "It makes me happy to see him happy," Bergling added in comments provided to the PA news agency. "We have very nice memories from his childhood and youth... At the same time, there is pain knowing the reality." The heartbreaking final moments of Avicii's life are revisited in a new documentary, Avicii: I'm Tim, which premiered over the weekend at the Tribeca Film Festival. The intimate film features never-before-heard interviews with the legendary DJ, who laments, among other trials and tribulations, his addiction to painkillers. "I haven’t seen the documentary, which has now showed at Tribeca, so I will build up the courage to see it," Bergling said when asked about the film. "[Avicii] was one of a kind," he added. "I hope he will be remembered for many years." The hardcover photobook contains 192 pages and costs $39.00. You can purchase a copy here.

British DJ and producer Franky Wah is dealing with every artist’s worst fear after being robbed during a recent trip to Ibiza. In an emotional Instagram post, Wah shared that his bags containing “irreplaceable” items like music and his laptop were stolen from his car in the Jesus area of the island. “I left my bags in the car and when I came back everything was gone,” Wah wrote. “My laptop which has my life’s work on it and so much priceless, irreplaceable music has been taken.” The loss is absolutely devastating for the veteran artist who has built an acclaimed career over the past decade with releases on labels like Sasha’s Last Night on Earth and Anjunadeep. Franky Wah, who holds a residency for his Shen label at Ibiza’s Club Chinois, is offering a reward for any information related to retrieving his stolen goods. Friends and supporters flooded the comments offering sympathy and sharing their own similar horror stories of losing invaluable creative work. Always backup, backup and backup This heartbreaking situation underscores how crucial it is for musicians, producers, and creative professionals to take every possible precaution to protect their work. While the details of Wah’s case are still unclear, a few basic security measures could have prevented or minimized this catastrophic loss: Always use laptop tracking software and geolocalization to monitor your device’s whereabouts Routinely back up all files to an external hard drive and cloud storage Never leave valuables unattended, even for a short period of time Use encryption and password protection for sensitive files Our deepest sympathies go out to Franky Wah during this unimaginably difficult time. While he may never recover those “priceless” and “irreplaceable” musical works, we hope he can find some justice and closure. Any members of the music community with potential information about this robbery should contact Franky Wah directly through his Instagram. The post Nightmare in Ibiza: Franky Wah’s Laptop Stolen appeared first on The Groove Cartel.

The French production duo 2smile returns with a remix package of their chart topping release “Tribute To Frikkyo“. The original mix pays homage to the late DJ ‘Da Frikkyo,’ who was an influential figure in the Italian hard techno scene. The mix seamlessly blends exhilarating guitars and rich basslines with poignant sampled vocals from the legendary Fela Kuti which amplifies the vibe. The Ondawey Music bosses revisit this stand out single with 2 fantastic new remixes featuring Alex Fixman and a defined Afro Rework from the label heads themselves. Combining the hypnotic groove of the original, featuring a sub heavy bass and a chest pounding kick drum, Alex Fixman takes ‘Tribute To Frikkyo’ to a slightly darker territory with this Techno inspired, breakbeat infused reimagining that’s assured to hit heavy on the dancefloors across the world. Following in suit, 2smile showcase their inimitable production prowess with a striking Afro Rework of their original production. With its rhythmic beefy drum patterns paired with experimental guitar riffs that evolve throughout the piece, the Ondawey Music heads present an approach that is more direct than the original and leaves room for further experimentation with well-timed effects and overall groove. “Tribute To Frikkyo” has been a stand out track for the pair to date, earning the support of some of the industries biggest players including industry heavyweights such as Laurent Garnier, Terry Francis, Deer Jade, Mike Van Brugge, Paco Osuna, Steve Lawler, and Don Diablo. Following a string of successive releases on their growing Ondawey Music imprint, 2smile have been actively blending styles spanning across Melodic Techno, Tech House, and Afro House and showcasing dexterity with quality productions. With an Arsenal of over 100 unreleased tracks to date,and fluidly mixing genres whilst incorporating elements of musical influences from across the world, 2smile’s consistent output of high calibre, club ready floor fillers combined with their abundant stage presence solidifies their position as one of the most exciting emerging acts to watch this year. Tribute To Frikkyo (The Remixes) Out All Platforms 21/06/24 Download / Stream https://wiseband.lnk.to/2smile-tribute-to-frikkyo-remixes Follow 2smile: Facebook | Instagram | Soundcloud The post 2smile Unveil ‘Tribute To Frikkyo – The Remixes’ On Their Ondawey Music Label appeared first on Electic Mode.

I’m Tim Premiers at Tribeca Film Festival – Revealing Avicii’s Dark Decline The two-hour-long documentary titled Avicii: I’m Tim, premiered June 9th at the Tribeca Film Festival in New York. The film delves into Avicii’s swift ascent to stardom and the subsequent challenges he faced, including his battle with mental health and addiction issues. The documentary provides an intimate look at Avicii’s journey, featuring never-before-seen footage from his tours and behind-the-scenes moments that showcase his creative process. It also includes interviews with his close friends, family, and collaborators, who shed light on the complexities of his life and career. Through the narrative, the film paints a picture of a young, talented artist who was happier before the pressures of fame took a toll on his well-being. Despite his global success, Avicii struggled with the demands of his career and the impact it had on his quality of life. The documentary highlights his struggles with anxiety and the physical and emotional exhaustion that came with his relentless touring schedule. Managing partner Jesse Waits, of XS Las Vegas reveals in the film “…he was taking painkillers. I grew up with a family that did drugs, and I saw that when people do opiates, their eyes change. The pin, the little black parts of their eyes.” Avicii – I’m Tim is not just a tribute to his musical legacy. It is also a candid acknowledgment of the personal cost of fame and the importance of mental health awareness in the high-pressure music scene. The post Avicii Documentary Premieres at Tribeca Film Festival appeared first on EDMTunes.

Today marks a momentous occasion for electronic music fans around the world as titan Charlotte de Witte announces her latest single, ‘How You Move,’ alongside plans for an epic NYC takeover next week. With a dynamic track set to release on June 20th, this revelation comes as the second teaser from her highly-anticipated ‘Roar’ EP. After year’s electrifying takeover, de Witte is gearing up for an even larger spectacle in the city that never sleeps. Charlotte de Witte is no stranger to making waves in the music industry. With her unique blend of techno and underground sounds, she has captured the hearts of fans globally. Her previous EP, ‘Overdrive,’ set the stage for what was to come, featuring a pop-up store at Extra Butter, two sold-out shows at Brooklyn Mirage, and a guerilla-style surprise performance that shut down Orchard Street in NYC. Now, as she prepares for her next chapter, de Witte is ready to deliver a high-octane experience for New Yorkers once again. This June, Charlotte de Witte will bring her signature KNTXT pop-up shop back to Extra Butter Lower East Side, promising exclusive merchandise, limited-run apparel, and unexpected live music experiences at every turn. The stage is set for a thrilling immersion that will unite loyal fans and new audiences alike, solidifying de Witte’s reign as a titan in the electronic music scene. The Unveiling of “How You Move” With the announcement of her latest single, ‘How You Move,’ Charlotte de Witte is giving fans a taste of what’s to come with her upcoming EP. The track exudes energy and power, showcasing de Witte’s unparalleled talent for crafting infectious beats that transcend genres. As the second reveal from her ‘Roar’ EP, ‘How You Move’ is a testament to de Witte’s evolution as an artist, pushing boundaries and challenging the status quo. “This has been such a fun track to make. It’s a high energy track containing all of the ingredients that I love the most: straightforward, engaging vocals and a powerful acid line. Show me how you move, how you get down!” As de Witte continues to push the boundaries of electronic music, ‘How You Move’ serves as a glimpse into the future of her artistry. With its infectious energy and undeniable groove, the track is sure to captivate audiences around the world, solidifying de Witte’s status as a trailblazer in the industry. The NYC Takeover: A High-Octane Immersion As Charlotte de Witte gears up for her second consecutive KNTXT pop-up shop at Extra Butter Lower East Side, the excitement is palpable. Opening on Friday, June 21, the pop-up promises a one-of-a-kind experience for fans and newcomers alike. From exclusive merchandise to limited-run apparel, attendees can expect a treasure trove of de Witte’s signature style and flair. But the KNTXT pop-up at Extra Butter is more than just a shopping experience—it’s a journey into the heart of de Witte’s musical universe. With unexpected live music experiences at every turn, attendees will be treated to a sensory overload that will leave them craving more. From surprise performances to interactive installations, the pop-up shop is a testament to de Witte’s commitment to immersing her fans in a world of sound and sensation. As de Witte’s NYC takeover unfolds, the city will come alive with the pulsating beats of her music, echoing through the streets and captivating audiences far and wide. With each note, de Witte will solidify her place as a titan in the electronic music scene, leaving a lasting impression on all who have the privilege of experiencing her magic firsthand. Get ready, New York—Charlotte de Witte is coming for you, and she’s bringing a high-octane immersion like no other. The post Charlotte de Witte: NYC Takeover and New Single ‘How You Move’ appeared first on EDMTunes.

You're going to end up playing INFEKT's new single a lot more than two times. INFEKT, one of today's most exciting producers in the bass music scene, this week released his second track on Monstercat, "Play It Twice." After recently wrapping up his "Veggie Friends" tour, he's now poised to drop a new EP, VEGGIE GAMES, on the label. Following his Monstercat Uncaged debut back in March, "Play It Twice" is the latest monstrous bass record from the Germany-born producer. Known for delivering some of the most high-energy performances on the live circuit, INFEKT demonstrates his ability to decimate a sound system on his latest single, which is as unforgiving as it is addictive. Considering the success of early hits like "Orgalorg" and more recent offerings like "BOUNDLESS," it's safe to say the new single will prove yet another INFEKT dubstep hit as well as a popular DJ tool. Check out the new single below and find it on streaming platforms here. Follow INFEKT:X: x.com/infektdubstep Instagram: instagram.com/infektdubstep Facebook: facebook.com/infektdubstep Spotify: tinyurl.com/3wztmwjn

FORM Arcosanti, one of the most unique music festival experiences on the planet, is back for the first time since 2019. Taking place at the intimate Arizona desert eco-city of Arcosanti, the fest does almost everything their own way. There's no VIP sections and zero overlapping set times during the three-day event, so every attendee can take in the sounds of each and every performer without having to make tough scheduling decisions. The organizers behind FORM Arcosanti have now revealed their 2024 lineup, which features Skrillex, Four Tet, Bonobo, Thundercat, Jamie xx, PinkPantheress, Floating Points, James Blake, Oneohtrix Point Never and Kim Gordon of Sonic Youth, among others. In addition to the music, attendees are encouraged to take in many immersive art exhibits and explore the sublime desert grounds via various hiking trails. FORM Arcosanti will return from October 4-6, 2024. The festival sold out within just 24 hours of the announcement of its return, per Rolling Stone, but fans can join a waitlist should any passes become available. Check out the full lineup below. The 2024 FORM Arcosanti lineup features features Skrillex, Four Tet, Bonobo, Thundercat, Jamie xx, PinkPantheress and more.FORM Arcosanti Follow FORM Arcosanti:Instagram: instagram.com/experienceform Facebook: facebook.com/experienceform

Joseph Capriati has joined forces with EDM.com Class of 2023 star Indira Paganotto for a new EP, Mantra. Out now via Paganotto's ARTCORE imprint, the records finds each producer pushing their signature sounds to the bleeding edge. Her rhythmic fury is punctuated by Capriati's dark synth bursts, leading to a project brimming with both novelty and nostalgia alike. "Mantra features two tracks that we poured our hearts and souls into," Paganotto said. That sense of unfiltered creative chemistry in the studio is palpable. The opening track, "Ananda," envelops us with haunting strings before unleashing a relentless techno onslaught. Then comes the titular "Mantra," the EP's undeniable highlight, where eerie vocal fragments writhe through a propulsive psytrance arrangement. Check out the new EP below and find it on streaming platforms here. Follow Indira Paganotto:X: x.com/indirapaganotto Instagram: instagram.com/indirapaganotto TikTok: tiktok.com/@indirapaganotto_official Facebook: facebook.com/indirapaganotto Spotify: spoti.fi/3Jnn2wH Follow Joseph Capriati:X: x.com/josephcapriati Instagram: instagram.com/josephcapriati Facebook: facebook.com/josephcapriatiofficial Spotify: tinyurl.com/yv82az9w

With his unique style of music and strong dedication to his craft, Adam Sellouk continues to make a mark on the dance music scene. Following his success with remixes and duets with artists like Anyma, Adam Sellouk now joins the prestigious Afterlife label with a powerful new EP by himself called “The Antidote.” It has three tracks and combines melodic parts with Adam’s carefully made sound design. It gives off an undeniable power from its core. The EP starts with “Chronic,” a song they worked on together with KAS:ST. The record combines tough, industrial-sounding layers with a more emotional core. Icy textures and sad tunes are supported by throbbing kick drums, creating a moody but powerful tone. On the next song, “Confusion,” Sellouk and Glowal work together very well. They combine a clip of a robotic voice with a very emotional, soaring melody line and dramatic style. The light and dark parts work together to make an entrancing effect that lives up to its title. It’s without a doubt the EP’s best track. Finally, the solo “Poison” ends the EP on a soothing note with its heartfelt singing, sad chords, and strong, stabbing synth lines. It’s a great short summary of Adam Sellouk’s signature sound, which is emotional melodic techno with grit and intensity. With “The Antidote,” Adam Sellouk proves that he is at the top of the melodic techno trend right now. Each of the three songs shows off his advanced recording skills and his power to make music that speaks to people’s deepest feelings. The EP is a strong piece of music that will definitely liven up dance floors all over the world this summer. The post Adam Sellouk on Afterlife with “The Antidote” EP appeared first on The Groove Cartel.

The collective has curated a day of music, panel talks, workshops and food, taking place this Saturday Continue reading...

Decoded Magazine · Exclusive Premiere: Mikey Lion – Your Bad Self California-based DJ, producer and co-founder of the iconic Desert Hearts Festival, Mikey Lion, is set to release his latest single “Your Bad Self” June 14th. This highly anticipated track drops just two weeks before the annual Desert Hearts Festival, promising fans a fresh anthem to kickstart the festival summer. After mesmerizing fans and fellow artists alike with his last single “Good Times”, he continues the mission to bring upbeat music to the world.” Your Bad Self” is a testament to Mikey’s growth and evolution as an artist as the single encapsulates the vibrant energy and infectious rhythms that have become synonymous with his name, while smooth vocals and levitating synths create an electric vibe. Mikey Lion’s mission is to spread love and positivity through his music, a vision that has grown into the globally renowned Desert Hearts Festival and record label. With the release perfectly timed ahead of the festival, Mikey Lion delivers a dynamic track that reflects his journey as an artist and the essence of the Desert Hearts spirit. “Your Bad Self” is set to be the must-hear of the summer, bringing together the global dance community in a celebration of love, music, and unity. The post Exclusive Premiere: Mikey Lion “Your Bad Self” appeared first on Decoded Magazine.

AEG has secured planning permission to build the new arena Continue reading...

Popping off onto the scene all the way back in 2014 with a release on Kasra’s world-renowned Critical Music, Matt Harris AKA Hyroglifics has been at the forefront of mind-bending drum & bass and dubstep. Over the past decade, the prolific producer has seen a total of 10 EP’s on Critical including the critically acclaimed collaboration EP ‘Wicked and Bad’ with Sam Binga in 2020 and the Forlorn EP in 2021. 2023 saw the release of his stellar 16-track album I’ll Wait, I Guess on which featured bangers such as Albany Road, Air Max Flow featuring Mancunian rapper Black Josh and the 150 BPM drill-influenced banger Two for Two featuring Deft which rocked dance floors across the UK, Europe and the US. While the album was rooted in drum & bass, hints of what was to come for the new sound of Matt Harris was obvious. In a bold move, Hyroglifics has recently rebranded himself as Two Swords, signalling a departure from the confines of drum & bass and embracing a darker, genre-fluid sound that encompasses elements of bass music, trap and drill. From his roots in Bristol’s thriving music scene to his recent relocation to Los Angeles, Matt shares insights into the factors influencing his evolution as an artist. In anticipation of his debut Two Swords release, baja blast / pushback, UKF sat down with Matt to discuss the landscape of drum & bass in 2024, both in the UK and the USA as well as his creative process driving his upcoming releases and the impact of this transition on his fanbase and the broader electronic music community. Two Swords, invites us to journey with him into uncharted sonic territories, where boundaries blur, genres are deconstructed and experimentation reigns supreme. Hey Matt! Where are you today? I’m currently based out on the West Coast in LA at the moment. What made you move to Los Angeles from Bristol? I packed up my life and moved out to Los Angeles mainly for personal and professional reasons at the tail end of 2022. I was out here on tour after Covid as Hyroglifics, and kind of fell in love with the place. I wasn’t finding much inspiration in the UK at the time and simultaneously wasn’t really enjoying the path the UK seemed to be on and needed a change. Apart from my own projects I’m also actively involved in creating and producing for other artists. I really enjoy the process of helping others realise a vision for their music, and wanted to pursue that more so LA felt like the perfect place. The US seems to finally be catching on to the whole drum & bass thing. It seemed to be ‘in’ sound at Coachella this year, with acts like John Summit even dropping some in his set. Is it more on the zeitgeist over there? What’s going on? Yeah, I feel like everyone is talking about drum and bass over here at the moment, which is great. It’s always been present but has been gaining a lot more traction in the US as of late. I’ve been touring here since 2018, so I’ve definitely seen it exponentially grow in the past two years. A lot of big EDM acts like David Guetta and Tiësto have also been playing drum & bass in their sets recently and It’s sort of shining a light on it for the masses who probably wouldn’t have been necessarily been exposed to it before, or even really knew what the distinct sound of it is. Other genres like UK garage are also now making landfall here too which is cool to see. In the UK there has been a bit of a boom in jump up, and drum and bass in general. It seems to be the sound of the TikTok generation, similar to how brostep was to YouTube. Is that translating over to the States? I think it’s been a contributing factor for sure. Tiktok and its influence on the sound of certain genres has been interesting to watch develop. New producers are coming up through posting on TikTok who aren’t necessarily pushing any boundaries creatively or sonically. There’s so much content to consume at the moment, so it’s made things pretty competitive also. A lot of it ends up sounding very similar and the palette isn’t really being pushed as much anymore, which is a bit of a shame. You kind of have to chase the formula and appease the algorithm to get recognised nowadays. On the plus side, it is showing drum & bass to a new young audience that can take the mantle forward. Since drum & bass is at a height of popularity that the genre hasn’t seen in years, how come a lot of its producers who have been pushing the sound for years are all of a sudden changing lanes like yourself? Is this a form of weird self-sabotage? As an artist self-expression is the key to keeping things interesting. I love the tempo of D&B but you’re able to explore a lot more with slower tempos which I’m currently enjoying. During the pandemic a lot of producers made the realisation ‘Oh, I guess I don’t have to just make dance music all the time’. I think that time allowed people to explore other creative avenues through music. Pre-pandemic, a lot of listeners were stuck only liking a handful of genres, whereas now a lot of people are very open with their music tastes. Can you elaborate on the inspiration behind your decision to transition from Hyroglifics to Two Swords? How does this name change reflect your current artistic vision and sound? For some time, I’ve felt as if the name Hyroglifics no longer represents my current sound and the direction of where I want to take my music. As an artist, change is inevitable and the only real constant in life. With that, sometimes we have to go through periods of change or uncertainty in order to move forward. And just like in life, we all have to grow. For the past few years, I’ve been creating music for my own projects alongside conceptualising + producing for other artists. The name Two Swords collates these two areas of my life and combines them together as one, as well as exploring new sounds and tempos. As Two Swords, my creative process involves exploring a wider range of sounds and tempos compared to my previous work as Hyroglifics. There’s definitely some inspiration from artists like SBTRKT and Lapalux in there who both have such an amazing catalogue of music. Joy Orbison as well, the way he can delve into different realms with his music really inspired me. I love how Skrillex has come back into the fold too with his new music and the way he can morph through different sounds and genres with ease. I want Two Swords to be an amalgamation of all the artists who’ve inspired me, but while still not forgetting the roots of what I’ve been doing for the past 12 years as Hyroglifics. It’s not a new project as such, just a continuation, but with a bigger range of sonics. I have such a diverse range of musical influences and want to keep experimenting and pushing the fold of what is both innovative and emotionally resonant. To play Devil’s Advocate here, is a rebrand necessary, or could you not have continued as Hyroglifics? Why the need for a change in name and brand? I could have definitely kept releasing under Hyroglifics but I wanted a more solid distinction so changing my name felt necessary in order to move forward. When you’re known for only doing D&B for so long it’s hard to break out and do anything outside of that drum & bass sphere. Whereas for other artists, if they start in a different genre it’s easier for them to transition to releasing other genres such as drum & bass. Hyroglifics has had problems when it came to search engine optimisation and meeting new people and telling them about the project was sometimes awkward, because the spelling is slightly off. I definitely needed something more grounded when it came to that. Every time you type in Hyroglifics you would get, well, hieroglyphics or the 90’s rap crew. Do you have any ideas as to why that might be? I’m not really sure. I think it might be that on face value, drum and bass has so many different facets and different sounds, but on the surface level someone who isn’t familiar with it might have a negative connotation to it. When someone says to me that they make drum & bass I know they could be talking about liquid or rollers, but to your outsider, they just automatically assume that it’s jump up. So this is you branding yourself as a multi-genre DJ and producer. Exactly, that’s the vibe basically. That’s what excites me and what I want to pursue in the future. You mentioned that ‘Two Swords’ is based on dualities in life. Could you delve deeper into these dualities and how they influence your music production process? I kept thinking about how I’m split between the music I’m producing for other artists, and then the more club-orientated stuff that I make. Two Swords sound is more of an expansion into other territories other than drum & bass. I love how producers like Joy Orbison or Skrillex, can just jump from project to project in different genres while maintaining a consistent sound. You put out a new release baja blast / pushback in April. What can listeners expect from the new music you’ll be sharing in the coming months under the Two Swords alias? Are there any specific themes or sonic elements that define this new chapter in your artistic journey? Moving forward I’m just going to concentrate on releasing independently. I’ve been really enjoying the freedom that comes with it. I’m very appreciative of the support that I’ve had from labels over the past 10 years, it’s been an incredible experience and I’ve learnt so much through working with some of the best labels in the game. But for this project, it feels a lot more of an achievement having more control and doing it myself. I like how easy it is to just finish a track and put it out when I want to. My first release as Two Swords is out now, baja blast / pushback so definitely check that out. These two tunes came pretty quick, I think I made them in the same week when I first moved to LA. These two tracks complement each other quite well. baja blast doesn’t quite fit in the realm of a specific ‘genre’ or ‘style’ while pushback is more your standard drum and bass club track. Break down these two tracks for me… For sure! Both these tunes were amongst the first batch of tunes I made when I first moved from the UK. baja blast is definitely a more unconventional D&B tune, whilst still having a drum and bass-centric aesthetic to it. It’s a bit unorthodox, a bit weird. It’s not a specific ‘steppa’ pattern. That was the main focus really. It sums up the project nicely though. It still maintains my drum & bass roots but pushes the boundaries sonically. On the flip pushback is more conventional in its approach as a drum & bass tune. I just wanted to make a roller with this one! pushback had a very simple dance-floor vibe and baja blast was more trying to experiment a bit more and to mess with drum patterns. Musicians who Produce and DJ, oftentimes struggle to make the music that they want, while also catering to a club audience. Is Two Swords your answer to this problem? I see a lot of producers and DJs who find a ‘formula’ that works for them and then just rinse and repeat. From a brand standpoint that’s great, but I personally need to keep challenging myself when it comes to production. I spent a lot of last year focused on improving my songwriting ability and think this shows in the upcoming batches of releases. My taste has slowly been evolving to this point for a couple of years, and people who know my work have probably noticed the shift. Rebranding under Two Swords is a distinction between this, allowing freedom to release whatever I feel suits the project at the time. It’s easy to get boxed in when you make drum & bass for such a long time, and I felt the need to evolve past this to grow my project and keep challenging myself further. Moving forward, will you just be releasing double singles? I actually really enjoy the format of releasing music as double singles. Historically artists would put out an A-side with a slightly more left-field track on the B, so I like the contrast this gives as a format when releasing. However, I’m not strictly wanting to move forward in this style of releasing, I just felt it made sense with these particular tracks and was a nice way to introduce the project. My next release will be a 5/6 track EP that’s broken down into standalone singles for ultimate algorithmic digestibility. What can audiences expect in the future from Two Swords? This latest release set the tone for this new direction I’m going in and I’ve got lots of unreleased material coming out over the rest of the year. I really enjoy the idea of building worlds for the listener. Matt, thanks for sitting down with UKF. I think that this is going to be a sick project. I’m looking to see where this new journey takes you. Make sure to check baja blast / pushback from Two Swords

Ableton has released a new podcast series called Doing Music, which explores artists’ techniques and strategies to generate their musical ideas. In each episode, host Craig Schuftan interviews an artist about the hands-on approaches they use to spark ideas in their work – and tries to challenge the myth that creativity is something that some people have and others don’t. The podcast is for anyone with an interest in making music. Listeners will get to hear insights from artists on how they stay active in their creative field, and throughout the series can build a toolkit of practices that can help them spark new ideas too. The first three episodes will be released on June 13, featuring YouTube sensation Cavetown, producer and vocalist Sofia Kourtesis, and Equinoxx founder Gavsborg. The following episodes will be released every two weeks and can be found on all podcast platforms. Subscribed here The post Ableton announces new Doing Music podcast appeared first on Decoded Magazine.

DJ Dris recently dropped his Afro House production ‘Riding Ecstasy’ alongside vocalist Roxa Damas; infused with a unique energy, incorporating shuffled beats, compelling melodic lines, and catchy details, the track came as a powerful addition to DJ Dris’ catalogue, serving as yet more credit as to the potential and promise his creativity holds. So, today we’re looking forward to sitting down with DJ Dris as he takes us behind the scenes of the release, taking us on a journey through its creation and his collaboration alongside Roxa Damas. Hey DJ Dris, how are you? I am good thank you. With the release of this new track, what’s the reception been like from listeners so far? It has been interesting as I feel not many expected this type of sound from me – being a more mellow track in some regards. Did you have any specific intentions when you set out to produce ‘Riding Ecstasy’? Was there a particular sound that you were striving towards? I was creating a song based on the emotion of Ecstasy. The feeling of being in an amazing place. Having been frequently releasing music throughout the last few months, what about this new track would you say differs from your previous releases? The spoken word element on this track is different and almost puts it in a different genre. I also think each track is very different in their own right as I’m trying to show variety. Can you walk us through the production process of this track? So, I started this track as usual, creating the drum pattern used in the majority of the track. Then I played the pads and looked for a lead sound I resonated with. When I had those gelled together, I constructed the structure of the track. The track features the vocals of Roxa Damas, can you tell us about how this collaboration came about? How did you work together to add her vocals to the production? Roxa Damas is my partner and now also my manager; this track was the 1st track we created together. The vocals actually came from a voice note she had sent me shortly after we met. I asked if she had any spoken word ideas and that was what she sent. I loved it so I decided to make ‘Riding Ecstasy’ and stay in touch! The rhythmic elements and groovy beats of ‘Riding Ecstasy’ create a particular energy throughout the track. Can you share with us how you created these elements and what your approach looked like when it came to constructing the different rhythmic details? I really was going for a more gritty Afro House sounding track that would give the listener the feeling of Ecstasy (not the drug). So, everything is very hard-hitting at times and in parts very soft and moody. That is my perception of the feeling of ecstasy anyway. So, during the bridge/breakdown in the track I made sure that the drum pattern opens up in a way that does not interfere with the melodies. These elements create an interesting pulse and make the listener feel like the tempo of the track has increased. Did you learn anything new when it came to the production of ‘Riding Ecstasy’? At the time I created the track it was very early in this phase of my production career and the use of what I call hollowing out a track (giving the drums more space to hit) was one of my 1st attempts at doing this. So, I learnt that while doing this track. ‘Riding Ecstasy’ evolves into a mesmerising soundscape, immersive and engaging in sonic experience. How do you approach structuring your tracks to ensure that listeners remain captivated and hooked? I love structuring my tracks based on how I would like to listen to them, either to dance, perhaps on an evening drive in the car or walking through a park. So, I try to not crowd out tracks with loads of vocals but also ensure that the vocals are memorable. I always make sure that the track is ever evolving so I try to add new elements after certain points or take elements out. The bridge I love to change the pattern of a prominent sound, within the soundscape, i.e. the bass or lead usually. This creates a prominent drop and shocks the listeners. Where do you see your sound progressing next? What can fans expect to hear with your upcoming releases? Well, it’s interesting because when I’m asked this question I know where it’s going as I have been releasing in a sort of chronological order spanning the last 3 years. What I can say is that I have a lot of music coming and each release is fine-tuning the sound that I hope everyone will grow to love. I have a few more release dates penned in up until July and then I guess, based on the reception, I will assess what to drop next. With a musical journey that continues to guide him to exciting ground, exploring and elevating his creativity in each release, DJ Dris remains a talent to be watching closely, keeping his passion for his craft and artistic momentum at the centre of his creativity. So, we close out our interview by thanking DJ Dris for his time and for sharing a glimpse into his approach when it came to constructing the compelling sound of his track ‘Riding Ecstasy’; with new music still to come, DJ Dris is a talent to stay up to date with. Be sure follow DJ Dris across social media to not miss out on his upcoming releases. Listen and Buy ‘Riding Ecstasy’ Now: DJ Dris Online Website | Spotify | Instagram The post DJ Dris & Behind the Scenes of ‘Riding Ecstasy’ + Interview appeared first on Electic Mode.

Today, we have the pleasure of catching up with the talented Andrew Canlon, a fresh addition to the Electronic Music scene whose background in Classical Music continues to guide his unique and distinct approach towards his craft. With a long-standing passion for music, Andrew’s journey began at an early age, having grown up surrounded by the diverse musical culture of New York, revelling in the wide range of educational opportunities offered to him. As he sets about making a name for himself within Electronic Music, Andrew puts forward a distinctly original signature style, bringing in storytelling elements to both his productions and live performances. In this interview, Andrew shares insights into his approach towards live performance, revealing his process for crafting his sets and how his live performance style sets him apart from others on the Electronic Music scene. So, let’s dive into the world of Andrew Canlon and discover the passion and creativity that continues to drive his career. Hey Andrew Canlon, how are you doing? I’m doing well, thank you. Can you tell us about your approach towards live performance? Sure! My approach is to maintain as many performative elements as I can. I’m not a huge fan of automation. I didn’t become a musician to automate a performance. I care about the audience, and I will always perform for them, whether I’m using a hybrid setup or DJing. I think taking the easy route can be counterproductive, so I try to keep pushing myself because we’re living in a world that has made it increasingly easy to look cool when doing the bare minimum and that feels dishonest to me. How would you say your background in Classical Music has impacted the way you perform? When you’re raised in an academic setting, you always feel pressure. That pressure comes from within because it was burned into you from an early age. I will always be my harshest critic. My education in music began as early as 5 years old. Back then, it wasn’t about technology. It was about what you could do through sheer hard work and repetition. That foundation still serves me well when I perform because I have such a high standard. Even if what I’m doing is “good”, it’s likely not good enough for me. I want to be even better. I think that translates when I’m on stage. What would you say sets your performance style apart from others on the scene? If we’re talking purely about the Electronic Music landscape, I think there are a lot of things that I do that separate me from many of the artists who are out there today. The biggest thing is that I sing my own songs and I place a huge emphasis on songwriting. I’ve been told that I’m basically an electronic Phil Collins. I fucking love that. I think the cross-section of EDM, pop, ballads and timeless songwriting is the place to be right now. Lucky for me, that’s where I live. As you’ve grown and developed as a Producer, what about your approach towards live performance has changed? I’ve learned to relax. I don’t have to be a busybody on stage. I have nothing to prove. I am purely focused on putting on a great show. What do you enjoy most about live performance? I enjoy every single thing about it. It’s what I love to do. I’ve been performing my whole life, so I think it’s just familiar to me. I actually get really anxious and depressed when I’m not performing. It’s been the one thing in my life that I’ve looked forward to and aspired to the most. How would you describe your performance style to someone who has yet to experience one of your sets? I would describe my performance style as immersive. I’m trying to tell stories through music. I want to take the audience on a journey, and I want to help them achieve a level of escapism and weightlessness that only music can offer. There are narrative threads as well as musical themes that I’ve constructed in such a way that the audience can let go, breathe and just enjoy themselves. Music is meant to be enjoyed and I lean into that wholeheartedly. How do you prepare for your sets in terms of selecting the tracks you wish to perform? That’s a great question. I kind of view a set list like a huge wave that you want to surf. There should be an immediate feeling that this is something that you want to get on board with. It should accelerate, crest, crash and inevitably slow down. I place tracks in an order that I feel reflects that concept. I try to get off to a fast start and keep the momentum going before changing the pace, slowing it down and ending with songs that are more poignant or memorable. Does this change at all once you are able to read the crowd? No. I think you’re doing yourself a disservice if you overanalyze the crowd. If you don’t think you’re hooking them, you just have to power through it and believe that you’re going to get their attention at some point. If you don’t, you don’t. Not every crowd is going to love you. You have to shake it off and keep moving. Do you have a dream venue that you wish to perform at in the future? Brooklyn Mirage seems to have become the electronic Mecca of New York City. I’ve had amazing moments there as a fan and I can absolutely see myself on that stage one day. It’s a religious experience. How do you prepare for a live performance? Do you have any pre-show rituals? The only ritual you need is practice. I run my set til I’m blue in the face. I don’t want any surprises. What direction do you see your live performance approach taking next? I see myself becoming more comfortable and confident to experiment and trust my instincts. I want more high-flying synth solos, more vocal gymnastics and even more fun and experimental FXs that keep me and the audience on their toes. As we wrap up our interview with Andrew Canlon, we thank him for his time and appreciate him sharing thoughtful insights into his creative process and technical approach towards live performing. From his formative years surrounded by the NYC music scene to his current status as an emerging DJ and Producer, Andrew’s journey has continuously reflected dedication and passion, an attitude he maintains today as he continues to pave his way within Electronic Music. Be sure to follow Andrew Canlon across social media to remain up-to-date on his upcoming releases, live shows, and projects, as he is no doubt poised to keep carving a captivating journey. Andrew Canlon Online Instagram | Website The post Andrew Canlon Shares Live Performances + Exclusive Interview appeared first on Electic Mode.

Jacob Colon’s ‘Made To Move’ radio show continues to captivate fans around the globe, drawing in listeners as it keeps showcasing Jacob Colon’s impressive abilities and unique tastes when it comes to curating high-quality, vibrant-sounding mixes. So, today, we’re looking forward to being joined by Jacob Colon as he shares updates about the show, giving us a glimpse into what we can expect to hear next within the upcoming episodes of ‘Made To Move’. Hi Jacob! How have you been? Everything is great. I’m really happy about how things are flowing. My radio program is doing well and gaining more syndications every week. Can you share the inspiration behind the inception of ‘Made To Move’ and how that vision has evolved with the recent episodes of the radio show? The radio program was initially going to just be a monthly mix of my favorite tracks that I’ve been listening to during that month. Aside from the guest mixes I do from time to time, this would be something more consistent that my fans can listen to every month. This had some drawbacks though as something like this couldn’t be broadcasted anywhere outside specific platforms like Mixcloud and SoundCloud, and it wouldn’t really give much personality. As I looked into it further and researched other music outlets, I decided to recreate the idea into a radio show which has served me well so far. This decision has not only helped me build my music library with weekly new tracks but also helps to promote other Producers with great music. ‘Made to Move’ was a small idea that has grown into a weekly show, broadcasted around the world and I’m very grateful for the entire experience. With online radio constantly changing, what are some of the changes or new ideas you’ve implemented into ‘Made To Move,’ and how do you think these changes will amplify the listener’s experience? ‘Made to Move’ radio show is a program that plays a variety of different Dance genres. We air Latin House, Tech House, Afro House, Deep House and Minimal House. This blend of music creates a dynamic experience for our fans which is a lot more interesting than a vibe that is stagnant with only one particular style of Dance music. ‘Made To Move’ has been a staple for fans of your music. How do you balance staying true to the original content while introducing new elements to the show? Staying true to the original content is always the root of any decision. I think it’s more about staying true to what I personally enjoy since that was the original intent for this project. When you mention new elements, I think that comes more with the type of music the next generation or current generation of Producers are making. Like everything else, music evolving and changing is inevitable, but if I enjoy it then that’s all that matters when considering what music to air on the show. Can you walk us through the process of selecting music for ‘Made To Move’? Are there any changes you’ve implemented since you started curating the mixes for the show? When I’m going through music, I don’t listen to the entire song at first. I’ll skip through to the section of the intro when the bass hits or when the drop happens. The first thing I listen to is how the drums and bass are moving together. This is the focal point of all the music I play. I consider beats that have more than a standard four to four rhythm and also pay attention to how deep the bass is in relation to the drums. It happens so quick when I listen, I don’t think about it. My brain just considers these factors when the songs start playing. Engaging with listeners is important for online radio, what new actions are you taking to engage with the listeners of ‘Made To Move’? Is there any feedback you’d like to share? Though I receive a lot of my music through promos, I’ve been able to get some requests through platforms like Twitter by hashtagging madetomove and posting a streaming link like Spotify, SoundCloud, Beatport, etc for listeners to show me a particular song they want to suggest for the show. I’m looking to incorporate this concept to Threads soon as well. Check out all episodes of ‘Made To Move’ here: Technology plays a significant role in how radio shows are produced and consumed, how have technological advancements influenced changes you’ve made to ‘Made To Move’? I’ve seen a lot of programs that help the creative side of production as far as making songs, but since my show is based on already finished tracks, I don’t use much of this type of software. There are also a couple of postproduction tools for equalizing, volume, and so forth but again those types of tools aren’t necessary for airing music. Not yet at least. In growing with ‘Made To Move,’ were there obstacles you have faced, and how did you overcome them to ensure the show’s continued success? The main obstacle there is when doing this type of work is creating a great vibe with quality tracks that not only sound good but sound unique to help differentiate the listeners’ experience from other shows. There is a ton of great music out there and it is very accessible, so the challenge becomes finding those gems and blending them in a way that creates a nice consistent vibe. Radio shows often reflect the personality and passions of their hosts; how do the recent changes to ‘Made To Move’ reflect your personal growth and development as a DJ and Producer? I feel more in tune with my productions and radio show episodes. The deeper I get into my career, the more aligned my thoughts and ideas are with what I’m doing. On a personal note, I’ve become more confident in my craft which is reflected in the growth and progress this program has made. Looking to the future, what can listeners expect from ‘Made To Move’ in terms of the type of content or music, guest appearances/remixes, and overall direction? ‘Made to Move’ is an experience that focuses on the groove of music. To me, this is the heart of any song with or without vocals. In other genres, some Artists will drop remixes of their songs with the same beat but with more Artists. This shows you that as long as your beat or groove of the track is hitting then the rest of it will fall into place with any added Artist. With this, our fans can be certain the content airing on this show will have them ready to move. With the promise to continue bringing exciting collections of tracks to his listeners each week, shining a light on music from a range of different talents, Jacob Colon’s ‘Made To Move’ will surely keep gaining traction, earning attention from more and more genre enthusiasts. So, as we conclude this interview, we thank Jacob Colon for his time and eagerly encourage you to make sure you are tuning into the next episodes of ‘Made To Move’ as Jacob Colon promises to continue delivering captivating sonic experiences. Jacob Colon Online Soundcloud | Instagram | Spotify The post Jacob Colon – Made To Move Radio Update + Exclusive Interview appeared first on Electic Mode.