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Photo Credit: Live Nation Live Nation has formally petitioned the US Supreme Court to appeal a ruling that prevents the company from forcing arbitration in a massive consumer antitrust lawsuit. In a petition filed on May 5, Live Nation asks the court to consider its appeal after the Supreme Court upheld a lower court’s decision to strike down “unconscionable” arbitration provisions in Ticketmaster’s terms of use. Live Nation argues that California and the Ninth Circuit Court’s decisions have singled out its arbitration agreement improperly, in conflict, they allege, with federal law and precedent. Live Nation is seeking reversal in two key areas. Largely, it insists that all forms of arbitration, including “mass arbitration,” deserve protection under the Federal Arbitration Act (FAA). Secondly, it challenges the application of California’s “arbitration-specific” severability doctrine—which Live Nation asserts violates the FAA’s core principle in placing arbitration agreements on equal footing with other contracts. It’s the latest major move in the massive consumer-led antitrust lawsuit that claims Live Nation and Ticketmaster unfairly dominate the ticketing industry. Recently, US District Court Judge George H. Wu denied Live Nation’s motion to dismiss the case, pointing out plausible allegations of market sway and unfair business practices. Live Nation’s partnership with a relatively new arbitration service—New Era ADR—has raised questions about procedure, which consumers called “extremely unconscionable” and one-sided. The Ninth Circuit Court agreed and upheld Judge Wu’s earlier ruling that Live Nation’s terms forced claimants into mass arbitration, which lacks many of the safeguards associated with traditional arbitration. According to Live Nation’s petition, the FAA covers all types of arbitration, and the Ninth Circuit’s refusal to enforce its agreements violates Supreme Court precedent. Further, it challenges the way California courts invalidate arbitration agreements as “unduly hostile,” citing a series of decisions in California where arbitration contracts were invalidated at higher rates than others. Currently, the consumer antitrust lawsuit continues under Judge Wu in California, with discovery and pretrial proceedings underway. A separate antitrust action filed by the US Department of Justice and 39 states and the District of Columbia is heading to trial in March 2026. Live Nation hoped to delay the consumer suit until after the government’s trial, but Judge Wu denied their request. View the full article

Duke Dumont returns with a new album. The internationally recognized British DJ will drop Union on July 25, 2025, through Astralwerks. To commemorate the upcoming release he gave us a brand-new single, ‘Your Loving,’ now streaming. This is Dumont’s first release since 2020’s Duality, which introduced a richer and more emotional sound. Union takes that further now. It combines deep house, progressive soundscapes, and classic dance music into a new explosive package, displaying Dumont’s evolving artistry. The title single “Your Loving” gets this underway with an upbeat, euphoric vibe. It’s Dumont’s first 2025 single, crafted for the live performance environment. The record’s underlying themes are remarked by what Dumont said: “Union is a celebration of what brings people together. It’s meant to be heard live — from beginning to end.” He recorded each song with the live crowd in mind. The goal? End-to-end listening, not singles for playlists—a signature move by Duke Dumont. What to Expect From Union The album contains 12 tracks. It includes previous singles like “Energy” and “Ain’t Giving Up,” and new collaborations. Union – Tracklist 1. Union 2. The Chant 3. Prelude #1 4. I Need You Now 5. Feels Like This 6. ENERGY 7. Hit Em 8. My Heart (Is Full Of Love) 9. Prelude #2 10. Your Loving 11. Ain’t Giving Up (feat. Clementine Douglas) 12. All My Life (feat. Panama) Each track was made with the intention of building connection and dancefloor movement. This album is full of energy, emotion, and unity, capturing Dumont’s unique flair. Big Summer Ahead Duke Dumont is also going on a huge summer tour. Dates include Creamfields, Day Trip, District 8, and Bittersweet.Since his breakout Coachella performance in 2022, Dumont has pushed the boundaries of live DJ sets. He’s played at Red Rocks, The Mirage, and beyond, using custom visuals and surround sound.The year also marks the 10th anniversary of “Ocean Drive” — one of Dumont’s biggest hits. It went platinum in seven countries. With over 4 billion streams globally, numerous UK #1 singles, and a passionate fan base, Dumont’s impact runs deep. In clubs, at festivals, and even in headphones, Union is set to be a defining moment for Duke Dumont. The post Duke Dumont Announces New Album ‘Union’ appeared first on EDMTunes.

Goldenvoice has unleashed the full lineup for the 2025 edition of San Francisco’s Portola Music Festival. The two-night festival is back at Pier 80, a 60-acre former industrial site on the San Francisco Bay, for its fourth edition this September 20-21, featuring another high-powered roster of artists at the intersection of electronic and alternative music. Music lovers can expect everything from ravey house and techno DJs, to indie ensembles, pop stars, and cult favorite acts, with headline sets to come from present-day icons like Mau P, Peggy Gou, Chris Lake & Chris Lorenzo’s Anti Up, and Dom Dolla, pioneering electronic acts like Underworld, The Chemical Brothers, and The Prodigy, and indie legends like Moby and LCD Soundsystem. On night one, Portola’s lineup also includes house maverick Duke Dumont, surging UKG artists salute and Oppidan, and a slew of underground heroes from all corners of clubland, such as HAAi, ¥ØU$UK€ ¥UK1MAT$U, 1tbsp, X Club, and Prospa B2B KETTAMA, among others. Highlights on night two include renowned techno selectors KI/KI, Brutalismus 3000, and Blawan, Hamdi’s bass-heavy beats, experimental innovators like Arca and Maribou State, and minimal tech master Chris Stussy, plus two iconic electro-house pairings in 2manydjs B2B Erol Alkan and The Blessed Madonna B2B Tiga. Check out the full lineup below. Pre-sale registration for Portola Music Festival 2025 is now open here. Pre-sale ticket access will begin this Thursday, May 15, at 12PM PT. For more information or to purchase tickets, visit portolamusicfestival.com. Featured image courtesy: Portola. The post San Francisco’s Portola Music Festival Drops 2025 Lineup appeared first on EDM Maniac. View the full article

Goldenvoice has unleashed the full lineup for the 2025 edition of San Francisco’s Portola Music Festival. The two-night festival is back at Pier 80, a 60-acre former industrial site on the San Francisco Bay, for its fourth edition this September 20-21, featuring another high-powered roster of artists at the intersection of electronic and alternative music. Music lovers can expect everything from ravey house and techno DJs, to indie ensembles, pop stars, and cult favorite acts, with headline sets to come from present-day icons like Mau P, Peggy Gou, Chris Lake & Chris Lorenzo’s Anti Up, and Dom Dolla, pioneering electronic acts like Underworld, The Chemical Brothers, and The Prodigy, and indie legends like Moby and LCD Soundsystem. On night one, Portola’s lineup also includes house maverick Duke Dumont, surging UKG artists salute and Oppidan, and a slew of underground heroes from all corners of clubland, such as HAAi, ¥ØU$UK€ ¥UK1MAT$U, 1tbsp, X Club, and Prospa B2B KETTAMA, among others. Highlights on night two include renowned techno selectors KI/KI, Brutalismus 3000, and Blawan, Hamdi’s bass-heavy beats, experimental innovators like Arca and Maribou State, and minimal tech master Chris Stussy, plus two iconic electro-house pairings in 2manydjs B2B Erol Alkan and The Blessed Madonna B2B Tiga. Check out the full lineup below. Pre-sale registration for Portola Music Festival 2025 is now open here. Pre-sale ticket access will begin this Thursday, May 15, at 12PM PT. For more information or to purchase tickets, visit portolamusicfestival.com. Featured image courtesy: Portola. The post San Francisco’s Portola Music Festival Drops 2025 Lineup appeared first on EDM Maniac. View the full article

Photo Credit: Ashley King / Ticketmaster website Ticketmaster’s long-criticized ticket pricing with tacked on fees is finally getting a nationwide overhaul, but only after heavy government intervention. The ticketing giant rolled out its ‘all-in pricing’ across the United States starting today. That means consumers will see the full ticket price—including mandatory fees—up-front, rather than being blindsided when checking out. The move comes in response to mounting pressure from both the FTC and the TICKET Act winding its way through Congress. For years, music fans and professionals have decried Ticketmaster’s use of opaque pricing, where advertised tickets could balloon as much as 50% with added fees. These ‘junk fees’ have been a significant source of consumer frustration for live music events and contributed to a high number of abandoned checkouts. It’s estimated that up to 50% of customers abandon their purchase once they see the final price at checkout. Meanwhile the FTC estimates that hidden fees and the lack of transparency in pricing has cost Americans 53 million hours collectively in hunting for actual ticket prices. The new all-in pricing model, mandated by the FTC and reinforced by the TICKET Act in Congress, aims to restore consumer trust and level the playing field for ticket buyers. “This consensus legislation will end deceptive ticketing practices that frustrate consumers who simply want to enjoy a concert, show, or sporting event by restoring fairness and transparency to the ticket marketplace,” House Representatives Cathy McMorris Rodgers (R-WA), Frank Pallone (D-NJ), and Gus Bilirakis (R-FL) said in a joint statement at the passing of the TICKET Act. While all-in pricing is a step towards transparency, it’s a government-forced concession from a company that has long profited from consumer confusion. It also does nothing to limit the amount of tacked on fees and groups all fees into one category—resulting in less transparency in terms of who benefits from the collected fee. Ticketmaster controls over 70% of the market for tickets to live events and has 80% of the market share for concerts since 1995. View the full article

In the perpetually evolving ecosystem of Ibiza nightlife, certain moments signal a shift in the island's cultural aesthetic. Francis Mercier's newly announced eight-week residency at Chinois is precisely one of those moments. The Haitian DJ and producer is poised to plant his flag at Chinois with "Solèy," a unique DJ residency that treats global rhythms not as exotic accessories, but as essential ingredients. His choice of Chinois, nestled within the Ibiza Gran Hotel and rapidly establishing itself as "the club of Ibiza," speaks volumes about his ambitions. c/o Press "Solèy," Haitian Creole for "sun," serves as both the residency's name and its philosophical framework. Its radiant sound will pump from midnight to dawn, allowing you to dance literally until the sun comes up. Mercier, who cut his teeth as a guest DJ at the venue last season, has committed to transforming Friday nights from June 13th through August 1st into a cross-cultural sonic expedition. His particular brand of musical cosmopolitanism carefully curates an experience where Afro-house beats intersect with Levantine melodics and Caribbean rhythms. Mercier will also preset performances by Giolì & Assia, Nitefreak and Wakyin, who were named to EDM.com's Class of 2021, 2024 and 2025, respectively. Other notable artists include Something Else, the underground alias of Brazilian dance music superstar Alok; Major League DJz, the deeply influential Amapiano duo; and Sparrow & Barbossa, the Swiss-Uruguayan duo surging through the ranks of Afro-house. Check out the 2025 schedule for Mercier's "Solèy" residency at Chinois below. Tickets are available now via the club's website. c/o Press Follow Chinois Ibiza:Instagram: instagram.com/chinoisibiza Facebook: facebook.com/clubchinoisibiza TikTok: tiktok.com/@chinoisibiza

Walker & Royce welcome rising talent FENIK back to Rules Don’t Apply with a taunting & haunting banger. FENIK has made our dreams come true with ‘Fantasy.’ The tech house record features goliath drums peppered with a spicy bass line and slicing melodic shards. Searing synths and sultry vocals take the track to another level. Each sound in the track is expertly produced and delivers a message to our ears. FENIK’s fantasy is one of intense grooves and jolting synths throughout. Hailing from Philadelphia, he is a name you will want to keep an eye out for in the house scene. The use of his own vocals is impressive. At first listen you would assume he had a female record the lyrics. He had this to say about ‘Fantasy’ “The track came about in a time when I was feeling really burnt out in my studio so I wanted to switch things up a bit. I decided I wanted to use my own voice in a slightly interesting way, something I never really do, accompanied with a big lead and some driving low end to really get the dance floor moving” The success FENIK saw in 2024 included playing in support of top-tier talent like Gorgon City and Sonny Fodera, has continued this year. In January, he kicked off his run in 2025 by heading to Insomniac’s IN/ROTATION with his fresh tech house gem ‘Obsession.’ Make sure to check out ‘Fantasy’ below! The post FENIK Drops Intoxicating Track ‘Fantasy’ On RDA appeared first on EDMTunes.

Calvin Harris just dropped his latest single, ‘Blessings’, right after his country-inspired jam, ‘Smoke The Pain Away’. This time, he teamed up with up-and-coming UK artist Clementine Douglas to create a sunny dance anthem that totally captures the summer vibe. With its catchy synths, cheerful piano chords, and feel-good energy, ‘Blessings’ brings back the sound that Calvin Harris is known for. The track highlights the world-class talent of Calvin Harris for making music that connects with listeners everywhere. Clementine Douglas, who has worked with artists like Dom Dolla and TSHA before, adds a soulful touch to the song with her unique vocals, giving it both emotion and appeal for repeat listening. Click ‘Play’ on the Spotify link below to stream ‘Blessings’ from Calvin Harris and Clementine Douglas, a track that is a definite summer anthem for anyone who loves to dance the days and nights away to energetic melodies. ‘Blessings’ showcases the top-notch musical production and songwriting expertise of Calvin Harris and Clementine Douglas It’s no wonder people are buzzing about the track already. Calvin Harris has built a solid reputation as one of the best hitmakers in electronic music, collaborating with big names like Ellie Goulding, Rihanna, and Dua Lipa. At the same time, Clementine Douglas is carving out her own space as one of the UK’s most exciting vocalists and songwriters in the dance music scene. With its warm melodies and breezy vibes, ‘Blessings’ is perfect for beach bars, chill sunset jams, and festival stages. The song feels familiar yet fresh, showing how both artists can evolve while keeping their signature sound. As summer approaches, especially as the days get warmer and the nights get breezier, ‘Blessings’ is on track to be one of the season’s top anthems, sure to take over playlists, radio stations, and social media in no time. The post Calvin Harris Drops ‘Blessings’ With Clementine Douglas appeared first on EDMTunes.

SoundCloud has clarified that the company does not use artist content to train AI models, following backlash stemming from an update to its terms of service that, in theory, allows it to do so. Making digital rounds among artists and highlighted by tech news outlet Futurism last week, the clause, which was added to the platform’s terms in February 2024, leaves legal room for SoundCloud to use music posted to its site to train music-making AI. It reads, in part, as follows: “In the absence of a separate agreement that states otherwise, you [the user] explicitly agree that your content may be used to inform, train, develop, or serve as input to artificial intelligence or machine intelligence technologies or services as part of and for providing the services.” Without a clear indication of just how SoundCloud uses AI, the Futurism article drew parallels to the company’s new “assistive AI” products, which were announced one month prior to the change in terms, and “allow artists to upload songs created with assistive AI tools directly to SoundCloud,” according to the company. In the fallout, Ed Newton-Rex, a composer and the CEO of AI music rights nonprofit Fairly Trained, wrote on X, “My question to SoundCloud is: does this include generative AI models? If so, I’ll remove my music and would encourage others to do the same.” In a statement published Friday, May 9, SoundCloud said the answer, for now, is no. The Berlin-headquartered company wrote that it has “never used artist content to train AI models, nor do we develop AI tools or allow third parties to scrape or use SoundCloud content from our platform for AI training purposes.” The statement went on to explain that the February 2024 terms update was meant to “clarify how content may interact with AI technologies within SoundCloud’s own platform, for things like recommendations and fraud detection. SoundCloud’s current terms of service do not explicitly rule out training generative AI models in the future. Read SoundCloud’s full statement, shared with Futurism, here. Update: https://t.co/ncvNwlyPfS — Ed Newton-Rex (@ednewtonrex) May 10, 2025 Featured image courtesy: Unsplash.com. The post SoundCloud Says It “Never Used Artist Content To Train AI,” Amid Backlash appeared first on EDM Maniac. View the full article

11 years after "Sleepless" sent shockwaves through high school aux cords, Ekonovah has stepped in to give Cazzette's 2014 dance classic a glossy, high-octane facelift. For those who have ever felt that house music can be a time machine, his official remix is your first-class ticket. Ekonovah takes the original's haunting, vocoded vocals and supercharges them into a euphoric sprint, transforming a nostalgic house anthem into a cinematic beast for 2025's dancefloors. The arrangement builds like a pressure cooker, ultimately releasing into a brisk and breathtaking drop. Here, he trades the original's brooding pulse for a head-rushing energy that feels like sprinting through a memory you didn't know you missed. Remixing a track as beloved as "Sleepless" is brave, but the EDM.com Class of 2023 artist pulls it off with flair, injecting emotion without drowning in sentimentality. Cazzette hand-picked him for the task, according to a press release. "'Sleepless' is one of those songs that brings me back to high school and those early days where I began falling in love with house music," Ekonovah said. "It’s not every day that you’re asked to remix a legendary piece of dance music history. It’s an honor, and I’d like to think I did the song justice." You can listen to the new remix below. Follow Ekonovah:X: x.com/ekonovah Instagram: instagram.com/ekonovah TikTok: tiktok.com/@ekonovah Facebook: facebook.com/ekonovah Spotify: spoti.fi/2YTJyGo Follow Cazzette:X: x.com/cazzette Instagram: instagram.com/cazzette Facebook: facebook.com/thecazzette Spotify: tinyurl.com/35btfyak

SoundCloud says it hasn’t used music uploads to train generative AI models. But related debates are ongoing after the platform seemingly left the door open to training undertakings down the line. Photo Credit: SoundCloud Is SoundCloud using your music to train generative AI models? The company says it “doesn’t allow AI training or scraping with music on our platform,” but questions remain in light of a controversial terms of service update. Former Stability VP of audio Ed Newton-Rex, a longtime musician who’s currently the CEO of Fairly Trained, recently posted about that update on social media. Added in February 2024, per Newton-Rex and SoundCloud itself, the relevant text authorizes the platform to use uploads “to inform, train, [and] develop” AI. “You explicitly agree that your Content may be used to inform, train, develop or serve as input to artificial intelligence or machine intelligence technologies or services as part of and for providing the services,” the terms read. The next paragraph elaborates that “neither SoundCloud nor any third party” can use or reproduce uploaded media “for the purposes of informing, training developing (or as input to) artificial intelligence technologies without authorization from the applicable rightsholders.” Despite the latter line, which seemingly leaves the door open for AI training should uploaders fail to opt out, the text isn’t sitting right with artists. Moreover, SoundCloud (which isn’t a stranger to artificial intelligence) left the same door open when responding to the controversy. Here, the Berlin-based platform maintained that it’d “never used artist content to train AI models” and hadn’t allowed “third parties to scrape or use SoundCloud content from our platform for AI training purposes.” “The February 2024 update to our Terms of Service was intended to clarify how content may interact with AI technologies within SoundCloud’s own platform,” the Musiio owner emphasized on X. “Use cases include personalized recommendations, content organization, fraud detection, and improvements to content identification with the help of AI Technologies.” When closing out the message, however, SoundCloud said it would “keep our community informed every step of the way as we explore innovation and apply AI technologies responsibly.” And subsequently, communications head Marni Greenberg indicated that “clear opt-out mechanisms” would accompany any future decision to train AI models on user uploads. “Should we ever consider using user content to train generative AI models,” Greenberg relayed on this front, “we would introduce clear opt-out mechanisms in advance—at a minimum—and remain committed to transparency with our creator community.” Unsurprisingly, the suggestion that SoundCloud may potentially “consider using user content to train generative AI models” elicited a number of less-than-enthusiastic responses. Just scratching the surface, many on X criticized SoundCloud for (among other things) possibly deciding against an opt-in model. “The ‘opt-out’ they commit to in this new statement would be totally unfair on artists, shifting the burden onto them to tell SoundCloud not to train on their music,” Newton-Rex wrote. “Most would miss the chance. Opt-outs are designed to gather as much content as possible for training.” Driving home his dissatisfaction, Newton-Rex committed to “[d]eleting my SoundCloud” profile, which appeared to still be live on the service at the time of writing. The decision might be a bit premature at this stage of the game – especially given that some AI companies are alleged to have already trained on protected works without permission. But it’ll be worth closely monitoring the situation (referring not only to SoundCloud’s terms, but those of different DSPs) moving forward. View the full article

Photo Credit: @iwally The Weeknd kicked off his 43-date ‘After Hours Til Dawn‘ stadium tour with a massive, sold-out show at State Farm Stadium in Phoenix, AZ. Around 60,000 fans lined up to see the star, with nosebleed ticket prices bottoming out around $73. Special guests Mike Dean and Playboi Carti opened the show before The Weeknd took the stage alongside 30 dancers in red cloaks. The never-before-seen production included a towering gold statue, gold ruins, rings of gold across the stage, lasers, flames, and more. The show featured an electrifying setlist that included tracks from Hurry Up Tomorrow like “The Abyss,” “Cry For Me,” and “São Paulo.” He also performed fan favorites from After Hours and Dawn FM, along with hits from his extensive catalog including “Starboy,” “Can’t Feel My Face,” “Blinding Lights” and more. Opening night of The Weeknd’s tour arrives just ahead of the theatrical release of his highly anticipated feature film, Hurry Up Tomorrow. The film premiers May 16 via Lionsgate and stars The Weeknd alongside Jenna Ortega and Barry Keoghan. The film was written and directed by Trey Edward Shults, featuring original music by The Weeknd who co-scored the film alongside composer Daniel Lopatin. Meanwhile, the ‘After Hours Til Dawn‘ tour continues on May 24 in Detroit MI at Ford Field before making additional stops in Chicago, East Rutherford, Denver, Inglewood, Vancouver, Toronto, Miami, and more this summer. The Weekend will also appear on ‘The Tonight Show‘ with Jimmy Fallon for a special musical performance and his first-ever couch interview on May 15. The Weeknd — After Hours Til Dawn 2025 Tour Dates May 09 | State Farm Stadium – Phoenix, AZ 24 | Ford Field – Detroit, MI 25 | Ford Field – Detroit, MI 30 | Soldier Field Stadium – Chicago, IL 31 | Soldier Field Stadium – Chicago, IL June 05 | MetLife Stadium – East Rutherford, NJ 06 | MetLife Stadium – East Rutherford, NJ 07 | MetLife Stadium – East Rutherford, NJ 10 | Gillette Stadium – Foxboro, MA 11 | Gillette Stadium – Foxboro, MA 14 | U.S. Bank Stadium – Minneapolis, MN 21 | Empower Field at Mile High – Denver, CO 25 | SoFi Stadium – Inglewood, CA 26 | SoFi Stadium – Inglewood, CA 28 | SoFi Stadium – Inglewood, CA 29 | SoFi Stadium – Inglewood, CA July 04 | Allegiant Stadium – Las Vegas, NV 05 | Allegiant Stadium – Las Vegas, NV 08 | Levi’s Stadium – Santa Clara, CA 09 | Levi’s Stadium – Santa Clara, CA 12 | Lumen Field – Seattle, WA 15 | BC Place – Vancouver, BC 16 | BC Place – Vancouver, BC 19 | Commonwealth Stadium – Edmonton, AB 24 | Parc Jean Drapeau – Montréal, QC 25 | Parc Jean Drapeau – Montréal, QC 27 | Rogers Centre – Toronto, ON 28 | Rogers Centre – Toronto, ON 30 | Lincoln Financial Field – Philadelphia, PA 31 | Lincoln Financial Field – Philadelphia, PA August 02 | Northwest Stadium – Landover, MD 07 | Rogers Centre – Toronto, ON 08 | Rogers Centre – Toronto, ON 12 | Nissan Stadium – Nashville, TN 15 | Hard Rock Stadium – Miami, FL 16 | Hard Rock Stadium – Miami, FL 21 | Mercedes-Benz Stadium – Atlanta, GA 24 | Camping World Stadium – Orlando, FL 27 | AT&T Stadium – Arlington, TX 28 | AT&T Stadium – Arlington, TX 30 | NRG Stadium – Houston, TX 31 | NRG Stadium – Houston, TX September 03 | Alamodome – San Antonio, TX View the full article

GRiZ is leading fans on a sidequest. After the saxophone-toting bass artist began dropping GRiZ-themed newspapers around Chicago last week, fans have deciphered a puzzle within them that reveals a link to a mysterious countdown clock on GRiZ’s official website. The link, mynameisgriz.com/sidequest, uncovered by fans as the solution to one of many riddles in the mini-publication, counts down to Tuesday, June 17, at 12PM ET, and shows a sketch of an icosahedron, a three-dimensional shape made up of 20 triangular faces. Within those faces are the nine letters of GRiZ’s mystifying message, “SIDEQUEST.” Though it remains unknown just what the producer and DJ—real name Grant Kwiecinski—is planning, fans have been quick to speculate about several potential announcements, as anticipation builds for his live return after a two-year performance hiatus, set to take place at the artist’s curated Valley of the Seven Stars festival in Virginia this October. Posts in the r/griz subreddit offer theories ranging from an upcoming B2B with ODESZA, whose logo bears a likeness to the doodle on GRiZ’s website, to an upcoming album announcement and even a surprise appearance at Electric Forest, held annually in his home state of Michigan and this year falling just days after the countdown expires. Other easter eggs throughout the newspaper, titled Reconnect, included a daily horoscope, traffic report, word search, comics, and a help wanted ad for “The Bassline Boogie Bureau of Investigation. The cryptic teaser comes weeks after GRiZ marked his emphatic studio return with the release of his four-track GEMiNI EP, featuring tracks such as “Take Me Home,” with Grabbitz and “2-step Nassau.” His last full-length bass album, Rainbow Brain, arrived in 2021. Have a look at GRiZ’s newspaper teasers in the post below and check out the countdown page here. Featured image courtesy: GRiZ. Credit: Jason Siegel. The post GRiZ Hides Link To Mysterious Countdown In Newspaper Puzzles appeared first on EDM Maniac. View the full article

The highly anticipated Electric Daisy Carnival (EDC) Las Vegas, recognized as North America’s preeminent dance music festival, is scheduled to commence next week at the renowned Las Vegas Motor Speedway. Over the course of three nights, from Friday, May 16th to Sunday, May 18th, 2025, the event is poised to welcome in excess of 540,000 attendees. For individuals unable to attend the festivities in Las Vegas, a comprehensive livestream of the event will be available via the official YouTube channels and Insomniac TV. This will allow a global audience to experience the performances as they unfold across EDC’s nine dynamic stages, including Dom Dolla, Fisher, Kaskade, and Tiësto, among numerous others. The EDC Las Vegas livestream will begin daily at 6:45 pm Pacific Time (9:45 pm Eastern Time) from the Las Vegas Motor Speedway. For your own conversion see post below. EDC will be broadcast live on both Insomniac TV and YouTube throughout the duration of the festival. Separate live feeds will be available for Friday, Saturday, and Sunday, accessible free of charge at TV.Insomniac.com. Insomniac TV will feature dedicated channels for five prominent stages—kineticFIELD, cosmicMEADOW, circuitGROUNDS, neonGARDEN, and bassPOD—providing viewers with focused coverage of the key performances at EDC Las Vegas. There’s no excuse not to be there. *Image cover credit: Jordan Sabillo The post EDC Las Vegas Announces Comprehensive Livestream Across Five Stages appeared first on EDMTunes.

One of Dance Music’s biggest weeks is upon us. EDC Las Vegas is preparing for its biggest year yet under the electric sky. Insomniac is launching its brand-new Insomniac Radio app, a dedicated streaming platform that brings the pulse of the electronic dance music world directly to listeners. Now available for free download on iOS and Android, Insomniac Radio streams curated dance music 24/7. Completely ad-free, the app offers music fans and festival-goers an always-available premium listening experience at their fingertips. The New Additions At the heart of the Insomniac Radio experience are four genre-focused channels, each expertly curated to reflect the diverse spectrum of electronic music and the communities that power it: ONE – DANCE MUSIC 24/7 | ONE brings the heat with festival anthems, chart-topping bangers, and the freshest rising stars across the spectrum of electronic music. If it’s lighting up the biggest stages and breaking the internet, it lives here. This is where the scene goes big. ANALOG – GROOVE LIVES HERE | Dive into the pulse of the underground. ANALOG is your source for every flavor of house and techno straight from the heart of Day Trip and Factory 93. IMPACT – BASS IN YOUR FACE | A frequency built for bassheads and adrenaline junkies. Dubstep wubs, DnB rollers, Trap bangers, and Hardstyle anthems – IMPACT delivers nonstop chaos, straight from the worlds of Bassrush and Basscon. LUCID – MELODY IN MOTION | LUCID is your sonic escape, weaving together deep house, melodic techno, and trance-inspired rhythms. Powered by Dreamstate and Interstellar, this is music for the mind, body, and soul. In addition to continuous programming across these four channels, Insomniac Radio streams over 100 artist-led shows, including 40 exclusive programs from a new wave of Insomniac talent. With a mix of artists, creators, headliners, industry pros, and curators, the hosts bring authenticity and relatability to the airwaves, fostering a community that offers something for everyone. During EDC Las Vegas 2025, taking place May 16-18, Insomniac Radio will be broadcasting live across all four channels, with exclusive streams from stages such as stereoBLOOM, wasteLAND, and quantumVALLEY, not available via video livestream. With full coverage from dusk ‘til dawn, fans can tune in for artist interviews, behind-the-scenes moments, and stage-specific programming. The post Insomniac Launches New Streaming App For EDC Las Vegas appeared first on EDMTunes.

Steve Albini’s estate is selling some of his belongings, a year on from his death at the age of 61. The esteemed producer, who famously worked with Nirvana as well as PJ Harvey and the Pixies, died of a heart attack last year. He worked on over 2,000 albums across his career. A generous portion of his belongings are currently being sold via a website called Steve Albini’s Closet, with all proceeds directed back towards his estate. READ MORE: Read Steve Albini’s 1992 letter to Nirvana: “Paying a royalty to a producer is ethically indefensible…there’s no fucking way I would take that money.” The website is selling weird and wonderful items such as CDs, records, cassettes, zines, books, original art, and much more. The vast majority of items are currently listed as sold out, however, the website will continue to be updated every Friday, and you can sign up to be notified when new items are posted by filling out a simple form. “Steve Albini’s Closet is an entity created to distribute the treasures amassed by the late polymath, Steve Albini. Steve pursued many fields of interest, and most of them are represented somewhere in his collections,” reads an ‘about’ notice on the website. “All items purchased are accompanied by a Certificate of Authenticity from the collection’s administrator, Byron Coley, and the proceeds are directed towards Steve’s estate. All materials are guaranteed authentic, and listings are updated on a weekly basis. Some items are sold through other sites like Discogs and EBay,” it states. Following Albini’s sudden passing, NME reshared an interview from 2018, in which he shared his views on record labels and contractual agreements within music that have become ever more fitting to today’s music business, as artists continue to pivot away from the major label model. In it, he said, “I don’t think we need to concern ourselves too much with the record business, just because the record business is such a trivial aspect in most bands’ careers now. Most bands make their living performing live now, or occasionally lining their music up with other projects like doing film stuff, or sync stuff, or licensing their music for advertising.” He went on to add, “I’ve long argued against the use of contracts in music – I think they’re counterproductive. They tend to create an adversarial relationship, and they put bands on the defensive. I think they favour the party that has more money and resources, and so they’re no protection for a band. I don’t think contracts are useful.” Head over to Steve Albini’s Closet to sign up for notifications when new items become available. The post “Steve pursued many fields of interest”: Steve Albini’s estate is selling the “treasures” he amassed throughout his life appeared first on MusicTech. View the full article

OpenPlay cofounder and Chief Client Officer Edward Ginis. Is it time for the music industry to radically reconsider its approach to AI? Edward Ginis, cofounder and Chief Client Officer of OpenPlay, is already focused on monetizing AI instead of fighting it. An ardent activist for modernizing the industry’s data infrastructure, Ginis launched OpenPlay in 2013 after serving as CTO at Concord Music Group and views AI as an opportunity to evolve rather than a threat to resist. With over 15 years of experience in music, technology, and finance specifically, Ginis has serious chops in building large-scale software systems and data management solutions for the music industry. At OpenPlay, Ginis’ focus is on building independent and flexible data hubs for artists and IP owners — instead of limiting, isolated silos. At DMN, we’re excited to partner with OpenPlay to further broaden that mission. In this interview, we asked Edward to share his vision on how the music industry can improve its metadata management and monetize AI, and what he’s doing to bring that vision to reality. Digital Music News: Edward, thanks so much for joining us. We’re really keen to dive into what’s happening with OpenPlay and your vision for upgrading and changing the music industry’s data infrastructure and approach to metadata. Let’s start with the AI landscape. What’s your take on the AI battle right now? Edward: Paul, it’s great to be here. The “AI battle,” as it’s perceived, is fundamentally about monetization. It’s not really about stopping the technology or purely about preserving artistry; it’s about figuring out how to monetize something that the industry doesn’t quite know how to monetize yet. We’ve seen this pattern before with other technological disruptions. For example, YouTube was initially viewed as a threat to the industry until Content ID was developed, allowing rights holders to identify and monetize their content on the platform. Now, Content ID has transformed from a defensive tool into a significant revenue stream that most rights holders embrace. Digital Music News: Alright, so let’s monetize this AI beast. But how can this industry do that? Edward: The biggest challenge is attribution. Who gets paid when a piece of AI-generated content draws from thousands of existing works? Very few companies are tackling this. There’s a need to solve the problem of where the generation comes from. We need to control the input into LLMs by protecting and fingerprinting catalogs before they’re ingested. If we can trace a generated work back to its source, we can accurately distribute fractional royalties, even to creators whose works haven’t seen much revenue in a long time. Digital Music News: So that’s a good segue into OpenPlay. You created OpenPlay because you saw huge issues with how the music industry handles data. It’s a mess out there, but what are the biggest problems you’re trying to solve? Edward: The biggest problems in the music industry today revolve around data fragmentation and the lack of control. Content owners often have limited options, relying on distributors or publishing administrators who essentially become gatekeepers to their own intellectual property. When these deals end, retrieving their content and associated data can become a nightmare. At OpenPlay, we abstract all that complexity. Rights holders can maintain control of their assets while still delivering content directly to their distributors, societies, or DSPs via our platform. Digital Music News: Can you explain how that would change the life of a typical artist or IP owner? Edward: Absolutely. Whether a rights holder is working with FUGA in Latin America, Spotify directly in the US, or AudioSalad in Europe, OpenPlay acts as a central hub. They can set up all those connections from one place without worrying about getting their content back if relationships change. It’s about giving rights holders leverage. If they’re unhappy with a deal, they should be able to switch within 24 hours, not face a mountain of complications. Digital Music News: And you’re also expanding beyond distribution? Edward: Yes, we’re expanding into UGC, royalty processing, video generation, and even providing advanced revenue. We see a future where these services operate more like an app store or HubSpot, where labels and publishers can choose and pay only for what they need. For instance, companies like AudioShake, which offer stem dissociation and lyric translations, can be seamlessly connected through OpenPlay. It simplifies how content and metadata are exchanged, so the focus can be on the commercial value, not technical headaches. Digital Music News: Perhaps there’s too much power concentrated in distribution hubs. Edward: Precisely. Distribution as a revenue source is eroding. We need a marketplace where parties pay for what they need, and OpenPlay facilitates those connections. We’re creating an environment where new players have immediate access to the tools they need and can easily try new technologies. Music is notoriously unfriendly to entrepreneurs, and we want to change that. Digital Music News: So, speaking of changing things, is there anything stopping a major artist or label from mirroring their content onto OpenPlay, even if they have a major distributor? Edward: No, not at all. In fact, a big part of our business is helping them do exactly that. We’re not telling them to leave their distributors. We’re saying, bring your content into OpenPlay. Moving forward, they enter their content with us, and we deliver it to their existing distributor. They’ll have one entry point, reducing errors and simplifying their workflow. This also gives them the option to switch distributors easily if needed. Digital Music News: It seems crazy: why is it so hard to wrestle control over your own IP? Edward: Rights holders are entitled to all the data related to their IP, including stream data. Distributors often make it technically difficult to get this data, citing issues like file sizes or complexity, but in the end, it isn’t their data. Sidestepping this mess, OpenPlay combines publishing and label data into one ecosystem, offering a full view of the copyright assets and facilitating accurate data delivery to the MLC and others. This helps prevent data “black boxes.” Digital Music News: You’re building a separate data storage and application hub, which sounds like a refreshing progression. Is it too far-fetched to then reconsider a global resource database? Edward: Well, to work effectively, it needs to be highly decentralized. Trying to build ‘one silo to rule them all’ is impossible and impractical. What we need instead are interconnected systems with standardized interfaces – what technologists call APIs – that allow data to flow freely between different platforms while respecting ownership. Think of how Plaid works in the financial industry, connecting your bank to services like Venmo without requiring these companies to directly communicate. Your bank doesn’t need a relationship with Venmo for you to move money between them. This level of interoperability is essential for the music industry to move forward. Digital Music News: Swinging back to the AI discussion – and next steps – is it too late to identify works already ingested into LLMs? Edward: No, I don’t think so. We’ve seen the early stages of systems like Suno and Udio, but many more are coming. The most successful ones will start with authorized content, working directly with rights holders and ingesting properly fingerprinted material.There’s also a huge need for AI detection technologies – tools that can analyze music and determine what percentage was AI-generated versus human-created. These detection systems would use pattern recognition and other techniques to identify AI signatures in the music. Ultimately, DSPs like Spotify and Apple Music will be the arbiters of what gets in and stays out, likely implementing their own detection systems alongside content policies. Digital Music News: Edward, I think we’ve found our fearless metadata and AI monetization leader. Thanks for outlining your vision here. Edward: Thank you, Paul. The technology is inevitable, so our focus needs to be on creating systems that benefit artists and rights holders in this new landscape. View the full article

Reinvention is ritual in Ibiza, and its newest nightlife destination, [UNVRS], arrives not merely as another venue but as a game-changer poised to reshape what club culture looks, sounds and feels like on the legendary party island. Set to open its doors at the end of this month, the hi-tech [UNVRS], the latest venture from Yann Pissenem's The Night League, is readying a launch of epic proportions. Equal parts club, arena and immersive installation, the venue will make its long-awaited debut with a "once-in-a-lifetime" opening party, per a press release. Promising "scale, spectacle and storytelling," the launch event is dubbed "[UNVRS] - The Opening." Built by the same creative minds behind Ushuaïa and Hï Ibiza, the venue aims to blend the intimacy of a club with the reach and resonance of an arena-sized production. "With everything we’ve built with Ushuaïa and Hï Ibiza, I hope [UNVRS] becomes a defining cultural icon in Ibiza’s legacy—a place that sets a new global standard and continues to lead the world in sound, creativity, innovation and experience," Pissenem said. "I want to encourage every clubber and guest who shares our passion to feel part of what begins now. This is a new chapter in the island’s story." The opening party with Michael Bibi,, Carl Cox b2b Jamie Jones, Joseph Capriati b2b The Martinez Brothers and more is just the beginning. The [UNVRS] summer calendar includes high-profile residencies from Anyma, Eric Prydz, David Guetta, FISHER, elrow. Tickets for "[UNVRS] - The Opening" on May 30th are on sale now. Check out the full lineup below. View the original article to see embedded media. Follow [UNVRS]:X: x.com/unvrsibiza Instagram: instagram.com/unvrsibiza TikTok: tiktok.com/@unvrsibiza YouTube: youtube.com/@unvrsibiza Facebook: facebook.com/unvrsibiza

Set in the heart of Manila, &FRIENDS Festival is making its much-anticipated debut—redefining what it means to be a destination music experience in Southeast Asia. Happening on May 30 and 31, 2025, at Okada Manila, global superstars and Asia’s rising artists unite to celebrate music that transcends borders. Headlining day one of the inaugural &FRIENDS Festival is none other than Zedd. Fresh off a show-stopping performance at Coachella, the Grammy Award-winning artist makes his long-awaited return to Manila. With iconic hits like ‘Clarity’, ‘Stay the Night’, and ‘The Middle’, Zedd remains one of the most electrifying names in the scene, securing him for the debut edition sets the bar high. Day two brings an equally monumental moment with Illenium, marking his first-ever performance in Manila. For fans, the wait has been long, and well worth it. Known for blending emotion and intensity in his sets, Illenium’s seamless mix of future bass and melodic dubstep makes him the perfect closer for the weekend. The festival transforms Okada Manila into a multi-stage wonderland, featuring the Cove Stage, Creator Stage, and Plume Friendship Stage, each delivering a unique sonic experience. From high-energy EDM to experimental beats and live vocal sets, &FRIENDS Festival promises an unforgettable journey through sound and connection. May 30, 2025 (Friday)Cove Stage: Zedd headlines alongside €URO TRA$H, RayRay, Fairlane b2b Siangyoo, Kiara, Hoang, and more.Creator Stage: The night turns into a K-Pop Rave presented by HIDDEN NIGHTS, with 2Spade, Hoaprox, and Foxela, and more spinning K-wave hits with an EDM twist. Plume Friendship Stage: DJ collectives Restored Bass and EKO&FRIENDS take over for a night of Asian underground music.May 31, 2025 (Saturday)Cove Stage: ILLENIUM and bbno$ make their Manila debuts, along with Seven Lions, 2Spade, Jeonghyeon b2b KDH, Hoang b2b MVSE, NGHTSHIFT, Caden, Orange Juice Asia, and more. Creator Stage: Filipino music is front and center with the OPM Stage led by Ylona Garcia, joined by Amiel Sol, Kiyo, and music-focused collectives like Orange Juice Asia and Planet Workshop, expanding the definition of what OPM can be. Plume Friendship Stage: Scene-shaping groups Midnight Rebels and Contrast deliver their signature style, fusing sound and community-driven culture.2-Day Tickets that include entry to both days, are at Php 8,500 for General Admission and Php 15,000 for VIP. Solo day tickets start at Php 6,000 for Day 1, with Zedd, €URO TRA$H, Kiara, Fairlane b2b Siangyoo and more EDM acts. Day 2 starts at Php 3,500, headlined by bbno$, ILLENIUM, and Seven Lions. VVIP Cabanas are officially sold out. &FRIENDS Festival is powered by LastDrop.

Music is probably the most subjective art form there is, and what sounds like a masterpiece to some may sound like, well, “atrocious shite” to others – as proven in jazz pianist Matthew Shipp’s response to André 3000’s new piano EP. The new piano-based release, titled 7 Piano Sketches, landed on 5 May, shortly following the former Outkast creative’s bold Met Gala outfit featuring a grand piano strapped to his back. The release also follows on from his 2023 flute album, New Blue Sun, and Shipp is really not a fan. READ MORE: “There’s a disposable attitude to making music that’s prevalent these days”: Producer Danny L Harle says musicians must take time to reflect on their work The EP is mostly improvisational, and in fact, André 3000 didn’t originally plan on sharing it. Most of the recordings were made using his iPhone or laptop microphone. At its release, he said in a statement, “These piano pieces weren’t recorded with the intention of presenting them in any formal way to the public. They were personal, at home recordings. I would sometimes text them to my family and friends.” Despite this, Shipp seemingly thinks we’re all being taken for a ride with the release, and has branded it a “fraud” that “does not even deserve the attention of a critique it is so dreadful”. In a lengthy Facebook post, he says a friend told him about the EP, leading to his review. “I think it is complete and utter crap, horrific-god awful insipidly wretched nothing,” he writes. “This is some atrocious shite – is he some type of fucking asshole? Is he a complete and utter dilettante? I could go into detail about why each cut is stillborn but why bother, it does not even deserve the attention of critique, it is so dreadful. “The guy is not a pianist – that is the beginning and the end of it – what an ugly piano sound,” he continues. “What a lack of respect for the discipline by someone who in my opinion is a complete asshole for doing this. It is depressing that this garbage will get any attention because he has a name and fame.” You can read the full post below: Shipp has since released another statement in light of his comments going viral, and has clarified, “I am sure Andre is a great guy and I am also sure there is no ill intent whatsoever. I should not have used the word asshole, but I stand by what else I said. He is an amazing hip-hop artist – all I ask is that he respect[s] the art of people who can really do a certain thing.” André 3000 has not responded to Shipp’s comments at the time of writing. The post “Downright dreadful and awful – true f**king crap”: Jazz pianist Matthew Shipp takes aim at André 3000’s new piano EP appeared first on MusicTech. View the full article

*Featred Cover Photo Credit: Armada Music TV / YouTube Armada Music has entered into a joint venture with renowned Dutch electronic artist Joris Voorn. This partnership builds on their previous collaborations and will focus on Voorn’s upcoming album, Serotonin, which will release in July under the Spectrum label via Armada Music. The album will feature notable tracks such as ‘Burn’ with Tom Walker, ‘Seventeen’ with Yotto and White Lies, and ‘You & I’ with Nathan Nicholson. Additionally, Voorn’s new single, ‘Tomorrow’, has just dropped on Friday, May 9. The collaboration will encompass various aspects including A&R, distribution, promotion, and marketing. Armada Music plans to further enhance the project through its publishing division, Armada Music Publishing, which will provide creative support via writing camps and collaborative efforts. The impact of the joint venture deal between Armada Music and Joris Voorn This deal enhances the existing relationship between Armada Music and Joris Voorn, highlighted by performances at notable events such as ASOT, the Amsterdam Dance Event, and Tomorrowland Winter, where Voorn and Armada’s co-founder, Armin van Buuren, performed back-to-back sets. Joris Voorn initially collaborated with Armada Music in 2022 with a remix of ‘Transmission’ by Eelke Kleijn. This remix achieved significant success, reaching No. 1 on the Shazam charts in the Netherlands and Belgium, entering the Dutch Top 40, and accumulating over 60 million streams. Armada Music’s partnership with Voorn aligns with their recent initiatives involving Ki/Ki‘s label, Slash, and Arodes‘ label, Unreleased, announced last year. Maykel Piron, CEO and co-founder of Armada Music, speaks about joint venture “Joris’s vision and artistry are unparalleled, and we’re honored to join forces with him in a deeper capacity. Spectrum is a true reflection of his best-in-class creative capabilities, and we’re excited to collaborate on a creative level and help bring his music to an even wider audience. This partnership is a testament to our shared dedication to pushing electronic music forward.” The post Armada Music Forms Joint Venture With Joris Voorn appeared first on EDMTunes.

Renzo Zong, Peruvian DJ and Producer, unveils his ‘Del Perú EP’ – a three-track collection marked by its originality and explorations into refreshing sonic territories. Released via MoBlack Records, each track envelops listeners in the Tribal beat flavour of Renzo Zong’s signature style, guiding them through deep, textured soundscapes that reflect his creative vision and reinforce his distinct sonic identity. Rooted at the core of Renzo Zong’s project is both passion and purpose; stepping out with the desire to recover the diversity of Peru’s musical landscape, he has cultivated a style that fuses traditional sonic customs with modern electronic production, combining Tribal Beats and psychedelic influences with the rich musicality of Peruvian culture. Now, on full show in this brand-new EP, listeners are invited to dive deep and discover this distinctive blend – immersed in the hypnotic grooves and rhythmic intricacies of ‘Del Perú,’ a title that fittingly translates to ‘From Peru,’ echoing the cultural roots at the core of Renzo Zong’s sound. From ‘Pia Pia’ to ‘Pajarito’ to ‘Tulumayos,’ dynamic energy and balanced melodic nuance spread across Renzo Zong’s EP, unfolding through skilfully crafted arrangements. ‘Pia Pia’ opens the EP with layered percussion, traditional vocal accents, and warm synth textures, creating a sense of flow and momentum that sets the tone for what follows. The track moves with an intuitive rhythm, evolving into a rich soundscape that pays homage to the raw spirit of Peru’s natural and musical landscape. ‘Pajarito,’ featuring Grammy-nominated vocalist Javier Lazo, a key ambassador for the new wave of Afro-Peruvian music, adds another layer to the release; combining airy flute melodies with precise sound design and expressive vocal phrasing, it creates space for both movement and reflection. Dreamlike synths and dynamic percussion work together to keep the energy consistent, while subtle melodic shifts help carry the track forward. Closing the EP, ‘Tulumayos’ fuses driving beats with celestial tones, offering a grounded yet expansive finish. It stands as a powerful tribute to ancient traditions — a sonic interpretation of devotion to Pachamama, shaping an experience that feels both ritualistic and emotionally resonant whilst tying together the themes of rhythm, heritage, and forward-thinking production that define ‘Del Perú.’ An EP that encapsulates Renzo Zong’s style, creativity and musical roots, ‘Del Perú’ marks a meaningful moment in his journey. With a distinct approach to sound and storytelling, he presents a release that channels cultural memory into a carefully constructed blend of rhythm and atmosphere — carrying the essence of his heritage to listeners in a deeply personal and dancefloor-ready form. Make sure to keep up with Renzo Zong and his journey, staying tuned to his latest updates via social media. ‘Del Perú EP’ is out now via MoBlack Records and is available to stream and download across all major platforms. Listen and Buy ‘Del Perú EP’ Here: https://www.beatport.com/release/del-peru-ep/5053052 Renzo Zong Online   Instagram | Spotify | TikTok   Javier Lazo Online   Instagram | Spotify MoBlack Records Online   Instagram | Website | Beatport   The post ‘Del Perú’ Sees Renzo Zong Weave Diverse Influences into a Powerful, Rhythmically-Driven EP appeared first on EDMTunes.

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

Music Tectonics is no stranger to Southern California wildfires, since the Getty Fire in 2019 drove a last-minute venue change. The conference organisers aren’t backing down—they’re committed to LA’s unique intersection of tech and music as the community recovers, thrives, and grows. The locations Music Tectonics attendees have come to love—the Santa Monica Carousel, the Annenberg Community Beach House, and the rooftop Expert Dojo—remain untouched by the fires that devastated the region. As this 7th edition returns to the conference’s chosen home in Los Angeles, expect it to tackle seismic conversations like fair use versus ethical use, leaving no music money on the table, and the future of fandom. Now, the November 4-6 thousand-person gathering in sunny Santa Monica, California, launches three days of conversation, networking, and getting business done with the announcement of some of the top voices in music innovation. MIDiA Research Music Strategy VP Tatiana Cirisano will keynote this year’s conference. This groundbreaking industry analyst sets the tone for the conference’s focus on the shifts in music and adjacent industries that are poised to have tectonic impacts in the near future. Tatiana will be joined by Music Tectonics speakers who bring expertise from investment, the intersection of music and games, and the recorded music industry: Kristen Bender, Universal Music Group Alicia Yaffe, Warner Music Group Maria Egan, Riot Games Aadit Parikh, Sony Ventures Darryl Ballantyne, LyricFind Steven Pardo, Secretly Canadian Joshua Stone, Stuff.io Scott Yusuke Sugino, Yamaha Music Innovations Tetris Kelly, Billboard Lindsay Meisels, BMG Rian Rochford, Loma Vista Recordings Bruce Hamilton, Everybody Ventures Sun Jen Yung, Nfluence Partners Paul McCabe, Roland Ethan Millman, The Hollywood Reporter Dmitri Vietze, Rock Paper Scissors More to be announced before embargo lifts on 5/6/2025 “The formulas of yesterday are broken, and we don’t think conference centre dungeons are the right place to re-invent the industry,” explains conference director Dmitri Vietze. “My goal is to get the right people to the right beach, give them some space and sunshine, and let the future unfold. This year’s Music Tectonics is the one people will reminisce about two decades from now.” The seventh annual conference returns to creative beachside venues that encourage openness to new connections and ideas, and schedules in networking breaks and parties to make that space. Music Tectonics is unlike any other conference in music and tech. Top industry movers and shakers mingle with rising innovators and thought leaders. High-energy sessions explore nuances of the latest trends as well as innovations in the nuts and bolts of the music business. Music tech leaders LyricFind and Stuff.io have already signed on as event partners to support more outstanding experiences at the 2025 conference. “I spend all year looking for speakers who are established thought leaders, alongside up-and-coming thinkers who are about to shake things up,” remarks Music Tectonics head of events Shayli Ankenbruck. “In my experience, that strategy helps fresh ideas bloom.” That list is just a sample of the 60+ more speakers from leading companies who will join the roster before the conference kicks off in November. Attendees can expect a new spin on the Creator Fair introduced last year, which moves to the Santa Monica Carousel to feature even more innovative musical instruments, influencers, and artists. The 2024 Creator Fair was built to recognise the emerging creator economy boom by convening the recorded music industry and tech innovators who have been Music Tectonics’ main audience with music makers, content creators, and gear and instrument companies. “Attendees told us that they had a hard time choosing between overlapping panels and creator talks, and we heard them,” Ankenbruck elaborates. “This year, we are giving the Creator Fair more space on the schedule so everyone can experience it.” Expect more details on 2025 Creator Fair keynotes with leading influencers in the music creator space and demos of cutting-edge instruments and gear. Music Tectonics now has a limited number of tickets on sale at a special Super Early Bird rate of $299, until they sell out. The Early Bird rate of $349 goes into effect until August 19. Stay tuned for details on the return of the friendliest pitch competition in music tech, Swimming with Narwhals. Tickets can be purchased at musictectonics.com/conference. Music Tectonics 2025 Conference Schedule Tuesday, November 4: Santa Monica Pier Carousel Creator Fair, Keynote, Demos, Opening Party Wednesday, November 5: Annenberg Beach House Keynote, High-Energy Panels, Exhibitors around the Pool, Creative Activations, and Startup Pitch Competition Final Round, Pool Party Thursday, November 6: Expert DOJO Startup day: Investor & Startup Bootcamp The post Music Tectonics returning to LA appeared first on Decoded Magazine.

Moog Music has unveiled the Moog Messenger, a compact yet powerful monophonic analog synthesizer designed to deliver the iconic Moog sound to a new generation of musicians. Officially announced today and available beginning early summer, Messenger blends timeless analog warmth with innovative functionality, like dynamic wavefolding, a next-generation ladder filter with resonance bass compensation, and an intuitive hands-on interface. This makes it an inspiring instrument for both newcomers to synthesis and seasoned musicians seeking depth and expressiveness. With its performance-ready design and versatile sound engine, Messenger seamlessly integrates into any studio, live performance setup, or modular rig. Synth collectors who value the Moog sound, brand, and legacy will also appreciate its craftsmanship and sonic capabilities. An Icon That Inspires ​For over six decades, Moog synthesizers have profoundly influenced music culture, shaping genres from progressive rock and jazz fusion to electronic dance music. Pioneering artists such as Wendy Carlos, whose 1968 album Switched-On Bach showcased the synthesizer’s versatility, and bands like Emerson, Lake and Palmer and Kraftwerk, who integrated Moog’s distinctive sounds into their groundbreaking work, have cemented its legacy. ​ ​ The Moog Messenger continues this tradition of developing innovative musical tools for forward-thinking artists. It represents a significant evolution in Moog’s synthesizer lineage, blending the company’s rich heritage with new sonic possibilities and enhanced playability. Designed for both aspiring and professional musicians, producers, and sound designers, Messenger provides an accessible yet powerful tool for creative exploration. “With Messenger, we aim to honour Moog’s rich heritage while embracing the future of analog synthesis,” said Joe Richardson, Moog Music President and inMusic EVP, Chief Commercial Officer. “This instrument is crafted for musicians and producers seeking a portable, powerful monosynth that delivers the iconic Moog sound, enhanced with modern features and intuitive controls.” Key Features of Messenger: Timeless and Intuitive Design: Building upon the DNA of Moog’s iconic monosynths—such as the Minimoog Model D, Voyager, Grandmother, and Subsequent 37—Messenger introduces innovative circuits within a familiar format, delivering classic analog sound with modern enhancements. ​ Modern Wavefolding Oscillators: Two continuously variable-shape voltage-controlled oscillators (VCOs) with unique hybrid wavefolders, sync, and frequency modulation (FM) capabilities allow for rich harmonic textures and dynamic overtones. A sub-oscillator with a continuously variable waveshape further adds deep, powerful low-end. Next-Generation Ladder Filter with Resonance Bass Compensation: The legendary Moog transistor ladder filter has been reimagined with a unique pole-mixing design, offering 4-pole low-pass, 2-pole low-pass, band-pass, and high-pass responses. The resonance bass compensation (RES BASS) switch preserves low-end power at high resonance settings, ensuring full-bodied sound across the spectrum. The classic response is also available. Full-Size Keys with Expressive Control: Messenger features 32 semi-weighted full-size keys with velocity and aftertouch, providing a premium playing experience suitable for both performance and studio use. Its robust metal panel houses 256 presets, offering immediate access to a wide range of sounds and textures. Hands-On, Performance-Ready Layout: A knob-per-function control scheme ensures immediacy and ease of use, allowing musicians to shape sounds instantly without navigating complex menus. ​ Integrated Sequencer and Arpeggiator: A 64-step sequencer with probability-based generative behavior and parameter recording, along with a versatile arpeggiator offering multiple pattern modes and rhythmic programming, enable real-time composition and dynamic live performances. ​ Sound Design and Modulation Playground: Two loopable ADSR envelopes with velocity responsiveness and multi-trigger capabilities, along with two LFOs—one variable shape with sync and reset, and one triangle-wave tied to the modulation wheel—provide extensive modulation options for creative sound design. ​ Comprehensive Connectivity: Messenger integrates seamlessly into any setup with six analog control voltage (CV) patch points, an external audio input to the filter, expression and sustain pedal inputs, and MIDI In/Out via both 5-pin DIN and USB-C, ensuring compatibility with DAWs, modular systems, and other hardware synthesizers. ​ Compact, Powerful, and Accessible: Delivering the depth and sonic character of Moog’s legacy in a compact, performance-ready format, Messenger is Moog’s most accessible analog synthesizer to date, making it an indispensable tool for musicians and producers alike. “Messenger embodies our commitment to advancing analog synthesis while staying true to the Moog legacy and innovative spirit of Dr. Robert Moog,” said Erik Norlander, Director of Keyboard Product Development at inMusic. “Our goal was to create a synthesizer that invites immediate exploration—welcoming first-time Moog players and offering the depth and expressiveness that experienced musicians expect. With wavefolding oscillators, a dynamic shape sub-oscillator, a next-generation ladder filter, and comprehensive connectivity options, Messenger is as inspiring as it is accessible.” To kick off the campaign, Akai Professional released “Arrival of the Messenger,” a short film introducing the MPC Live III as a catalyst for connection and creativity, where waveforms carry hidden messages and sound becomes a shared experience. “Arrival of the Messenger” features original music by Michael Stein, created using the new Moog Messenger. To celebrate the launch, watch Lisa Bella Donna bring the new Moog Messenger to life in a dynamic analog performance—showcasing its depth, versatility, and next-gen take on the iconic Moog sound. Preset preview: Lisa Bella Donna showcases the depth and versatility of Moog Messenger’s built-in sounds. Availability and Pricing ​The Moog Messenger is available at select retailers worldwide starting Monday, June 2 for $899 USD. To learn more about Moog Messenger, please visit www.moogmusic.com. Join the conversation on social media by following @MoogSynthesizers on Instagram, TikTok and YouTube and @MoogMusicInc on Facebook, and X. The post Moog Music announces Moog Messenger appeared first on Decoded Magazine.