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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.

In a seamless meeting of two of Germany’s most creative electronic voices, internationally renowned DJ and producer duo andhim now unveil their highly anticipated remix of Monolink’s “Powerful Play”, out now via Embassy One. Known for their emotive fusion of deep grooves and dynamic, electronic storytelling, andhim’s interpretation of “Powerful Play” reimagines the original into an evocative, hypnotic journey built for introspective dance floors and blissful sunrise moments. Originally released in March 2025, Monolink’s “Powerful Play” has captured hearts and ears with its reflective storytelling, poignant vocal layers and rich fusion of acoustic and electronic textures. Delivering a musical musing on impermanence and presence — drawing listeners into a richly layered world of poetic lyricism, acoustic instrumentation and electronic subtlety — the track, which was accompanied by a beautiful music video created by Copenhagen-based filmmakers FRANZI, explored themes of human connection and emotional legacy through the lens of siblinghood and memory. Now, andhim rework the track with their signature blend of luscious grooves, refined electronica and subtle euphoria, breathing fresh life into the original while preserving its philosophical core. In typical andhim fashion, the remix plays with dynamics and space, pulling Monolink’s haunting vocal lines through intricate rhythms, warm analog textures and a hypnotic build that carries listeners through an immersive sonic narrative. The duo’s characteristic groove meets Monolink’s elegiac depth, resulting in a track that’s both club-ready and emotionally resonant. Formed in 2011 by Simon Haehnel and Tobias Müller, andhim has become one of electronic music’s most revered duos. With collaborations spanning Diplo, RÜFÜS DU SOL and Theophilus London, and residencies in cultural hotspots like New York, Los Angeles, London and Berlin, they continue to define their own path in the global electronic scene, boasting a huge catalogue of releases on some of the industry’s most esteemed record labels. Their own imprint, Superfriends Records, founded in 2016, further exemplifies their devotion to curating forward-thinking, genre-blending sounds. A label that captures a refined and contagiously unique electronic sound, it is an outlet for the duo’s most ambitious ideas, and has also welcomed leading electronic artists including Roman Flügel and Acid Pauli. Monolink – Powerful Play (andhim Remix) is out now via Embassy One: https://monolink.lnk.to/PowerfulPlay_andhimRemix The post andhim reimagine Monolink’s “Powerful Play” appeared first on Decoded Magazine.

In 1996, drum and bass legend Peshay (Paul Pesce) crafted “Studio Set 1996”, a mix that has become a cornerstone of electronic music history. For decades, this mix has become a time capsule of jungle’s golden era and has inspired artists, generations of producers, and acted as a gateway to the genre. Its 3.8 million YouTube views weren’t just numbers, they represented a living archive of a genre that shaped rave culture worldwide. But in 2025, this piece of history was erased twice by wrongful copyright claims from Dice Ryu Sykes (Ninj Yang Productions), Sykes registered Chameleon – Links (1995, Good Looking Records) as Tropical Jungle (Remade) (SR0001026600) without any authorisation, then rebranded it as his own creation. He has then exploited YouTube’s copyright system to monetise uploads of disputed tracks while disputing the original creators’ rights. By erasing Peshay’s mix, Sykes’ actions threaten the preservation of drum and bass history, a loss we believe constitutes cultural vandalism. For fans, this mix isn’t just music, it’s the soundtrack to late night raves, friendships forged in basslines, and a genre that defied boundaries. For Peshay, it’s a legacy under siege. The Crisis: Wrongful Takedowns Threaten All Music In 2025, Dice Ryu Sykes managed to register “Chameleon – Links” as his own track, renaming it “Tropical Jungle (Remade)” (U.S. Copyright Office registration number SR0001026600, registered on 2025-02-11). With this registration filed nearly 30 years after the original, Sykes was able to exploit YouTube’s copyright system to remove Peshay’s legendary mix. He’s using this paperwork to claim ownership of music he didn’t create, and to silence the real artists who made drum and bass what it is today. This isn’t just a loophole; it’s a flaw in the system that lets anyone erase our musical history with a few clicks and a disputed registration. If this can happen to Peshay and Good Looking Records, it can happen to any artist, in any genre. Sykes’ scheme is part of a systemic issue threatening artists globally: He registered works such as ‘Chameleon – Links’ and ‘Shogun – Ulysses’ under new titles and uploaded them to Spotify, Apple Music, and YouTube. He filed copyright claims that resulted in the removal of Peshay’s mix, taking advantage of gaps in the DMCA process.. As a result, these uploads generate ad and streaming revenue, while the original creators’ work is removed. This isn’t isolated: Over 34,000 disputed DMCA notices targeted legitimate content in 2022 alone (Lumen Database). 13% of music piracy now involves YouTube rips, costing artists $29.2 billion annually (Muso). YouTube’s system is failing creators: 60% of disputed claims are resolved in favour of uploaders, but only after videos are banned for weeks (YouTube Transparency Report). Our Demands We call on YouTube and U.S. lawmakers to enact urgent reforms: Automatically Reinstate Content If claimants like Sykes fail to sue within 10 business days, videos must be restored immediately. No more “takedown limbo.” Penalise Fraudulent Claimants Suspend channels that repeatedly abuse the system (e.g., Sykes’ Ninj Yang Productions). Impose fines under 17 U.S.C. § 512(f) for knowingly false claims. Modernise the DMCA Require proof of original ownership for takedowns targeting legacy works (pre 2000). Void registrations like Sykes’ “Tropical Jungle (Remade),” which violate 17 U.S.C. § 103(b) (unauthorised derivatives). Why This Matters for Everyone This isn’t just about drum and bass. Every genre is at risk: Hip-hop samples, classic rock riffs, and folk melodies could vanish overnight. Legacy artists (especially those on defunct labels) often lack the resources to fight back. Fans lose access to the music that has defined their lives. If we lose our archives, we lose our history. This is a fight for every artist and fan. How You Can Help Sign this petition to demand that YouTube and Congress act. Share on social media with #SavePeshayMix and #StopCopyrightAbuse. The Stakes Peshay’s mix is just the tip of the iceberg. Without change: Individuals, like Sykes, will continue to exploit copyright registration loopholes Platforms like YouTube will prioritise automation over artistry. Creators everywhere will face being silenced by bad actors. We can’t let this stand. Sign now to defend the past and protect the future of music. Evidence of Disputed Ownership Shazam Match: “Tropical Jungle (Remade)” = “Chameleon – Links.” Watch here: https://drive.google.com/file/d/1BpzK8k67vhhju9468JTLSYX8i9LVevlw/view Original 1996 Release: Good Looking Records’ catalogue entry. Label: Good Looking Records – GLR 14. Format: Vinyl, 12″, 33 ⅓ RPM. Country: UK. Released: 1995 50,000 signatures will force YouTube and Congress to respond. Let’s make history again. Sign now. Share widely. Save our sound and culture. The post Peshay’s 1996 Mix Erased in Copyright Dispute appeared first on Decoded Magazine.

HARD Summer returns for its 2nd year at Hollywood Park the first weekend in August — and it’s coming back even bigger, bolder, and bass-heavier than ever. After making its move from the Los Angeles Memorial Coliseum in 2024, the festival has found its perfect home adjacent to SoFi Stadium and YouTube Theater. As the Southern California sun cranks up the heat, HARD Summer 2025 promises to match the hot August temps with a lineup that’s nothing short of a solar flare. Set for August 2–3, 2025, this year’s programming is a techno lover’s dream, leading with every shade of the genre: Acid Techno, Industrial Techno, Tech House, and beyond. Yet, true to HARD’s DNA, the lineup refuses to be boxed in — mixing reggaetón, dancehall, hip-hop, underground club sounds, dubstep, and drum & bass into two unforgettable days. With a little bit of everything — and a whole lot of pounding techno — HARD Summer 2025 is gearing up to be one of the most sonically adventurous weekends of not just the summer, but of the entire year. Day 1 – Saturday: Heavy Hitters, House Grooves, and Global IconsSaturday’s programming taps deep into HARD’s signature flavor: fearless, high-intensity, and genre-defying. Techno fans can brace themselves for tidal wave sets from global standouts like Deborah De Luca, Sara Landry, and Berlin underground heavyweights Marlon Hoffstadt and MALUGI. Industrial and acid elements will thread through performances from boundary-pushers like Floating Points and Overmono, ensuring the dance floor will stay drenched in sweat. House lovers, be prepared to be spoiled. The legendary The Blessed Madonna delivers her eclectic, euphoric soundscapes alongside tech-house favorites like Blackchild, SOSA, and the back-to-back pairing of Torren Foot B2B Airwolf Paradise. Latin house rhythms will be front and center with sets from Gordo and Deorro. Bass and low-frequency fanatics get their fix with experimental heavyweights like Peekaboo, Tape B B2B Mersiv, and Crankdat, while drum & bass purists can catch high-energy sets from Bou and Hybrid Minds. Global rhythms and rising underground sounds will flood the grounds with acts like Funk Tribu, Dara Genesis, STVSH, Villager, and Viperactive. On the crossover front, FEID brings Colombian reggaetón fire to the stage, while dancehall icon Sean Paul guarantees a feel-good singalong session packed with timeless Y2K hits. Finally, multi-genre wizard Kaytranada will close out the night with a soul-drenched, groove-heavy set blending hip-hop, house, and R&B into one magnetic performance. Other Day 1 standouts include Alex Chapman + Zoe Gitter, Annicka, BOLO, Cromby, Ivarr, pluko, Walker & Royce B2B VNSSA, and YDG, each adding their unique energy to a jam-packed Saturday. Day 2 – Sunday: Techno Titans, House Heroes, and Bass-Heavy RebellionSunday keeps the momentum surging with a lineup that digs even deeper into HARD’s relentless spirit. Techno dominates yet again, with an electrifying (and still partially secret) 999999999 B2B TBA set, plus industrial powerhouse performances from Alignment, I Hate Models, Nico Moreno, ØTTA, and Narciss. Expect nothing less than high-speed energy from KI/KI‘s back-to-back with a yet-to-be-announced artist. House fans, rejoice! Dom Dolla and bassline wizard James Hype are set to deliver floor-filling sets, alongside tech-house leaders Ben Sterling and Riordan, and Latin-house juggernaut Deorro. Meanwhile, Adam Ten B2B Mita Gami and KILIMANJARO B2B Melé will push the envelope with globally-inspired house rhythms and irresistible percussion. Bass-lovers will find their home in forward-thinking performances from Player Dave, Trax Unit, fun2bjane, and D.O.D, while rising names like Daniel Allan, Yamagucci, Trace, and AIMMIA bring fresh underground energy to Sunday’s roster. Genre-bending sets from experimentalists Joy Orbison and Prospa promise a feast of rave nostalgia, bassweight, and genre fusion, capped off by a hypnotic and emotional live set from Four Tet — one of electronic music’s most innovative icons. In the hip-hop arena, Gen Xers can relive their 20s with Juvenile & The 400 Degreez Band throwing it back to New Orleans bounce classics, while the legendary Gesaffelstein closes the weekend with a masterclass in dark, brooding electronic brilliance. Other Sunday must-sees include rising talents like BRUX, Linska, and it’s murph, rounding out a day where every set promises something unforgettable. With its 2025 edition, HARD Summer cements itself as one of the most daring and dynamic festivals in the global scene — a place where techno titans, house innovators, bass disruptors, and genre-pushers all share the same spotlight. Mark your calendars for August 2–3, 2025. Tickets are available now at hardsummer.com. Fans are encouraged to secure their passes early — because when the bass drops at Hollywood Park, you’ll want to be there rather than FOMO-scrolling your phone on your couch.

Von Dutch just surprised the rave community with its biggest move yet. Launching Von Dutch Loves right in the heart of Europe’s music scene. This summer, Barcelona’s Sónar and Brunch Elektronik Festivals will both feature Von Dutch activations. It brings together music lovers, DJs, and fashion fans under one rebellious banner. At Brunch Elektronik, Von Dutch will go even bigger by hosting its own stage. This puts the brand front and center at one of the city’s most anticipated music gatherings. The brand speaks directly into the heart of a thriving and untapped global electronic music culture. Fashion’s Next Battleground Is the Rave Scene While luxury brands fight for attention in sports, gaming, and pop music; electronic music remains surprisingly untouched by lifestyle labels. Von Dutch recognizes the gap and now, it takes a bold step into the rave community that’s global, loyal, and deeply rooted in underground culture. Rave culture is massive, yet few brands have dared to build authentic relationships with this audience. Von Dutch arrives at the perfect moment, stepping into an untapped lifestyle market full of energy, influence, and creative potential. This strategy positions Von Dutch as one of the first legacy brands to build a long-term presence in the live electronic music economy, where fashion, nightlife, and community collide. Rave to Retail: A Music-First Move For Von Dutch Von Dutch Loves marks a new era for the brand, pushing beyond fashion into rave and cultural experiences. This new identity builds on Von Dutch’s rebellious history but expands it into music, nightlife, and creative collaboration. Von Dutch Loves will focus on exclusive merch drops, DJ partnerships, and pop-up events to connect with fans deeper. “Von Dutch Loves is our playground to create, connect, and celebrate the culture and communities that inspire us,” says Jack Cheika, CEO of WSG Brands. This mission kicks off in Barcelona, where Von Dutch takes its first official steps into music culture this summer. Barcelona’s Festival Season Welcomes Von Dutch The campaign begins at Sónar Festival, one of the world’s leading electronic music and digital art events. This year’s lineup includes Peggy Gou, Skrillex, Vintage Culture, Bicep, and Mochakk. Sónar provides the perfect launchpad for Von Dutch Loves to connect with a global community of artists, fans, and innovators. The momentum continues at Brunch Elektronik, where Von Dutch goes even bigger by hosting its own stage. Brunch Elektronik’s stacked lineup includes Nina Kraviz, The Martinez Brothers, Marco Carola, and Jungle. Von Dutch’s presence at these festivals signals a bold new chapter for the brand. “Von Dutch Loves is the perfect blend of honoring our legacy and riding the next wave,” adds Cheika. “We expand beyond fashion to amplify artistic voices and foster creative collaboration for today’s artists, creators, and tastemakers.” This is only the beginning for Von Dutch’s new lifestyle platform. More festival partnerships, exclusive merchandise, and pop-up activations are expected in the coming months. Fans can follow @vondutchloves on Instagram or sign up at www.vondutchloves.com for early access to merch drops, event tickets, and the latest updates. With Von Dutch Loves, the brand proves it is not following trends—it’s traversing untapped markets. The post Von Dutch Seizes New Opportunities in the Rave Community appeared first on EDMNOMAD. View the full article

Musicians uploading to SoundCloud recently raised concerns that their content could be being used to train AI, but according to the music sharing platform, there’s been a misunderstanding. An extract from the Terms of Use , which is publicly outlined on the SoundCloud website, began to cause alarm among artists last week, as it states that “in the absence of a separate agreement that states otherwise, 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”. According to the platform itself, this doesn’t refer to AI tech that exists outside of SoundCloud. READ MORE: Spotify records its highest subscriber net adds since 2020 in first quarter of 2025 While music makers began sharing their worries online just recently, this term has been in place for over a year already, with the last amendment to the Terms of Use article dated as 7 February 2024. Further details in SoundCloud’s ToU left artists under the impression they would need to opt out having their music scraped and fed to generative AI, or that by having third party involvement (such as a label) in the upload of their music, they’d have blanket protection from this term. To gather some clarity on the matter, MusicTech reached out to SoundCloud for further information. Going to explore this further because there is apparently an option to opt out in settings per song but I can’t find it on the app.I like having a sketchbook sort of place to plop ideas and that’s how I’ve been using SoundCloudI’m likely to be deleting my account and I’m tiny#musicsky #diymusic — Professeur Whom (@professeurwhom.bsky.social) 2025-05-09T14:07:53.907Z Well that sucks.Deleted all my tracks this morning.Siiiiiiigh — Bob Q! (@robotjq.bsky.social) 2025-05-09T14:20:55.843Z According to SoundCloud, this update to its ToU “was intended to clarify how content may interact with AI technologies within SoundCloud’s own platform”, including personalised recommendations, content organisation, fraud detection, and “improvements to content identification with the help of AI technologies”. It also clarifies that these efforts are aligned with existing licensing agreements and ethical standards. “SoundCloud has always been and will remain artist-first. Our focus is on empowering artists with control, clarity, and meaningful opportunities to grow. We believe AI, when developed responsibly, can expand creative potential – especially when guided by principles of consent, attribution, and fair compensation,” a spokesperson tells MusicTech. “SoundCloud 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. In fact, we implemented technical safeguards, including a ‘no AI’ tag on our site to explicitly prohibit unauthorised use.” While SoundCloud doesn’t completely rule out any other work with external AI technologies in the future, it does claim that “any future application of AI at SoundCloud will be designed to support human artists, enhancing the tools, capabilities, reach and opportunities available to them on our platform.” The spokesperson adds, “We understand the concerns raised and remain committed to open dialogue. Artists will continue to have control over their work, and we’ll keep our community informed every step of the way as we explore innovation and apply AI technologies responsibly, especially as legal and commercial frameworks continue to evolve.” For users who still remain uncomfortable with their content being used to inform its internal AI usage, it seems you can still opt out on a track-by-track basis. The Terms of Use outlines that you can in fact “limit and restrict the availability of certain of your content [sic] to other users of the platform, and to users of Linked Services, at any time using the permissions tab in the track edit section for each sound you upload”. While SoundCloud did not clarify what it means by a separate agreement when asked by MusicTech, the ToU states that “neither SoundCloud nor any third party is allowed to use, copy or reproduce any content delivered to the platform under separate agreements, which is owned or controlled by third party rights holders” for the purposes of informing, training, or as input to AI tech without consent from these rightsholders. This includes not only musical works, but also things like artwork, images, logos, lyrics, metadata, and more. You can view the full Terms of Use via the SoundCloud website. The post “SoundCloud has never used artist content to train AI models”: SoundCloud affirms it is not using your content to train generative AI amid user panic appeared first on MusicTech. View the full article

KERRI CHANDLER is back at Chinois Ibiza with his ‘KAOZ Theory: IBIZA’ residency, this time for eleven Thursday nights 31st July – 9th October. The New Jersey legend’s return is universally welcomed, especially with the calibre of guest DJs he brings with him. ‘Ibiza! I can’t wait to bring ‘KAOZ Theory: IBIZA’ to Chinois this summer, joined by musical friends and family. Hope to see you there. With Love, Respect and Admiration. Kerri’ His ethos this year of celebrating the old school vibes of Ibiza dovetails perfectly with Chinois, ‘the club of Ibiza’, embracing the unique energy and spirit of the island to create a diverse yet inclusive community. Nestled in Ibiza’s marina, in the Ibiza Gran Hotel, Chinois’ cutting-edge sound system, immersive sensual visuals, and a dancefloor-first experience ensure ideal conditions for this explosion of world stage talent. KERRI CHANDLER The New Jersey House hero’s decades on the scene spanned early funk, soul, jazz influences to becoming an architect/pioneer/inspiration of Deep House, UK Garage and more as DJ/producer/A&R. His KAOZ Theory label, releasing the likes of Jamie Jones, Martinez Brothers, Seth Troxler…, has exciting new titles and re-releases of some of his own most beloved music in the pipeline. His legendary status, his warm heart and boundless tech chops keep him globetrotting round the biggest stages, including appearing at fellow Chinois Resident DJ Honey Dijon’s Finsbury Park festival, Timewarp Brazil, Warung Day Festival, 909 Festival, Kappa Futur, Electrico Festival, Elrow NYC, Defected Croatia and Fuse Malta…. plus more KAOZ Theory events to come in Historic Park (Los Angeles) and venues across Europe. A taste of the GUEST DJS to play include seminal Ibiza icon DJ Harvey; Detroit visionary Moodymann; Running Back boss Gerd Janson (also a TRIP Chinois fave); Grammy-winning Iranian-American, DC-based producers DEEP DISH for a house set; US sensation, ‘We Still Believe’ imprint boss and previous BBC Radio 6 Music show host THE BLESSED MADONNA; UK duo GROOVE ARMADA, with multiple Brit & Grammy noms to their name; Ibiza favourite since 2006, UK DJ/Knee Deep In Sound label boss HOT SINCE 82; Belfast-born, Berlin-based ‘Big Saldo’s Chunkers’ label head SALLY C. With more artists TBA and more surprises in store, KAOZ Theory: IBIZA is a party that you won’t want to miss! FULL ARTISTS A-Z CUARTERO DAVIDE SQUILLACE DEEP DISH (HOUSE SET) DJ Deep DJ HARVEY DJ SIMI DJ VIVONA EATS EVERYTHING ELLIOT SCHOOLING & LIAM PALMER GERD JANSON GORGON CITY GROOVE ARMADA HOT SINCE 82 KERRI CHANDLER KINK LIVE LUKE DEAN B2B LP RHYTHM LUPE FUENTES MANDA MOOR & SIRUS HOOD MANU GONZALEZ MONA LEE / SIMON SHAW MOODYMANN NIKITA VOGEL PRUNK ROUTE 94 SALLY C SIMON SHAW / MONA LEE SYREETA THE BLESSED MADONNA THE CHECKUP TUCCILLO Connect with: Chinois – @chinoisibiza Kerri Chandler – @kerrichandler The post KERRI CHANDLER presents his GUEST DJS for ‘KAOZ Theory: IBIZA His 11 Week Residency at Chinois appeared first on Electric Mode.

Armand Van Helden, Angerfist, Sam Divine, Fish56Octagon, Pan-Pot, Julian Jeweil, Boys Noize, Franky Wah, Joris Voorn, Hector Oaks, Daria Kolosova, Space 92, Popof and many more join the lineup. Mixmag, a global reference in dance music, kicks off its first residency on the White Isle on Wednesday, June 11th with a grand opening featuring the legendary Armand Van Helden, Defected star Sam Divine, and the innovative Ares Carter. Mixmag Ibiza Sessions will occupy a total of eight dates taking place on June 18th and 25th, July 2nd, 9th and 16th, September 24th and will culminate with an epic Closing Party on October 1st. During June, the Amnesia terrace will host social media sensation and rave lover Fish56Octagon, hard and fast techno from Oguz and Rebekah, hardcore with Angerfist and different shades of minimal and techno with Julian Jeweil, Pan-Pot and Space 92. In July comes the energy of Boys Noize, hard dance and trance from Davyboi and Pegassi, as well as techno, acid and high-impact grooves with Faster Horses, Adrian Mills and Cloudy, along with a special b2b between Joris Voorn and Yotto and the tech vibes of Franky Wah. Other artists joining throughout the season include Hector Oaks, Bad Boombox, Pastis & Buenri and Daria Kolosova. These electrifying sessions will take place on Amnesia’s legendary Terrace, with an immersive setup that will allow the public to experience the headliners up close. Nick Stevenson, Global General Manager of Mixmag, comments: “Mixmag has been covering, supporting and organizing parties in Ibiza since the 80s. In 2025 we bring eight great events to the island with genres and artists from all over the world. Come and be part of electronic music history.” For his part, Grego O’Halloran, promoter of Mixmag Ibiza Sessions at Amnesia, adds: “It is incredibly exciting to be able to launch this residency. We are going to offer an energetic dance floor experience on Amnesia’s iconic terrace, creating an unprecedented vibe with a gigantic multi-genre lineup. See you on the dance floor!” In addition to this anticipated residency, Mixmag Ibiza Sessions will also organize special pop-ups in different parts of the island, so stay tuned for news that will be revealed throughout the season. OPENING PARTY WEDNESDAY, JUNE 11 TERRACE ARES CARTER ARMAND VAN HELDEN HARVY VALENCIA b3b JESSE CALOSSO b3b JEAN PIERRE SAM DIVINE WEDNESDAY, JUNE 18 TERRACE ANGERFIST DEMONIA FISH56OCTAGON GASTON ZANI GNRØ OGUZ REBEKAH WEDNESDAY, JUNE 25 TERRACE JULIAN JEWEIL ONYVAA PAN-POT SPACE 92 +TBA WEDNESDAY, JULY 2 TERRACE BOYS NOIZE DAVYBOI GI.O PASTIS & BUENRI PEGASSI ADRIAN MILLS INVITES: WEDNESDAY, JULY 9 TERRACE ADRIAN MILLS CLOUDY FASTER HORSES KATY ROUGH KUKO SERAFINA SIKOTI WEDNESDAY, JULY 16 TERRACE CAAL FRANKY WAH JORIS VOORN b2b YOTTO MARLIE +TBA WEDNESDAY, SEPTEMBER 24 TERRACE BAD BOOMBOX FIHIGA MISCHLUFT PARKERSTRANGE SUPERSTRINGS CLOSING PARTY WEDNESDAY, OCTOBER 1 TERRACE HECTOR OAKS B2B DARIA KOLOSOVA MHA IRI B2B MARIE VAUNT SPACE 92 X POPOF PRESENT TURBULENCES +TBA The post Mixmag Ibiza Sessions unveils its impressive lineup for its debut residency at Amnesia Ibiza including Armand Van Helden, Sam Divine and More appeared first on Electric Mode.

A perfect mix of elegance, style, and class, Villa delle Rose delivers unforgettable nights of high-quality entertainment. Located in Misano Adriatico on the Italian Adriatic Riviera, this is the ultimate summer club experience. On Friday 9th and Saturday 10th May 2025, Villa delle Rose officially opens a new season – a fresh chapter in a legendary story that began in 1992 and continues to evolve with unforgettable moments year after year. A legacy that looks to the future. As always, Villa delle Rose is ready to welcome its guests with a series of exciting updates. This season introduces a real backstage area behind the DJ booth, a revamped VIP zone with first-class flight-style boxes, upgraded audio and video systems, new installations, and an enhanced LED wall. Every night at Villa delle Rose offers something truly unique – thanks to theatrical staging, live shows, stunning lighting, a cosmopolitan crowd, the Asian Lounge restaurant, meticulous attention to detail, and of course, the best in electronic music from world-renowned DJs. In 2025, the club’s Friday calendar will rotate between signature party formats such as AMA, Clorophilla, and Pulse, while Saturdays are dedicated to Vita. On Sundays, Vidaloca returns as the headline event, continuing its long-standing residency. Opening weekend kicks off with two gala events: Friday 9th May: the debut of Pulse, featuring Bora Uzer (resident of Flower Power Saturdays at Pacha, Ibiza), Ayamoon, Danny Lozito, Mappa, and Tanja Monies. Saturday 10th May: the season’s first Vita party, with Blackchild and DJ Protein. The month continues on: Friday 16th May with the first AMA (Art Meets Art) of the season. In the early evening, the club transforms into a curated art space by Tanja Monies, blending music, live art, and visual installations. DJ sets by Fiona Kraft, Zodiak, and Nikita Voguel. Saturday 17th May, Vita returns with Miguelle & Tons and Ricky Pedro. Friday 23rd May sees the season debut of Clorophilla, featuring Goodboys and Samuele Sartini. Saturday 24th May, Vita brings HoneyLuv and Bartolomeo to the decks. A major highlight arrives with the June bank holiday weekend: Friday 30th May: Bob Sinclar, whose sets at Villa delle Rose are always iconic. Saturday 31st May: WhoMadeWho, a standout name in cutting-edge electronic music. Sunday 1st June: an additional Vidaloca event, ahead of its regular Sunday residency starting later in June. The summer line-up promises both returning legends and fresh faces. On Fridays, expect sets from Bob Sinclar, Bora Uzer, Fiona Kraft, Goodboys, Grossomodo, Mestiza, Moojo, Pablo Fierro, and Rivo. Saturdays will feature Bartolomeo, Blackchild, Blond:ish, Carlita, DJ Protein, Dukwa, Fidelio, HoneyLuv, Jamie Jones, Kilimanjaro, Miguelle & Tons, Prospa, Seth Troxler, The Martinez Brothers, Themba, Vintage Culture, and WhoMadeWho, to name just a few. An impressive roster that combines consistency with quality—bringing together artists who headline the world’s most influential clubs and festivals. The style of Villa delle Rose is truly one of a kind: the ideal destination for those seeking a night that’s unforgettable, unrepeatable, and always worth looking forward to. 👉 www.villadellerose.net The post Villa delle Rose Promises Fashion, Style, Quality at its 2025 Edition appeared first on Electric Mode.

Grant Jackson, a well-known Detroit-based DJ known for hosting the popular local club night ‘Taco Tuesdays,’has passed away at the age of 35. His family announced the news on his Facebook page on Friday, May 2nd, 2025. “We’re grateful for all the messages, memories, and photos you’ve shared of your time with Grant,” the post read. “He would want everyone—friends and family alike—to come together and celebrate a life that, while brief, was full of meaning.” The cause of death has not been disclosed yet. Jackson began his musical journey organising dubstep nights in the late 2000s, eventually expanding into other genres including funk, disco, and drum & bass. He held his ‘Taco Tuesdays’ residency at venues like TV Lounge and UFO Bar, and frequently played at Detroit staples such as The Eagle of Detroit and Spkrbox. “Grant was a true icon in our community,” UFO Bar wrote on Instagram. “He valued the culture’s history and always embraced fresh talent with genuine excitement. His impact on Detroit’s dance scene is lasting, and his absence will be deeply felt.” Spkrbox also announced a memorial event set for Sunday, May 11th, with further details forthcoming. The post Detroit DJ Grant Jackson has passed away aged 35. appeared first on Electric Mode.

From Denver, to London, Den-Lon marks the start of a new chapter for Tantok, created between tour dates and shaped by transatlantic ambition Released on April 18th via the newly founded Tok About It Records, “Den-Lon” is the first official release from Tantok’s imprint. Available now on digital platforms Written in transit and completed between international dates, the track blends elements of tech house, acid house, and melodic techno, shaped by the artist’s evolving experiences on the road and his longstanding goal to launch a label focused on creative freedom and collaborative spirit. “Den-Lon” was originally sketched on a laptop during a flight layover in London, en route to Tantok’s attendance to IMS Ibiza. Composed without access to external instruments, the core arrangement was drawn using only MIDI tools. It was later developed using a hybrid setup of Moog Minitaur, Prophet Rev 2, Serum, and SynX. The result is a club-driven cut with a direct connection to the moment it was conceived: an artist between cities, channeling anticipation and momentum. LISTEN HERE The title Den-Lon nods to both the flight route and the aspirations it carried. “I wanted people to feel like they’re accomplishing something huge—like playing their debut show in London at Ministry of Sound,” Tantok said. Less than a year after writing the first sketch, that vision materialized in January 2025, when he performed at the iconic London venue. From Denver, to London. Tok About It was launched by Tantok as a space to express himself freely and to bring together like-minded producers. The label’s name references its intention to prioritize artistic dialogue and independent direction. “This label has always been a goal,” Tantok explained. “It’s about setting the tone for releases that come from a personal place.” “Den-Lon” opens that catalog, reflecting the kind of energy and mindset the label seeks to amplify: a sense of movement, post-show adrenaline, and the creative potential found in travel. The release follows a string of international tour dates that have helped define Tantok’s current trajectory. The All That I Need tour included performances in Italy at I Due Merli (Bardonecchia) and Head Studios (Turin), followed by his London debut at Ministry of Sound. After returning from Europe, Tantok joined Miami Music Week with a run of 12 shows, performing at more than 10 venues across the city. Most recently, he played in Austin, Texas—often cited as the cultural capital of the U.S.—adding another milestone to a year marked by growth and visibility. Tantok is a producer and live performer working at the intersection of tech house and melodic techno. His performances are informed by a combination of hardware-based experimentation and in-the-moment arrangement, often drawing on the emotional atmosphere of the cities he plays in. With Tok About It Records now live, his focus turns to developing the label’s identity while continuing to expand his touring and studio work. The next release, Space Is Boundless, is expected soon via Like That Underground. “Den-Lon” is now available across streaming platforms. Tantok’s tour visuals, photos, and upcoming news are available on his official channels and via Tok About It Records on Instagram. The track can also be accessed here via direct link. The post Tantok Launches Tok About It Records with Debut Release “Den-Lon” appeared first on Electric Mode.

The thought process behind this chart was to showcase some of my favourite UK Flavours with literal food culture references, some of which are exclusive to the UK, but some of which are exciting wordplay, across a few other genres besides Electronic Music that I carry dearly in my heart. The chart truly represents who I am as a Musician, along with clever food related word play.- IYRE Foreign Beggars x Noisia – Contact “I’m seasoned like a chicken tikka wrap in Dalston” NOW, you CANNOT go wrong with a nice Chicken Tikka Wrap and who’s better to start the list other than the mighty Foreign Beggars. PAV4N pays homage to his Indian roots by shouting out a favourite dish which is quite popular in the UK. MC Det Skibadee and Shabba D “Mans spicy like peri-peri, jumpin’ on riddims like I’m mad off curry” Obviously, being a fan of the jungle and drum & dass MC culture, I had to include a legendary exchange between MC Det, Skibadee and Shabba D, from the olden golden days. Clever wordplay, and another famous dish in the UK. Stormzy – Wiley Flow “Now I’m eatin’ prawns on a Caribbean Coast, couple of jerk wings, I’m the GOAT” Stormzy’s music inspires me, and I do tend to incorporate some of the grime elements in my music then and there, which is why I chose this tune, along with some TASTY food references. Reminds me of the time we went to this Jamaican restaurant called The DUTCHIE!! Aitch – Taste (Make it shake) “Finish fingers, chips, beans, and some broccoli” Can’t go wrong with a balanced diet (somewhat hahaha) but shouts to Aitch for bringing in the greens to the table. D Double E – Where Do We Come From “Steak bake, corned beef pasty, man get a ting from Greggs” For the East London crew, and whenever I visit London, I don’t forget to get my dose of G R EGGS (see what I did there) Personally, a huge fan of the Orange Chocolate !!! Can’t go wrong with a nice pastry to go with the Orange Chocolate.. Nina Simone – I Want A Little Sugar In My Bowl Clever word play I thought, with the name, makes me happy. Nina is a legend, so obvious to have made this list. The Beatles – Savoy Truffle “Crème tangerine and montelimar, a ginger along with a pineapple heart” I’m a huge fan of chocolates, the song is basically about Eric Claption’s fondness for chocolates, hence why this was selected !! Mouth watering goodness.. Nirvana – Pennyroyal Tea “I’m on warm milk and laxatives” A bit of grunge never hurts, and this performance was historical, nice word play in relation to Tea, something Sri Lanka is world famous for.. Duck Sauce – Babra Streisand The whole aesthetic of duck sauce associated with food so had to choose this as well.. Prince – Cream Mostly a metaphor but prince might also be hinting about the actual cream. Apparently he had written this as a response to a label who requested a hit song from him. Initially started as a parody of himself, this became one his smash hits. Quite rebellious and a cleverly used metaphor to show his disdain towards the situation he was in. IYRE, PAV4N & Foreign Beggars – UK Flavour is out now. IYRE Facebook / IYRE Instagram / IYRE Spotify PAV4N Facebook / PAV4N Instagram / PAV4N Spotify

Photo Credit: Taylor Swift by Paolo Villanueva / CC by 2.0 Taylor Swift has been subpoenaed in the legal battle between Justin Baldoni and Blake Lively over the film “It Ends With Us.” Taylor Swift is getting tied up in Justin Baldoni’s defamation suit against Blake Lively over the film “It Ends With Us,” but a spokesperson for Swift denies any involvement with the film beyond licensing music. Her track “My Tears Ricochet” was licensed for use in the film’s trailer and a scene. But Baldoni’s lawsuit, filed in January, included text messages in which Lively alludes to Swift as “one of her dragons.” Baldoni alleges in the $400 million suit that Blake Lively and husband Ryan Reynolds hijacked the production of “It Ends With Us” in order to destroy his reputation with allegations of sexual harassment. The texts pertain to a rooftop scene in the film that Lively had allegedly reworked from the script. According to Baldoni’s suit, Lively summoned him to her New York penthouse where Reynolds and a “mega-celebrity friend,” believed to be Swift, praised her version of the scene. Baldoni’s lawyers say he felt “obliged to text Lively to say that he had liked her pages and hadn’t needed Reynolds and her mega-celebrity friend to pressure him.” Lively later sent a text that referred to Reynolds and a friend, again presumed to be Swift, as “absolute titans as writers and storytellers outside of their primary gig.” She compared herself to the Queen of Dragons, Daenerys, in HBO’s “Game of Thrones,” adding, “My dragons also protect those I fight for,” referring to Reynolds and Swift. “So really, we all benefit from those gorgeous monsters of mine. You will too, I can promise you.” “Taylor Swift never set foot on the set of this movie, she was not involved in any casting or creative decisions, she did not score the film, she never saw an edit or made any notes on the film, she did not even see ‘It Ends With Us’ until weeks after its public release, and was traveling around the globe during 2023 and 2024 headlining the biggest tour in history,” wrote a spokesperson for Swift, denying any involvement in the film beyond licensing her music. The legal battle between Lively and Baldoni began in December. Lively filed a letter with the California Civil Rights Department with allegations that Baldoni sexually harassed her and engaged in a smear campaign against her in 2024. When the New York Times ran a report about it, Baldoni sued them for $250 million on January 1, accusing them of libel. In return, Lively sued Baldoni for violating federal and California state law; this prompted Baldoni to countersue. Reynolds and Lively have both filed motions to dismiss the $400 million suit, arguing it was filed as retaliation for Lively lodging a sexual harassment claim. View the full article

Photo Credit: KCAL News, CBS Los Angeles A dump truck crashed into legendary West Hollywood music venue Whisky a Go Go on Friday, colliding with a powerline and other vehicles in the process. Sunset Boulevard and Clark Street were closed in West Hollywood on Friday after a dump truck collided with Whisky a Go Go, leading to power in the area being shut off. The truck first hit a powerline and several other vehicles, including a mail truck, before it crashed into the legendary music venue. “Due to the traffic collision, some power has been affected and power is out to some parts of the area,” said the LA Sheriff’s Department. “Crews are currently on scene and working to restore power.” Power was fully restored to the area by 3:30 AM, according to officials. The show planned for Friday night at Whisky a Go Go included performances by Boy Hits Car, Barefoot in the Bathroom, and Gearheart, but was ultimately cancelled. “This dump truck came careening out of control down Clark Street into the back of the Whisky a Go Go, taking out six different cars,” said KCAL News’ Desmond Shaw. The truck was parked on a downhill slope, and there was no one inside the vehicle when the incident happened, witnesses said. No serious injuries were reported from the crash. A postman in the mail truck suffered minor injuries from jumping from the truck and into the street to avoid getting hit, but did not require hospitalization. “The entire building shook violently; a lot of us thought it was an earthquake at first,” said Liliana Seidel, an employee at the venue. “We thought a bomb went off, then the power just cut immediately throughout the building.” Whisky a Go Go opened in 1964 as an “anchor on the Sunset Strip since its opening.” The beloved venue has hosted numerous musical greats, including The Doors, Janis Joplin, Led Zeppelin, Jimi Hendrix, Van Halen, Blondie, and many more. View the full article

Photo Credit: Shira Perlmutter, the 14th Register of Copyrights, by David Rice Donald Trump fires Shira Perlmutter, who leads the US Copyright Office, just after the release of a three-part report on artificial intelligence. President Trump has fired Shira Perlmutter, who heads the US Copyright Office as the 14th Register of Copyrights. The news was reported by several outlets and confirmed by Democratic Representative Joe Morelle on the Committee for House Administration. Perlmutter took her position back in 2020 during the first Trump administration, and was appointed by Librarian of Congress, Carla Hayden. Hayden was also fired by Trump this week. “Donald Trump’s termination of Register of Copyrights, Shira Perlmutter, is a brazen, unprecedented power grab with no legal basis,” said Morelle. “It is surely no coincidence he acted less than a day after she refused to rubber-stamp Elon Musk’s efforts to mine troves of copyrighted works to train AI models.” Morelle also linked to a pre-publication draft of a US Copyright Office report released last week—the third part in a longer report—that focuses on copyright and artificial intelligence. The report outlines that, while each case’s outcome cannot be pre-judged, there are limitations on the amount that AI companies can count on “fair use” as a defense when training their large language models (LLMs) on copyrighted work. “Making commercial use of vast troves of copyrighted works to produce expressive content that competes with them in existing markets, especially where this is accomplished through illegal access, goes beyond established fair use boundaries,” the report reads, pointing out that research and analysis use cases would probably still be allowed. Further, the Copyright Office suggests that government intervention would be “premature at this time,” but hopes that “licensing markets” where AI companies pay copyright holders for access to their content should continue to develop. “Alternative approaches such as extended collective licensing should be considered to address any market failure.” AI companies, including OpenAI, are under fire with numerous lawsuits accusing them of copyright infringement. OpenAI has asked the US government to codify a “copyright strategy” that would provide AI companies with extra wiggle room regarding fair use. The Copyright Office’s recent report suggests that won’t be happening the way the companies may have hoped—but Trump may hope to change that with his onslaught of firings. “Now tech bros are going to attempt to steal creators’ copyrights for AI profits. This is 100% unacceptable,” wrote attorney Mike Davis on a post on Trump’s Truth Social, linking to CBS News’ coverage of the firing. Strangely, Trump “ReTruthed” the post, despite the fact Davis appeared to be criticizing the move. “Tech bro” and Trump ally Elon Musk is both a co-founder of OpenAI and that of a competing company, xAI, which is merging with the former Twitter. He has expressed support for Square founder Jack Dorsey’s call to “delete all IP law.” View the full article

Hong Kong’s Boomerang is on a mission to prove that Las Vegas doesn’t have all the fun. Five years in and the club has just earned its fifth consecutive spot in DJ Mag’s Top 100 Clubs, hitting 40, their highest ranking yet and a clear signal that Asia’s taking the global club scene seriously. From their kinetic motorized ceiling (yes, really) to a Funktion-One sound system Boomerang isn’t playing around. Located in Hong Kong’s nightlife epicenter Lan Kwai Fong, they’ve been climbing steadily since debuting at #98 in 2021, hosting everyone from Lost Frequencies to Meduza along the way. But Boomerang’s ambitions stretch beyond just hosting big names. Last year, they launched Distinct Records, their own label that’s already making noise in the global dance ecosystem. With creative director Deejaykarlie and Privé Group’s John Rana at the helm, they’re building something that looks less like a typical club operation and more like a cultural empire. Five years in and they’re just getting started. Between their production-level events and label push, Boomerang’s proved that Asian nightlife can compete with any circuit on earth. That climb from #98 to 40? That’s not just numbers. It’s testament to Hong Kong’s growing club foot print. The post Boomerang Hong Kong Achieves Fifth Consecutive Ranking in DJ Mag’s Top 100 Clubs appeared first on Dancing Astronaut.

Three powerhouse names in electronic music—Mangoo, Alex Pizzuti, and Mark Neve—have come together to deliver an unforgettable collaboration. Their new single, ‘Moments’, has been released on May 9th, blending cinematic emotion with dancefloor-ready energy in a track that captures the bittersweet tension between heartbreak and hope. Driven by atmospheric synths, pulsing percussion, and a euphoric drop, ‘Moments’ strikes a perfect balance between heartfelt songwriting and high-impact production. The emotional core is encapsulated in the line: “I’m still hangin’ on moments / Back when nothing was broken”—a poignant reflection that will resonate deeply with listeners navigating the complexities of lost love. This collaboration brings together three distinct artistic visions: Mangoo – The Swedish producer behind the cult classic ‘Eurodancer’, which became a viral sensation in the early 2000s and inspired a generation of electronic artists. His 2019 rework of the track, ‘Play’ (with K-391, Alan Walker, and Martin Tungevaag), has surpassed 280 million Spotify streams, with chart-topping success across Norway, Finland, Sweden, and Indonesia. Alex Pizzuti – A leading figure in the Future House scene, the Italian DJ and producer has worked with top-tier labels including Revealed Recordings, Hexagon, and Sony Music. His tracks like ‘Vibe’ and ‘Bla Bla Bla’ have dominated Beatport charts and festival stages, while his reimagining of ‘Memories’ received support from David Guetta and Don Diablo. Mark Neve – Known for fusing emotional storytelling with melodic dance energy, the Italian producer made waves in 2023 with ‘Delilah’ (with Mikolas Josef), amassing 62+ million streams and reaching #10 on Czech radio and #3 on iTunes. His sound resonates with fans who crave authenticity in electronic music. ‘Moments’ is a natural evolution for all three artists, fusing nostalgic sentiment with modern production to create a track that feels as at home on the biggest editorial playlists as it does on festival main stages or late-night drives. With early buzz building across social media and DSPs, ‘Moments’ is poised to become a standout release of the season—offering emotional depth, replay value, and crossover appeal to both mainstream and dance music audiences alike.

ILLfest Music and Street Art Festival returns to Austin, Texas for its seventh edition in 2025. The newly announced lineup features headliners Tape B B2B Peekaboo, Wooli and Liquid Stranger plus a loaded undercard with names like Dancing Astronaut Artist to Watch in 2025 ALLEYCVT, HOL! and Ray Volpe. The festival takes place May 30 – June 1 at the Travis County Expo Center. For the first time, ILLfest has expanded their offering to three days giving festival goers an extra day to soak in the music and art installations. This year, ILLfest will be debuting their first-ever 360-degree stage, offering fans a fully immersive audio-visual experience. The festival also welcomes Brownies & Lemonade for a stage takeover featuring their DNBNL drum and bass concept. And the party doesn’t stop when the festival ends – there will be plenty of late night after hours offerings featuring intimate performances from artists on the lineup with those shows to be announced at a later date. Tickets are on sale now on the ILLfest website. Featured image: Joey Zayga The post ILLfest announces 2025 lineup featuring Wooli, Liquid Stranger, ALLEYCVT, Ray Volpe and more appeared first on Dancing Astronaut.

Back in 2012 inside a Toronto penthouse, a domestic shorthair cat once gazed out over Yonge–Dundas Square, his own face beaming back at him in LED glory from a billboard below. "Do you even fucking know? Do you care?" Joel Zimmerman, better known as deadmau5, recalls asking him of the massive album ad featuring his face. The cat didn't. Typical. But in true deadmau5 fashion, where innovation meets self-deprecation, Meowingtons' indifference didn't stop him from becoming a muse. And now, posthumously, a playable one. Zimmerman has unveiled Meowingtons Simulator, a tribute to his late companion, who sadly passed away in August 2023. Developed under his newly launched Oberha5li Studios banner and powered by Epic Games' Unreal Engine, it's a rhythm-based rag doll game where players control a digitized, dancing Meowingtons in a virtual nightclub. "Meowingtons was basically a rag doll in real life," Zimmerman tells EDM.com. "You'd pick him up and he'd just flop. You could make him dance and he was just cool with it, which was really funny." A famous 1935 thought experiment by the theoretical physicist Erwin Schrödinger illustrated the oddity of quantum mechanics by imagining a cat in a sealed box that is simultaneously alive and dead until someone observes it. Like Schrödinger's cat, Meowingtons now exists in its own quantum state of parody and poignancy. But don't mistake Meowingtons Simulator for therapy in disguise. While it does function as a sort of eulogy in code, it's more so a seedbed for Zimmerman's big ambitions with his new game development studio. "It's not a grief process or coping mechanism," he insists. "Meowingtons lived to be 16. That's pretty alright, so it's not like 'woe is me.' I processed it in a day, maybe two. It happens." Ever since Zimmerman got into game development, he says, he's been learning about rag doll physics in Unreal Engine. One of his earliest experiments was building a cat model that behaved and looked like his own, the first prototype of which was a low-poly kitty with no fur, flopping around with the grace of a drunk sock puppet. When activated by the cue button, the cat transitions from procedural animation into rag doll mode, where its movements are entirely governed by gravity and physics. Zimmerman compares the dynamics to a concept he admits is "really dark": imagine holding a lifeless cat by its head and tail, then watching it flop around as though it's "nodding to the beat." The sim's rag doll physics create the illusion of the cat dancing to the music, akin to a puppet's movements, but without showing the strings. Zimmerman likens it to the unsettling realities behind the production of hot dogs: it works, but it's better not to ask how. deadmau5) and Oberha5li Studios It's the kind of thing that only someone who's spent years in Unreal Engine forums and nerding out over real-time audiovisual mechanics can appreciate. That passion led him to meet Aaron McLeran and Max Hayes, Epic Games' Lead Audio Programmer and Senior Audio Programmer, respectively. They worked on the bleeding-edge Quartz subsystem, a sample-accurate timing engine that syncs audio with precision far beyond standard frame rates. Zimmerman emphasizes the need for hyper-precise synchronization between audio and visual elements to avoid lag in game engines, where even minuscule misalignments are noticeable. In most games, he explains, visuals are rendered at a relatively low rate of between 60 and 120 frames per second. However, audio operates on a much finer timescale, at 48,000 samples per second, which means audio events can happen in sub-microsecond intervals. This massive difference, which he refers to as a "chasm," makes it difficult to tightly sync visual cues with specific audio samples, like a kick drum or snare hit. That's where the processing of Quartz came in. Running parallel to Unreal Engine, the tech, for which Zimmerman has a deep fascination, essentially acts as a reliable metronome for audio within it. The system enabled him to cue visuals and gameplay events exactly in time with the music, even at unconventional tempos with pesky decimals like 128.6 BPM. "So it's that technology that really drove me to [game creation] and finding these different use cases," he says. "Then it was a marriage of, let's take my rag doll cat and attach it to the port system so that every beat, the handle would go up. And if I changed the BPM up and down, the cat would perfectly be in sync. And I thought, 'This is funny as hell. I should make a game.'" The "Meowingtons Simulator" game from Oberha5li Studios co-founders Joel Zimmerman (deadmau5) and Cameron Rockey.Oberha5li Studios But this wasn't just about noodling with the physics of a noodle-legged cat. Despite the hilarity of it all, Zimmerman realized early on that a floppy feline wasn't quite a game. So he brought in veteran programmer Cameron Rockey, who added multiplayer features, cosmetics and, perhaps most crucially, a sense of community. "What are the little things we can add to build a community feel?" Rockey recalls asking. Under his direction, what began as a quirky, simplistic simulator quickly evolved into a more immersive, socially-driven experience. One of the first things he did was replicate dance variables across players' cats so everyone could jam out together, even if they were listening to different tracks. "The cats in the nightclub are synchronized to your local music rather than us sharing the music," Rockey explains. "So you could be hanging out together, but doing something different at the same time." Rockey, who has over two decades of dev experience, then layered in leaderboards and a "mau5head builder" that lets players assemble custom deadmau5 helmets using collectibles gathered around the map. "We started adding more and more little features like that for the community to do and customize their experience within Meowingtons, but staying on-brand for deadmau5," he says. The "Meowingtons Simulator" game.Oberha5li Studios While the co-founders' passion for game creation drives the project forward, its development process remains refreshingly unpretentious at its core. Behind the expanding features and growing fan involvement lies a partnership unburdened by corporate game development conventions—just two avid creators following their instincts. "Don't get me wrong. I like to think I'm pretty talented, and I know Cameron's very talented with game design," Zimmerman says. "But we're just two dudes fucking around on Discord and making a game." That's underselling it. After fetching an estimated $55 million through Create Music Croup's acquisition of his timeless music catalog, he says he has big plans for Oberha5li Studios, which is shaping up to be much more than a passion project. "We're at our first little thing and I anticipate growing this company over the next couple of years," Zimmerman says. "Maybe two years from now, I'll be 10 employees deep and we'll have a bigger, more AAA-looking title on the go. So the ambition is high." Meowingtons Simulator is available now on Steam.

The electronic music community is constantly evolving with new sounds inspired by the scene of yesteryear. EDM.com's weekly Fresh Picks series discovers new music and unearths influential tracks that help define the underground dance scene. You can find the below tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here. EDM.com Fresh Pickssalute, Rina Sawayama - saving flowersKeenan Mathias - Get OverArlo, fknblnde - Full Moon Eyesinformal - thebaddest (CHEEKS happy hour flip)chromonicci - Forward.Mistress Moon - Playing GamesMax Cooper - Scalar (HAAi Ramix)Cameo Blush - Luckybad tuner, Miette Hope - in heavenFlaws - how does it feelMistress Moon - Playing GamesBabsy., Davis - Young AgainBrume - Free Your Mindaerin - FLICKER

Atlantic Records has lifted the hood on F1: The Album, the forthcoming soundtrack to Apple Original Films' Formula 1 movie, and it’s a turbo-charged celebration of EDM's tightening grip on the motorsport world. The genre has long flirted with Formula 1's flair for spectacle, but the relationship goes full-throttle with this soundtrack. Dom Dolla leads the charge with “No Room for A Saint," marking another milestone in his own F1 crossover journey following his headlining performance at LIV on the Grid during the 2024 Las Vegas Grand Prix. Other dance music producers on the soundtrack include Peggy Gou with her kinetic reimagining of "D.A.N.C.E"; Dutch icon Tiësto, who teamed up with Sexyy Red for the boisterous "OMG!"; and UK underground staple PAWSA, who was recently named by EDM.com as one of 2024's best electronic music producers. While artists like Ed Sheeran, Tate McRae and Burna Boy round out the score's cross-genre appeal, it's the electronic contingent that underscores a cultural shift that’s been brewing for years. EDM and Formula 1 have been embracing a crossover crescendo in which headliners like Calvin Harris, Martin Garrix and Above & Beyond have become mainstays at Grand Prix weekends from Monaco to Miami. The film is directed by Top Gun: Maverick's Joseph Kosinski and produced by Jerry Bruckheimer alongside seven-time World Champion Lewis Hamilton. Starring Brad Pitt, the film blends dramatic fiction with real F1 race footage and cameo appearances from motorsport titans like Max Verstappen, Lando Norris and Charles Leclerc. Both F1: The Album and the feature film itself drop globally on June 27th. Check out the full tracklist and trailer below. F1: The Album TracklistDon Toliver – Lose My Mind (feat. Doja Cat)Dom Dolla – No Room for a Saint (feat. Nathan Nicholson)Ed Sheeran – DriveTate McRae – Just Keep WatchingROSÉ – MessyBurna Boy – Don't Let Me DrownRoddy Ricch – UnderdogRAYE – Grandma Calls The Boys Bad NewsChris Stapleton – Bad As I Used To BeMyke Towers – Baja CaliforniaTiësto & Sexyy Red – OMG!Madison Beer – All At OncePeggy Gou – D.A.N.C.EPAWSA – Double CMr Eazi – AttentionDarkoo – Give Me Love

Dance music’s tropical house king, Kygo, headlined opening weekend of the new Palm Tree Beach Club, and brand new dayclub at the MGM Grand in Las Vegas. The venue is a collaboration between Palm Tree Crew – the global lifestyle and entertainment brand founded by Kygo and his manager/entrepreneur Myles Shear – and hospitality titan Tao Group Hospitality. Kygo kicked off his first-ever daylife residency by opening up Palm Tree Beach Club the only way he knows how – with a stellar performance featuring a slew of surprise guests including Ava Max, Justin Jesso, Parson James, Victoria Nadine, and more. He brought along full-scale production that even included his signature grand piano. The star power extended beyond the stage, too, with a host of celebrities in attendance including Sydney Sweeney, Jessica Alba, White Lotus star Patrick Schwarzenegger, J. Balvin and Alesso. Palm Tree Beach Club is set to be the next must see destination on the Las Vegas Strip, with a summer lineup including some of the biggest names in dance music like Alesso, Martin Garrix, Zedd, Fisher, Chris Lake and more. The venue itself is 60,000 square-foot and features a saltwater pool, 12 beach villas and 10 coastal cabanas. For more information on Palm Tree Beach Club, visit their website. Featured image: Denise Truscello The post Palm Tree Beach Club opens in grand fashion with high-energy set from Kygo appeared first on Dancing Astronaut.

Some songs are destined to be festival anthems from the start and the 2013 collaboration between Sebastian Ingrosso and Tommy Trash is definitely one of them. Iconic doesn’t even begin to describe ‘Reload’ as over the past 12 years it has continuously wowed crowds around the world. Originally released as an instrumental in 2012, ‘Reload’ found its spark a year later with the assistance of vocals from the legendary John Martin. Also helping in the writing of the lyrics was Michel Zitron, a regular collaborator with John Martin who has also delivered vocals of his own on Martin Garrix’s ‘Hold On.’ Together they came up with the unforgettable lyrics delivered perfectly by John Martin to complete the track. The vocal version quickly surpassed the success of the instrumental and rocketed to #1 in the UK Dance chart as well as reaching #15 in the US Billboard Hot Dance/Electronic Songs chart. Since its release ‘Reload’ has amassed a whopping 265 million streams on Spotify and has continued to hold a place deep in the hearts of all dance music fans. The star power behind this track didn’t disappoint delivering a track that hasn’t lost any of its festival power over the years. ‘Reload’ is a song where you don’t know whether to chant along to the melody or sing along to the lyrics with both being absolutely stunning. One thing’s for sure, it is and always will be one of the greatest festival anthems of all time.

As Montréal thaws out from another long winter, the city is once again ready to usher in summer with its beloved open-air event series: Piknic Électronik. The weekly outdoor parties return from May 17 to October 12, serving up a steady dose of Sunday (and long weekend Monday) soirées on Île Sainte-Hélène. With a lineup that spans dance music’s most seasoned acts, Piknic promises another vibrant season on the dancefloor. Whether you’re a university student unbothered by that 8AM Monday lecture or a longtime raver who stretches before every set—Piknic is so back. The 2025 season features 45+ events (with more to come), spotlighting a curated mix of international heavyweights and local legends across the techno and house spectrum. Among this year’s standouts: John Digweed, Boys Noize, AYYBO, Robert Hood, and Hiroko Yamamura, alongside homegrown talents like Misstress Barbara, Priori, and Nymra & Sofisticated, and named Dancing Astronaut‘s 2024 Artist to Watch, Sinca. Piknic kicks off the season over May’s long weekend with a two-day opening celebration, featuring STRYV on Sunday and Enrico Sangiuliano on Monday. Single tickets and season passes are available now, exclusively through Piknic Électronik’s website. For the full 2025 programming, check out their Instagram post below. Featured image: William Wachter The post Piknic Électronik scores with 2025 season lineup: Boys Noize, Enrico Sangiuliano, Hiroko Yamamura and more appeared first on Dancing Astronaut.

Robert Baugh, who’s joined Dynamic Talent as an agent. Photo Credit: Dynamic Talent Here’s a recap of recent music industry hires and in-house promotions as of May 9th, 2025. If you have a job shuffle to share, we’re all ears. Send us a note to [email protected]. If you’d like to post a job on our Job Board, just send us a request to [email protected]. And, keep track of all the latest music industry hires here. Range Music Range Music has launched a composer division and announced Kraft-Engel vet Jeff Jernigan as the first hire. Dynamic Talent Dynamic Talent International has opened a new Music City office and brought on former Reliant booking coordinator Robert Baugh as a Nashville-based agent. Downtown Music Downtown Music Publishing has hired former Iconoclast A&R exec Jason Taylor as VP of business development. Additionally, the company has upped 14-year team member Bea Koramblyum to global head of business affairs and VP of business development. AEG Presents AEG Presents Europe has announced Andrew Spencer as COO; the former Frontier Touring chief commercial officer is expected to relocate from Australia to London “this summer.” Boyarski Fritz LLP Boyarski Fritz has boosted Alex Stolls to partner and added the three-year employee to its management team. Horus Music CD Baby vet Rich Orchard has signed on as MD for Horus Music and its Anara Publishing sister company. UMG Nashville 16-year Universal Music higher-up Lori Christian is stepping away from her role as marketing EVP at UMG Nashville. Capitol Music Group Partizan executive producer Sara Nix and Astralwerks exec Joe Mortimer are officially creative SVPs at Capitol Music Group. Rolling Stone Former Billboard president (and Doodles CEO) Julian Holguin is now CEO of Rolling Stone; existing head Gus Wenner has transitioned to executive chairman. View the full article