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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.

THEUSS, an emerging talent in the electronic music scene, has released his latest EP “Losing My Mind” on the AZZUR record label containing an original mix and a remix by Aaaron. Since its release on 26 April, the track has garnered support from notable figures such as Rampa, WhoMadeWho, Sona (son of Black Coffee), Maz, Xinobi, Maxi Meraki, Dorian Craft, and is featured on the official playlist of Warung Beach Club, called Warung Waves. “Losing My Mind,” by THEUSS, marks a significant milestone for the Brazilian artist, who is steadily making a name for himself both locally and internationally. The track, released under the French label AZZUR, features a remix by the German artist Aaaron, blending diverse influences and showcasing THEUSS’ distinctive sound. Influenced by timeless artists like David August, Âme, Maceo Plex, and John Talabot, THEUSS draws inspiration from a broad spectrum of electronic music. For “Losing My Mind,” he utilized classic hardware including the Nord Lead 2, Moog One, and Roland 808, creating a track that resonates with depth and complexity. THEUSS’ career highlights include performances at prestigious venues and events such as D-Edge, Piknic Elektronic, Watergate, and Warung. His collaboration with vocalist Abrao on an upcoming release with the Israeli label Frau Blau marks another significant achievement. THEUSS approaches his craft with a blend of discipline, dedication, and a willingness to experiment. His creative process involves continuous engagement with music, seeking new influences and knowledge. This commitment is evident in “Losing My Mind,” which reflects his refined and innovative production skills. “Losing My Mind” has received widespread acclaim, being played by influential artists across various countries. The track’s presence at events like the Cercle Festival in France highlights its global reach and appeal. THEUSS describes this international recognition as the fulfillment of a dream, rewarding years of hard work and dedication. Who Made Who plays Losing My Mind – Aaaron Remix [IG Reel] SONA plays Losing My Mind [IG Reel] Who Made Who plays Losing My Mind @Cercle [IG Reel] The track’s support from renowned figures such as Rampa, WhoMadeWho, and Sona underscores THEUSS’’ rising status in the electronic music scene. This backing from prominent artists not only amplifies the track’s visibility but also cements THEUSS’ reputation as a significant new talent. The release of “Losing My Mind” represents a pivotal moment in THEUSS’ career. His ability to blend various musical influences into a cohesive and engaging track has earned him critical acclaim and support from industry heavyweights. As the artist continues to gain recognition, his work promises to have a lasting impact on the electronic music landscape. With “Losing My Mind,” THEUSS has firmly established himself as a rising star in electronic music. The track’s success and the support it has garnered are testaments to his talent and hard work. As THEUSS continues to evolve and innovate, his future releases are highly anticipated by fans and industry professionals alike. THEUSS – Losing My Mind Release Date 2024-04-26 | Label: AZZUR Cat: AZZ72 OUT NOW https://www.beatport.com/release/losing-my-mind/4529012 Find THEUSS Spotify and Instagram @theussdj The post Rising Star THEUSS Gains Global Acclaim with Latest Track Losing My Mind appeared first on Electic Mode.

Hungry for that tasty cross-genre action? Get your palate ready for this one. Fresh off the launch of his own imprint and event series WHYNOTUS, Club Space resident and global talent Malóne is on a roll. Often associated with the Dance kinds that span Afro and Tech House of the highest order, he’s teamed up with Miami-based Jesse Bravo, for a collaborative anthem filled with power. Cuba-born-Miami-based Malóne swiftly moved up from the more underground scenes to summit-reaching spotlights, after signing on imprints such as Experts Only and Insomniac, and unveiling highly successful tracks such as ‘Muy Bien’ and ‘Besame’, both of which claimed the top spot on Beatport’s Afro House chart upon release. Malóne. On the other hand, Jesse Bravo arrived in Miami from Los Angeles, following his passion for music. His production style blends traditional Latin sounds with the energy of Tech House, polishing a creative sound which has taken him as far as founding his very own imprint, Used Goods. Their joint product is simply titled ‘Beef‘, and was released earlier this week through Jesse’s label, Used Goods. ‘Beef’ Fuelled by a captivating vocal sample reminiscent of 90s Rap fused with a groovy Tech House bassline, this track proves to be a must on any heated night on the dancefloor. Simplistic in nature, yet sophisticated in execution, ‘Beef’ is mainly led forward by catchy percussion, with core elements being hats and a fat clap, and occasional sounds refreshing the ears, mainly, a clave-like hit and background congas. Ideal for the later moments of a warm-up set or the earlier stages of a main one, the tune masterfully balances the golden ideas of Tech House with the vocal lines, which can only amplify the excitement created with this track blasting on sun-kissed speakers or under the rapid-firing lights of a blacked-out venue. Listen to Malóne & Jesse Bravo’s gigantic ‘Beef‘, by hitting the ‘Play’ button on your Spotify player attached below. Otherwise, don’t hesitate to visit this link to support the release on your platform of choice. And stay tuned to our page for the latest news and views from our beloved Dance music world. The post Malóne And Jesse Bravo Unveil Dancefloor Heater, ‘Beef’ appeared first on EDMTunes.

Editor's Note: This article discusses suicide and may be distressing for some readers. If you are struggling with suicidal thoughts, you can call the The 988 Lifeline, a national network of local crisis centers that provides free and confidential emotional support to people in suicidal crisis or emotional distress. The heartbreaking final moments of Avicii's life are revisited in a new documentary, Avicii: I'm Tim, which premiered over the weekend at this year's Tribeca Film Festival. The film airs never-before-heard interviews with the legendary DJ, whose real name was Tim Bergling. Ubiquitously known as one of the most virtuosic dance music producers of all-time, Bergling in 2018 died by suicide at the age of 28 after grappling with mental health struggles contrived largely from a grueling tour schedule. Avicii: I'm Tim also features commentary from a number of Bergling's collaborators and contemporaries, like Jesse Waits, a Las Vegas nightlife entrepreneur and Nightclub Hall of Fame inductee. Waits saw firsthand the pernicious effect of painkillers on Bergling, who he said was "like a brother." "His eyes were wide open like a zombie—he was not there," Waits said. "At the dinner, his demeanor changed and his eyes dilated. That changes everything. Those pills change how you act and how you feel. You wake up feeling like shit and have to have another one to feel good. For him, it was to suppress his anxiety, but it just created more anxiety." Avicii.Sean Eriksson In a particularly heartbreaking interview with Bergling, one of the last he ever gave, he laments his reliance on pills to challenge the limits of his mental fortitude while touring. "I just took everything that I could," he said. "I didn't realize you could do Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday. But once that opened up, you could tour the whole year. I was killing myself. The touring went even more crazy because the fees were getting higher. Everything went so fast from that point on." Directed by Henrik Burman, Avicii: I'm Tim is the latest venture developed to pay homage to Bergling, whose family in 2019 launched a foundation that funds research and develops preventative solutions for young people experiencing suicidal thoughts. Academy Award-winning filmmaker Lawrence Bender is currently producing a new documentary about Avicii with "previously unreleased footage" recorded around the time of his discovery and rise to fame. Meanwhile, the investment firm Pophouse Entertainment is planning to develop a musical about Bergling after purchasing a majority stake in his catalog back in 2022. Find out more about Avicii: I'm Tim and its screenings here.

III made several Points announcing their official final lineup for their 11th edition Tuesday morning. We were definitely caught off guard as Phase 1 only had 12 headliners. Now with more than 60 acts including tons of incredible b2bs, we can’t wait to head back to Mana Wynwood in Miami October 18th-19th, to celebrate music. Besides Ultra Music Festival, III Points is another Miami festival that celebrates underground and urban music. Moreover, the festival is a fantastic blend of mainstream and niche, crafting sick lineups on a yearly basis. Let’s find out the new additions to this year’s lineup. Full Circle III Points A constellation of artistry on its own, the ultimate lineup poster resembles a zodiac map, with stars all over it. We don’t need to look up at the sky to see the light this time! Additions to the lineup include Disclosure, Kaytranada, space mother Rezz, iconic live band Massive Attack, and melodic master Elderbrook. The lineup also includes crazy 4 hour sets by Seth Troxler, Pachanga Boys, Heidi Lawden, and DJ Koze. Start working on your endurance because you wil be dancing quite a lot. The b2bs this year include class acts James Hype b2b Meduza, Skin on Skin b2b Kettama, and local underground rising stars Robyn Sin Love b2b Quetamine. Names that are also worth mentioning are Of The Trees, Tinlicker (Live), Horsegirl, Layton Giordani, Kenya Grace, Mall Grab, and Pretty Girl. Speaking about the growth of III Points Co-Founder David Sinopoli says: “Each year we strive to program what the sound of Miami is right now. As we enter into our eleventh year, I feel the most connected and proud of this music offering we have worked so hard to put together.” Background Situated at the vibrant intersection of local talent, major live acts, global sounds, reggaeton crossover, and European club music, III Points embodies an immersive mini-city within Wynwood, illuminating the past, present, and future of music. Emerging in 2013, this Miami gem quickly distinguished itself from commercialized events, boasting unrivaled size and attendance while retaining an intimate feel. As III Points gears up for its monumental return to Mana Wynwood, its love for the Miami community and global music scene only grows stronger, cementing its place as a cultural cornerstone. With such a diverse group of artists, III is on its path to be one of 2024’s best lineups. We can’t forget to mention that III Points ends late, and Miami is filled with afterparties. Get your pre-sale tickets now! The post III Points Goes All Out With Complete Lineup appeared first on EDMTunes.

The iconic Glastonbury Festival, a beloved UK tradition, is taking a break in 2026, marking the first pause since the pandemic. This temporary gap allows for an even more spectacular return in the future. The upcoming festival, from June 26-30, promises an unforgettable experience with headlining performances by Coldplay, Dua Lipa, and SZA at the renowned Pyramid Stage. Located on the picturesque Somerset dairy farm, Glastonbury has captivated music enthusiasts since 1970, making it a cherished cultural phenomenon. Spanning over a thousand acres and featuring more than 62 stages, the festival has a significant impact on the natural landscapes of Worthy Farm. This break offers an opportunity for environmental restoration and ensures that future festivals can continue to enchant music lovers for years to come. Photo Credit: Anna Barclay “Fallow Year” The “fallow year” concept is an important tradition for the Eavis family, allowing the land to take a well-deserved break from the Glastonbury Festival every few years. This break, typically occurs every five years, was last observed in 2018. But due to the impact of Covid, the event was postponed in 2020 and 2021. Emily Eavis mentioned in the BBC Sidetracked podcast that the next likely gap year will be in 2026. This break not only benefits the functioning cattle farm but also allows the land to rest and regrow, ensuring the festival’s sustainability for years to come. I think it’s important, I think it gives everybody time to just switch off and the public as well. Then you kind of go away for a bit and it feels lovely when you come back. And I think it’s quite good not to be seen to be cashing in Emily Eavis Glastonbury Festival holds a special place in the Eavis family, with Sir Michael Eavis founding the festival in the 1970s. Then his daughter Emily Eavis continuing the tradition, referring to Glastonbury as their “lifeline”. Glastonbury 2024 The festival recently announced its full lineup and stage timings, featuring some exciting changes. This includes the replacement of Arcadia’s fire-breathing spider with a giant dragonfly, the return of the Genosys stage to Block9. Honey Dijon will be headlining the Genosys stage on Friday. Additionally, this year marks a monumental addition with the opening of Glastonbury’s first dedicated South Asian space in Shangri-La. Explore the stage-by-stage schedule for all days here. Don’t miss the opportunity to the full podcast with Emily Eavis here. Glastonbury will return in 2025, details to follow later this summer. Stay tuned to EDMTunes for all your daily dose of dance music updates. The post Glastonbury Speculated To Take A Year Off In 2026 appeared first on EDMTunes.

You can now produce tracks and instantly headline events with no DJing or music industry experience—but only in Roblox. Users of the popular gaming engine will be able to simulate the life of an EDM headliner by virtue of a new game mode created by Monstercat. For those unfamiliar with Roblox, the platform allows users to program their own games and develop monetized content for other players to purchase. That includes in-game items like skins as well as full-fledged game modes, like Monstercat's new "DJ Simulator." The brand, which operates one of the electronic dance music scene's top independent record labels, this week revealed the ambitious gaming experience in collaboration with Roblox. Monstercat-released tracks like Tokyo Machine's "PLAY" and the iconic "Crab Rave" will be available for players to "produce" virtually and perform on a variety of virtual stages via mini-games. They will also be able to purchase on-stage "DJ actions" and skins for their turntables as they climb the virtual charts. Monstercat's "DJ Simulator" will be available to Roblox players on Friday, June 14th. You can check out the trailer and learn more about the game here. We'll see everyone in the @MonstercatUGC DJ Simulator studio this Friday. https://t.co/qrYESKY4l0 — Roblox (@Roblox) June 12, 2024 Follow Monstercat:X: x.com/monstercat TikTok: tiktok.com/@monstercat Instagram: instagram.com/monstercat Facebook: facebook.com/monstercat

Fresh on the heels, or otherwise, of “Throw Some Ass,” Sofi Tukker present “Spiral,” the third early release single to appear on the pop electronic outfit’s upcoming studio album, BREAD. Tied to a retro-stylized music video featuring German-American model Heidi Klum, “Spiral” draws from ’90’s Euro-dance soundscapes while showcasing an infectious new Sophie Hawley-Weld-led guitar sequence. The new audiovisual pairing banks on turn-of-the-millennium nostalgia—both sonically and visually—pushing forth Sofi Tukker’s increasingly eclectic flavor profile. In a press statement, Heidi Klum describes the new record as “contagious and fun,” adding, “I have loved Sofi Tukker’s infectious energy and sound for quite some time. When they invited me to be part of the ‘Spiral’ music video, I didn’t hesitate for a second, as I knew we would have so much fun and probably be dancing all day! I love that this video is all about leaning on great friendships during hard times.” Sofi Tukker’s third studio album is due to hit streaming platforms this summer, on August 23rd, and it is currently available for pre-save. BREAD‘s 10-piece track list outlines impending collaborations alongside Channel Tres, MC Bola, and Kah-Lo, plus four unreleased Sofi Tukker originals. Now that “Jacaré” and “Throw Some Ass” have spent some time in the public purview, stream the official music video for “Spiral,” starring Heidi Klum, below. SPIRAL MUSIC VIDEO STARRING @heidiklum Klum IS OUT Listen/watch: https://t.co/IgZbcAGule pic.twitter.com/TP7nwX5kxA — SOFI TUKKER (@sofitukker) June 12, 2024 Featured image: Ashley Steinberg The post Sofi Tukker unleash audiovisual ‘Spiral’ ahead of third studio album appeared first on Dancing Astronaut.

Streaming could change significantly not too far into the future. Recent price hikes for existing Spotify tiers are not slowing down the idea of the High-Fidelity step the music streaming giant has been planning for a while, according to a Bloomberg report. In their eyes, there is a dedicated segment of their customers who would be willing to pay more for better quality content and additional tools. While Spotify declined to comment on specifics, the report suggests this new potential tier would incur an additional monthly cost of at least $5 compared to the current premium plan. Details regarding the nature of the “additional playlisting tools” — one of the stronger points rumoured as exclusive benefits of this “Supremium” subscription — remain undisclosed, with a representative for the firm closing the door shut, “We don’t comment on speculation around possible new features“. Is Streaming Changing For Good? This tier signifies a strategic pivot for Spotify — and perhaps all streaming platforms. The traditional flat-fee model, where users gain access to the entire library for a single price, faces increasing scrutiny from artists and rightsholders. They argue that this approach limits potential revenue, particularly from dedicated fans who consume a significant amount of content. Apparently, there are better ways to earn revenue for the artists, the labels, the streaming services, and everyone else involved. Or so they claim. Offering a tempting higher subscription could be the answer to the slow growth of streaming in major markets nearing subscription saturation. What does that mean? Put simply with an example, Bloomberg reports the U.S., a country of 127 million households, has a 12-month average of 96.8 million on-demand subscriptions. There’s not a lot of room left for new buyers to enter, and these subscriptions account for a large percentage of record labels’ income. The site claims paid subscriptions accounted for 79.4% of label growth in 2023. Once beta testing of this tier enters the larger markets in the world, we’ll see if things go according to Spotify’s reports and predictions, or if it all backfires, in the event of users leaving the platform after seeing some features — or potentially songs — hidden under an extra dollar sign. [H/T] Billboard The post Spotify New Hi-Fi Tier Will Be Priced At Least 5 Dollars Higher Than Premium appeared first on EDMTunes.

Glastonbury is most likely taking a year off in 2026, according to Emily Eavis, the festival's lead organizer. Eavis, the daughter of Glastonbury founder Michael Eavis, recently appeared on BBC's Sidetracked podcast and discussed an anticipated fallow year for the iconic English music festival 2026, citing a desire to give its grounds at Worthy Farm "a rest." "We are due a fallow year," Eavis said of Glastonbury, which annually attracts the foot traffic of roughly 200,000 people. "The fallow year is important because it gives the land a rest, and it gives the cows a chance to stay out for longer and reclaim their land." The festival's organizers have given the land a chance to recover by virtue of a fallow year before, most recently in 2018. Eavis said a year off would also give Glastonbury's staff a chance to rest after keeping the massive festival running for seven years straight. "I think it's important. I think it gives everybody time to just switch off and the public as well. Then you kind of go away for a bit and it feels lovely when you come back. And I think it's quite good not to be seen to be cashing in." The next Glastonbury Festival will take place June 26-30, 2024 at Worthy Farm. Set to take the stage are Coldplay, SZA, Disclosure, Bloc Party, Jamie xx, LCD Soundsystem and many more. Eavis has not yet officially confirmed whether or not Glastonbury will take 2026 off at the time of this writing.

Known for organizing cutting-edge events in unconventional spaces, Framework is preparing to once again push the envelope by hosting a string of compelling summer shows across the City of Angels. From the first-ever use of a century-old movie studio to a complete city block takeover, Framework is presenting a bevy of unique nightlife experiences in a city known for spectacle and entertainment. The independent production house, whose recent takeover of a desert airport hangar elevated the Coachella experience, will partner with multiple labels over the course of three months to showcase the talents of their rosters. Some of the artists performing across Framework's impressive summer programming include UK house music staple Duke Dumont, Night Bass boss AC Slater and deep house virtuoso Nora En Pure. Check out Framework's stacked summer itinerary below along with ticketing links. Saturday, June 15: AC Slater & Sound Present "Night Bass City" Los Angeles Block Party A collaboration with Sound Presents, this street party will take place in front of the Framework-owned-and-operated Sound Nightclub and will celebrate a decade of AC Slater's beloved house imprint, Night Bass. Billed as the first electronic music event to shut down Las Palmas Avenue, the party will take over an entire city block between Hollywood Boulevard and Selma Ave with six hours of programming showcasing the signature Night Bass sound. Slater is scheduled to headline alongside EDM.com Class of 2022 alumni Kaleena Zanders and Young Lynxx. Of note are the handful of back-to-back performances sprinkled throughout the night, including Flava D b2b Taiki Nulight, Petey Clicks b2b Reece Rosé and BIJOU's b2b with a surprise guest. Night Bass City will take place Saturday, June 15th from 5-11pm. Grab your tickets here. Saturday, June 29: Framework Presents Francis Mercier at Gin Ling Way Haitian-born house music star Francis Mercier will take Angelenos on a journey as he performs under the neon pagodas inside the city's historic Chinatown area. The intimate streetscape known as Gin Ling Way will feature Mercier, whose distinct take on Afro-house led to sold-out performances at Sound Nightclub in 2022 and 2023. The event will also include support from Samson b2b Sauaro and Orso, a collaborative project between Stryv and Twitch co-founder Justin Kan. Tickets for the event can be found here. Saturday, July 13: Duke Dumont All Night Long- Warehouse Edition Beloved UK house music producer Duke Dumont will arrive in Los Angeles in mid-July to make history by performing the first-ever concert event inside Red Studios Hollywood. As part of a collaborative effort between Framework and Goldenvoice, this legendary studio is set to be transformed from a century-old movie production space into an underground warehouse rave. The event is sold out, but you can join the waitlist here. Saturday, July 20: Anjunadeep "Open Air Los Angeles" The deeper soundscapes of Above & Beyond's iconic Anjunabeats will surround the fields at Exposition Park as Anjunadeep presents "Open Air Los Angeles" on July 20th. Marking the first-ever collaboration between Anjunadeep and Framework, this joint effort will boast some of the label's most revered talents. Luttrell will headline with support from Romain Garcia, Nicky Elisabeth, CRi and EDM.com Class of 2022 star Qrion. Tickets for the show at Expo Lawn West can be found here. Saturday, August 10: "Knee Deep In Los Angeles" Venerated UK DJ and producer Hot Since 82 will return to the City of Angels as he presents Knee Deep in Los Angeles. As part of an ongoing partnership with Framework, the influential British house music artist will perform at Exposition Park in early August after having already showcased his talents across various LA locales like Pershing Square, Sound Nightclub and an intimate "phone-free" secret location. The event will also include sets from Prunk and Ky William. Grab your tickets here. Sunday, August 11: Nora En Pure Presents "Purified Los Angeles" The following day, Framework will conclude its summer series by hosting deep house icon Nora En Pure as she presents "Purified Los Angeles." Although En Pure has performed at Framework's Sound Nightclub in the past, this event will mark the first-ever collaboration with her Purified brand. The Sunday event will also take place at Expo Lawn West inside Exposition Park and will immerse audiences in the brand's signature deep house music. Aiding En Pure in her endeavors will be Justin Martin, Worakls, Jono Stephenson and Tim Enso. Tickets can be found here. FOLLOW FRAMEWORK:Facebook: facebook.com/thisisframework X: x.com/thisisframework Instagram: instagram.com/thisisframework

In a decisive leap into the electronic dance music domain, The h.wood Group is poised to redefine West Hollywood's nightlife with their latest venture, Keys. Positioned at the legendary 9039 Sunset Boulevard, Keys is primed to elevate the vivacious energy of LA's party scene by paying homage to the iconic Key Club. Scheduled to open in July 2024, the new 12,420-square feet venue promises a fusion of history, glamour and high-energy entertainment. Spanning 12,420 square feet, Keys' tri-level design ensures a singular experience for every visitor. From its heart-thumping main dancefloor to its nostalgic arcade games and poker table upstairs, the venue's tri-level structure is said to embody a design ethos that marries modern aesthetics and vintage charm. An artist's rendering of h.wood Group's new dance music venue, Keys.c/o The h.wood Group According to a press release, Keys is the first dedicated foray into the electronic music space by The h.wood Group, the team who developed the iconic venues Delilah and Bootsy Bellows. They've meticulously crafted every detail of Keys to reimagine the traditional nightclub table experience, including its premium, opera box-style balconies on the second floor, each of which provides an exclusive vantage point of the venue's performances. We're told the space will feature LED displays "that blanket the ceiling" and embed blacklight piano keys in the wallpaper. Keys is equipped with visuals by Production Club, a fiber optic system allowing for livestreamed performances and a bespoke sound system from L-Acoustics envisioned by Demetrius Moore, Drake's longtime front-of-house sound engineer. The main level will feature a more traditional sound system with L-Acoustics A15i speakers and SB18s 2i subwoofers, which will provide a "360-degree listening experience," per the press release. An artist's rendering of h.wood Group's new dance music venue, Keys.c/o The h.wood Group "We are thrilled to finally introduce Keys to Sunset Boulevard," said Brian Toll and John Terzian, co-founders of The h.wood Group. "As a brand, we really embody Los Angeles, and all that it stands for." "It is our goal to honor not only the revered venues that have previously called this space home, but to reinvigorate the rich musical history of the Strip. It is an honor to be able to inform the next golden era of Los Angeles’ live music scene—from big name DJ sets and intimate acoustic shows, to listening parties and more‚and to further immortalize the city’s iconic nightlife culture." You can stay up-to-date on Keys' events via The h.wood Group's website.