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After a yearlong hiatus, husband and wife duo The Two Fake Blondes are back with something entirely new, an infectious drum & bass track, "Holy Spirit Lead." The song originally began as an acoustic demo that the pair eventually transformed into a drum & bass arrangement. The song embodies the passion The Two Fake Blondes channel into each of their tunes, kicking things off with enchanting vocals before introducing a drop with an ethereal LFO sequence, ultimately delivering a unique take on the red-hot genre. Since debuting their project in 2020, The Two Fake Blondes unveiled their debut album, Out Of The Darkness, in 2021 and have received support from a handful of notable artists like Steve Aoki and Don Diablo. While their primary focus has been danceable house tracks, their foray into drum & bass has proven to be a positive one so far. You can listen to "Holy Spirit Lead" below and on streaming platforms here. FOLLOW THE TWO FAKE BLONDES:Facebook: facebook.com/thetwofakeblondes X: x.com/the2fakeblondes Instagram: instagram.com/thetwofakeblondes Spotify: tinyurl.com/2syx794e

In a world where music often feels as though it's retreading familiar ground, Whethan's new single with AG Club and Snakehips ignites a fresh blaze. With its bulbous, punchy bassline and loungey synths, "Room Is On Fire" stands as a testament to the power of simplicity. The track's hook, delivered in a deadpan tone, contrasts sharply with its high-energy verses, creating a dynamic interplay that's sure to both captivate and intrigue from start to finish. The new single marks a significant moment for Whethan, serving as the lead single from his long-awaited 2024 album, Life of a Wallflower Vol. 2. The announcement arrives nearly six years after the release of its predecessor, a breakthrough project that catapulted Whethan into the spotlight and solidified his position as a leading producer in the dance music scene. The 2018 effort, which included global dance hits "Good Nights" and "Superlove," went on to amass over a billion streams across platforms. Whethan's new album, Life of a Wallflower Vol. 2, is expected to release in June. Take a listen to "Room Is On Fire" below. FOLLOW WHETHAN:Facebook: facebook.com/whethanmusic Instagram: instagram.com/whethan X: x.com/whethanmusic Spotify: spoti.fi/3hiiFmK FOLLOW SNAKEHIPS:Facebook: facebook.com/Snakehipsuk X: x.com/snakehipsuk Instagram: instagram.com/snakehipsmusic Spotify: spoti.fi/2ZwdAkr

The Do LaB is where the unexpected becomes the norm at Coachella, transforming every moment into an adventure that elevates the spirit of discovery. Standing as a longtime cornerstone of the festival's experience, the stage has now unveiled a lineup that promises to blend the boundaries between genres, generations and geographical origins. This year, The Do LaB has curated an eclectic mix of artists that span the spectrum of electronic music, from a new branded set by Alesso titled "BODY HI," to the spirited rhythms of Chase & Status and the underground sensibilities of DJ Tennis. Notably, the lineup also shines a spotlight on Hamdi and HoneyLuv, two rising stars who were recently named to the EDM.com Class of 2024. But the allure of The Do LaB extends beyond its carefully curated lineup—it's the unexpected surprises that truly define the essence of the stage. Reflecting on Do LaB's legacy of over a decade, it's clear that its essence lies in the art of surprise, curating unpredictable moments into unforgettable memories. From last-minute bookings of headline-caliber acts such as ODESZA to back-to-back sets that become the stuff of festival lore, the stage's organizers have mastered the craft of delivering surprise performances that captivate and enthrall. "It’s pretty exciting to have so many people care about it," Jesse Flemming, the music-booking member of The Do LaB's founding team, told EDM.com at Coachella last year. "Everybody knows there’s gonna be some surprises so everyone signs up to hear the announcements, and before it gets out there everyone wants to know instead of waiting until the last minute. I love it." As Coachella 2024 draws near, with its weekends set for April 12-14 and April 19-21 respectively, the promise of The Do LaB's stage looms large as a beacon for those seeking the extraordinary. Check out the full lineup below. c/o Press FOLLOW DO LAB:Facebook: facebook.com/TheDoLaB X: x.com/thedolab Instagram: instagram.com/thedolab

The track is the second taken from the producer's wellness-inspired album Continue reading...

The record leverages on the transformative power of music, drawing upon a life-altering experience at a young age Continue reading...

When Claude VonStroke first made his transition to Barclay Crenshaw, fans had no idea what to expect. But with the release of his debut album, he has bared his soul. Open Channel is a bold departure for Crenshaw. Through each of its 10 tracks, he takes us through an eclectic listening experience that flows masterfully between experimental bass, dub and funk, without any genre taking center stage. Open Channel is delightfully unpredictable, expertly weaving through a wide palette of bass-centric sounds while keeping the production cohesive throughout. One moment you're hearing the grumbling, low-end heavy sounds of "King of Monsters" and then next you're getting down to the groovy beat of "The Quiet Storm." While transitioning to a new project is never easy, Crenshaw has done it with the gravitas of a seasoned dance music vet. Though his music may be entirely different than his wonky Dirtybird house music as Claude VonStroke, he's stepped into something that feels just as personal. If his previous success is any indicator, Crenshaw will be a mainstay in experimental bass music for years to come. "I’m full focused, dialed in and ready to go," he said in an intimate op-ed penned for EDM.com in late-2023. "I switched to my real name, Barclay Crenshaw, and went back to my roots in bass music and I couldn’t be happier or more excited than right now. You can listen to Open Channel below and find the new album on streaming platforms here. FOLLOW BARCLAY CRENSHAW:Instagram: instagram.com/barclaycrenshaw Facebook: facebook.com/BarclayCrenshaw Spotify: spoti.fi/47lRQsf

This one's been a long time coming. After first teasing their collaboration way back in 2022, DIESEL and LEVEL UP have finally delivered their heavy-hitting collaboration, "LVL UP." Arriving by way of Monstercat, the track brings the explosiveness for which both producers are known, combining their sounds for a true dubstep anthem. The track features DIESEL's unmistakable vocals and its devastating drop is a stunner, complete with laser-like synths and warbling bass befit for the globe's biggest stages. All said and done, "LVL UP" is a bona fide crowd-pleaser that's set to dominate the festival circuit come summertime. DIESEL has been on a roll after unleashing his debut album GORILLA WARFARE, which featured collaborations with Jessica Audiffred, Hairitage, CELO and many more. LEVEL UP has also stayed busy, releasing her Seance and SHADOW SYMPHONY EPs as well as a monster remix of Kayzo's "SHT SHOW." You can listen to "LVL UP" below and find it on streaming platforms here. FOLLOW DIESEL:Facebook: facebook.com/shaq X: x.com/djdiesel Instagram: instagram.com/djdiesel Spotify: spoti.fi/3zoP9WO FOLLOW LEVEL UP:Facebook: facebook.com/Levelupdubs X: x.com/levelupdub Instagram: instagram.com/levelupdub Spotify: spoti.fi/3qU70j8

Musicians may soon get a long-awaited raise at the expense of streaming services. In an effort led by representatives Rashida Tlaib and Jamaal Bowman, the United Musicians and Allied Workers (UMAW) have proposed the Living Wage for Musicians Act to Congress. The bill would help ensure that artists are able to build a successful career in the tumultuous age of digital music streaming, according to its authors. "Streaming has changed the music industry, but it's leaving countless artists struggling to make ends meet behind," Tlaib said in a statement. "It's only right that the people who create the music we love get their fair share, so that they can thrive, not just survive." It's important to note that this is an additional royalty on top of artists' current royalties. The new royalty would be paid directly to artists, bypassing the tortuous, multi-level corporate filter every penny of streaming revenue goes through. Platform subscription fees and a 10% levy on non-subscription revenue would fund these royalties, ensuring that artists receive a minimum of one penny per stream, a rate that is significantly higher than what streaming services currently pay. The royalties would be paid out through a central fund and would be subject to an eventual cap on the amount of profit per month. UMAW have also launched a petition in support of the bill, asking for musicians, music professionals, advocacy groups and independent labels to pledge support. "There is a lot of talk in the industry about how to 'fix' streaming – but the streaming platforms and major labels have already had their say for more than a decade, and they have failed musicians," UMAW organizer and musician Damon Krukowski said in a statement. "The Living Wage for Musicians Act presents a new, artist-centered solution to make streaming work for the many and not just the few. We need to return value to recordings by injecting more money into the system, and we need to pay artists and musicians directly for streaming their work."

Revamped live-industry-first initiative returns for 2024 with six acts revealed for year-long development programme Six ReBalance artists to receive studio time, mentoring, educational days and a guaranteed slot at a Festival Republic event In 2024, Festival Republic reintroduces ReBalance, a pioneering initiative in the U.K. empowering women and gender-expansive artists on stage and in the studio. Six emerging acts have been revealed for the redesigned program. ReBalance offers a proactive development program aimed at tackling challenges in the music industry pipeline, providing valuable support to up-and-coming talent. Participants will benefit from five days of studio time to work on their projects, individualized mentorship, educational sessions with industry experts in London and Manchester, and a showcase at the year’s end. Additionally, each artist will secure a slot at a Festival Republic event in 2025. Selected by a panel of industry experts, artists Mary O’Donnell, Sprout, Bebeluna, samxemma, cruush, and Red Ivory will collaborate with carefully chosen producers and studios for their projects, receiving invaluable mentoring from top industry professionals. Through practical education sessions, they will access the latest industry insights and hands-on experience. All recording sessions will involve women or gender-expansive professionals to create an inclusive environment where artists can thrive while also offering production credits. Festival Republic’s Managing Director Melvin Benn announced the relaunch of ReBalance, aiming to support emerging artists by providing tools, connections, and a commitment to booking them at one of their events. Visit https://rebalancemusic.com/ for more information.

American Express presents BST Hyde Park is excited to announce their final headliner for 2024. Chart-topping country sensation Morgan Wallen will perform on Thursday 4 July, with the full line-up to be announced. Tickets for this incredible show go on sale Wednesday 13 March, 10am GMT available at www.bst-hydepark.com Morgan Wallen expresses his fondness for the UK, stating, “My initial visit last autumn was truly memorable. The experiences and interactions were remarkable. Performing at venues graced by icons such as Pink Floyd and The Rolling Stones is a tremendous privilege for my band and me. We eagerly anticipate our return.” One of today’s brightest stars in music, Morgan Wallen has been riding a non-stop wave of success with a string of 11 No. 1 hits and electrifying live shows with 2.4 million fans already holding tickets to his world tour. On the heels of releasing digital series Abbey Road Sessions recorded at the famous Abbey Road Studios – including five live recordings from One Thing At A Time, an unreleased fan favourite, ‘Lies Lies Lies’, and a never-before-recorded cover of Nothing But Thieves’ ‘Graveyard Whistling’ – Morgan Wallen will return to London this July. Watch/listen to Abbey Road Sessions HERE. Wallen’s rise to prominence has been nothing short of meteoric. Hailed by Billboard for making “his superstar arrival as a touring artist” in 2022, 11-time 2023 Billboard Music Awards-winner Morgan Wallen continues to reign as one of Country’s top touring artists. Spanning 5 countries and 3 continents, Wallen’s 57-show 2023 One Night At A Time World Tour was named a Pollstar and Billboard Country Tour of the Year and delivered the man the New York Times dubbed “one of the biggest stars in pop, period” to fans worldwide. Wallen will bring the show to BST Hyde Park for the first time this summer. Wallen’s genuine narrative and heartfelt expression resonated with supporters, catapulting him to the forefront of the country music domain. In the previous year, he unveiled his third studio album, “One Thing At A Time,” dominating the all-genre Billboard 200 chart for 18 non-consecutive weeks. This achievement tied Garth Brooks’ “Ropin’ the Wind” for the most weeks at No. 1 for a Country album and secured its position as the most-streamed album of the year on Spotify. His popular tracks like ‘Whiskey Glasses’, ‘More Than My Hometown’, and ‘7 Summers’ have collectively amassed over 28 billion on-demand streams, captivating audiences across airwaves and playlists. The 6x-Platinum single ‘Last Night’ alone garnered a staggering 1.5 billion streams worldwide, making it the most-streamed song in the U.S. on Apple Music and Spotify, and securing its place as the longest-running solo No. 1 hit in Hot 100 history, maintaining the top spot for a total of 16 weeks. The American Express presents BST Hyde Park 2024 lineup promises to be exceptionally impressive, featuring Morgan Wallen alongside previously revealed headliners SZA (29 June), Kings of Leon (30 June), Andrea Bocelli (5 July), Robbie Williams (6 July), Shania Twain (7 July), Stevie Nicks (12 July), Kylie (13 July), and Stray Kids (14 July). The complete daily lineup will be announced soon. This announcement comes after the remarkable achievement of BST Hyde Park 2023, showcasing iconic performances by P!NK, Guns N’ Roses, Take That, BLACKPINK, Bruce Springsteen and the E Street Band, Billy Joel, and Lana Del Rey. The post Morgan Wallen will headline BST Hyde Park first appeared on UK Festival Feed.

Noel Gallagher’s High Flying Birds have announced the supporting acts for their upcoming summer outdoor headline performances at Wigan’s Robin Park and London’s Alexandra Palace in July. Lancashire underdogs, Lottery Winners, who achieved a UK #1 record with their latest album Anxiety Replacement Therapy, will kick off the show at Wigan’s Robin Park on July 18th. Also appearing are The Slow Reader’s Club from Manchester, lauded as a group poised to conquer the world by the Manchester Evening News. Noel Gallagher’s High Flying Birds will headline at London’s Alexandra Palace Park on the 20th of July. The renowned indie trio Hugo, Felix, and Will White, along with 86TVs and Echo & The Bunnymen, will open the show, following their ongoing Best Of tour till March 2024, marking over 40 years in the industry. In summer 2024, Noel Gallagher’s High Flying Birds will headline shows following intimate warm-up gigs at select UK venues this month. Sold-out upcoming performances at Poole’s Lighthouse (17th March), Bournemouth O2 Academy (18th March), and Portsmouth’s Guildhall (20th March) will precede their return to the Royal Albert Hall for a Teenage Cancer Trust benefit concert, marking a significant full circle moment since Noel’s inaugural performance at the charity’s debut event in 2000. Headlining both Kendall Calling and Y Not Festival in August, Noel will also perform huge outdoor headline gigs at ​​Warwick Castle (Sunday 21st July), Cardiff Castle (Wednesday 17th July), and an already sold out The Piece Hall at Halifax (Thursday 1st August) after sell out shows at these venues in 2022. Last remaining tickets are available here. Fans can anticipate sets featuring a diverse range of Oasis classics and a selection of tracks from Noel Gallagher’s successful solo career with his band, the High Flying Birds, spanning the past twelve years. Noel Gallagher’s High Flying Birds will debut live performances following their successful UK arena shows in December. This tour capped off their extensive 2023 schedule that spanned three continents, featuring a notable 26-date North American tour and headline outdoor concerts at iconic venues like Crystal Palace Bowl and Brighton Beach. These events celebrated the release of Noel’s fourth solo album, ‘Council Skies’. The summer season concluded with the band’s largest headline show yet at Wythenshawe Park in Manchester during the August Bank Holiday weekend. The BBC hailed Noel Gallagher’s High Flying Birds’ recent live shows as “emotional and thrilling,” the Daily Mirror praised them as “typically legendary,” CLASH described the performances as “effortlessly brilliant,” the Evening Standard called them “heroic,” and The i Newspaper confirmed that “Noel Gallagher’s gonna live forever.” ‘Fans and media widely consider ‘Council Skies’ as Noel’s most comprehensive solo work yet, featuring tracks like ‘Open The Door, See What You Find,’ ‘Pretty Boy,’ ‘Easy Now,’ and the recent single ‘We’re Gonna Get There In The End.’ The album has garnered significant critical acclaim, earning a place on various Albums Of The Year lists, including recognition from publications like MOJO and Rolling Stone UK.’ ‘Council Skies’ is available now on CD, heavyweight vinyl with bonus 7”, LP picture disc plus various digital formats including a Dolby Atmos spatial audio version. All Council Skies formats are available here. Tickets for Noel Gallagher’s High Flying Birds summer 2024 tour dates are available here. The post Noel Gallagher’s High Flying Birds confirm support acts for Wigan and London first appeared on UK Festival Feed.

The renowned RADAR Festival, known for pushing boundaries, will conclude their 2024 lineup with an unforgettable performance by the legendary prog-metal band Leprous, who will debut a real-time song request set in the UK. RADAR has revealed day splits for this year’s edition, featuring The Midnight headlining Friday with Plini and Vola, while TesseracT leads Saturday alongside Dirty Loops and The Fall of Troy. Leprous will be joined by Sungazer, Humanity’s Last Breath, and other top progressive musical acts. And if that’s not enough, there are still after-parties and masterclasses, plus at least three more incredible bands to be announced for RADAR 2024 – shaping up to be the new music event in the UK this year. And, demonstrating their commitment to new bands, RADAR have also announced that they will be the first venue to donate a portion of ticket sales proceeds to Music Venue Trust, in order to support grassroots music venues. Get tickets from: RADARfestival.co.uk “Festival co-organizer Joe James expressed his joy in welcoming back RADAR alumni, Leprous, to our larger Manchester stage after their 2022 headline performance in Guildford. Being a band he has always cherished, having them return for a special fan interactive set is a moment of pride.” “We are thrilled to finally release the day splits, although it took longer than expected. Three final acts are yet to be announced, so stay tuned for more updates! Next, we will reveal the masterclass programme. Excited for July!” RADAR, the UK’s most thrilling new progressive music festival, relocated to Manchester for its 2023 edition, marking the third installment of the event. RADAR Festival 2023 triumphed with a stellar lineup featuring Sleep Token as Friday headliners, alongside Periphery (Sunday) and Igorrr (Saturday), showcasing top talents from the UK progressive underground scene and beyond. RADAR is known for being a premier platform for international artists, hosting debut UK performances by notable acts such as Dirty Loops (2022) and The Callous Daoboys (2023) in previous years. RADAR concluded their exceptionally successful 2022 by clinching the Best New Festival Award at the UK Festival Awards on December 6 in Manchester. Additionally, they were nominated for Best Small Festival and Best Metropolitan Festival at the 2023 UK Festival Awards. Combining international talent and established local achievements, RADAR Festival has emerged as a leading advocate for innovative guitar-driven progressive music. Unrestricted by genre boundaries and open to all, the festival made its debut in 2019 to critical acclaim, featuring standout acts like Animals As Leaders, Agent Fresco, and Rolo Tomassi. Following a COVID-induced break, RADAR Festival returned in 2022 with an expanded three-day lineup, showcasing triumphant performances by Leprous, Haken, Dirty Loops, Plini, Conjurer, Soen, and others. RADAR Festival focuses on pushing boundaries by introducing new genres to the lineup and stages this year, marking just the start of its innovative journey. The post RADAR Festival 2024 announces final headliner plus day splits first appeared on UK Festival Feed.

Yulia Niko's debut album is a profound reminder that even in the darkest times, the soul can find its twin flame within. The Berlin-based DJ and producer today unveiled the new album, Twinsoul, on Armin van Buuren's venerated Armada label. Grappling with the loss of her late father, each of its aching songs represents a scintilla of Niko's soul, she says, ultimately intertwining to form a latticework of auditory stories in his memory. Imagine a kaleidoscope shattered by loss, its pieces refracting fragmented memories of enduring love. Twinsoul is the process of meticulously reassembling them with the glue of vulnerable songwriting and visceral house music, inviting listeners to evolve in lockstep—just like family members. Yulia Niko.c/o Armada Music Niko's roots in electronic music run deep. After a car accident hospitalized her for two months in critical condition at the age of 15, she discovered a love of crate-digging and found solace in old Ibiza discs, Ministry of Sound CDs and classic house records. Astoundingly, just one year later, she played her first gig. But it was the tragic death of her father that lit the fuse of true self-discovery. Tethering itself to her experiences in its wake, Twinsoul is a vessel for Niko to chart a course for emotional closure. With airy synths that echo unspoken conversations and bass that throbs like a constant reminder of a presence now absent, the album is a dancefloor therapy session. We caught up with Niko to discuss the captivating emotional arc of Twinsoul and the poignant stories woven within its music. Take a listen to the new album below and read on to discover more about its origins. EDM.com: Can you walk us through your interpretation of the concept of the soul? Yulia Niko: Soul? That's a hard question, but I would maybe describe it as an inner identity. Something that is spiritual and special, is what makes us extraordinary, and probably travels from body to body. This is what I prefer to believe in, and it gives me hope that maybe I can enjoy my artist life. Of course, when talking about the name of my album Twinsoul and I mention the fact that I am so similar to my father, we are talking about genes—but I would not name the album TwinGenes, right? So yeah, I think it is a nice, unique name with a kind vibe that captures my inspiration for the album. EDM.com: Creating art from a period of grief can be daunting. What steps did you take to stay grounded considering the emotional vertigo of the circumstances? I should admit, I do have a good psychologist and I have been in therapy for many years, in addition to meditating, and developing myself and my mental health by reading books or articles, and trying different practices. Music is always my escape from reality. Whenever I feel down, moody, tired or whatever it is, I am always making music, listening or searching… life without music would not be possible. Losing my father was a very hard experience, and people who have lost a parent understand that it truly changes something inside of you. Somehow, everything I've stated above has worked really well, but it was extremely hard to heal. Now, I’ve made it, and even better, I’ve let myself enjoy making real music, besides "loopy techno." I made an emotional album with ten songs, and something my father would actually enjoy listening to. Yulia Niko.c/o Armada Music EDM.com: Did producing Twinsoul help you connect with cherished memories of your dad? Or gain closure and comfort? In general, the fact that we’re talking about him so much because of the album already makes me so happy. He deserves it so much, and I hope his soul can somehow see it. If we do share one soul, part of him is inside of me, so maybe that's why it makes me feel so right. Making the album wasn’t something that I used to gain closure or comfort—it is something that my heart called for and I learned to listen to my heart. To produce the album, knowing that I dedicate this work of art to him, makes me so proud and excited, and is probably why I’m so pleased with the end result. EDM.com: Each track in the album is described as having a distinct narrative. Can you share the story behind one specific song that resonates most closely with you? Yulia Niko: "Success is a path not a destination, the ego is afraid. He wants to control because he is afraid." These are lyrics from "Exito" featuring Sil Romero. It is an absolutely original song written with Sil, who is one of my closest friends. She is from Chile, but based in Berlin. Throughout my life, success has been important but it's not like I have huge expectations for anything in particular. I just try to enjoy my journey and as long as it's comfortable and not stressful. Wherever I am at the end, I am just grateful. Life is too short to get upset. The cover picture on my phone screen says "I am enough." This is such an important message nowadays, when people have unlimited access to social media and so many people get stressed by not being somewhere or not having something. Sil and I come from countries where it's not that easy to make it as an artist, so that's why this song is the best representation of us both, actually. Plus it's a great message for my father, who was always so pushy, in a good way but also sometimes too much. But he made it so now I feel balanced and know how to do it right. Yulia Niko.c/o Armada Music EDM.com: As an artist, how do you find balance between expressing personal vulnerability through your music and maintaining a sense of personal privacy? Yulia Niko: There are always things from life which influence your art. People always like to have a story, and I don't want to create fake stories; I have enough of my own real ones. I have some lines which I never would cross in sharing about my life—I mostly try to share only about things that are related to the music I’m making. I actually would really like to write a book, because I think I have quite an interesting experience traveling the world and meeting so many people, analyzing a lot and finding many similarities between them. When it comes to my father's death, I would agree that maybe it is a bit much to share—or I thought so—but it had such a big impact on my life. I did not post on Instagram for people who never knew him, I just did something better by creating this album so people actually have a chance to get to know him, who he was and why he deserves this tribute. EDM.com: Deep house music is known for its soulful and evocative nature. Why do you think that is? Yulia Niko: Deep house, the name already describes itself. Deep, trippy, hypnotic rhythm with beautiful sounds and vocals which take you on a journey and provide you comfort for an exact moment of your life, and make you feel like in “inner home or house." I just came up with that! I swear I did not Google it. This is the exact feeling I felt when I heard deep house when I was 15, and it guided me through so many difficult situations since then, which brought me to the here and now. When I make music, I always have the keywords "uplifting, happy, groovy." I think this is why people get intrigued by deep house, or really any kind of music made with this intention. It just sounds really good and nice. EDM.com: From the euphoric highs to melancholic lows, there's a captivating emotional arc across the album. What do you hope listeners feel as they join you on this journey? Yulia Niko: I hope that listeners will find their own home and escape—hear a song which makes them feel really good, and really special. That they wake up and start the day with this particular tune, because as soon as they hear the first four beats they start to smile. This album is my first, maybe my last. Maybe not, but it is real—a real piece of art, which means everything to me! And I am honored to share my life with you. Enjoy listening to it. Thank you for listening. Follow Yulia Niko:Instagram: instagram.com/yulianiko Facebook: facebook.com/yulianikomusic Spotify: tinyurl.com/ptbz7tte

Nearing the March 22 release of his debut album, Pangea, Mahmut Orhan has issued one final album preview in “Kettle’s Up.” Now streaming everywhere via Ultra Records, the gritty new techno cut features dance music vocalist Botan, who previously collaborated with Orhan last September on “Backwards.” Marking their second joint effort, “Kettle’s Up” consists of club-rattling synth stabs and colossal build ups, cohesively bound by Botan’s gravelly vocal topline. Thus far, Mahmut Orhan has delivered seven singles that will appear on Pangea. Arriving on the heels of Tuana Yilmaz-assisted “Nighter,” “Kettle’s Up” officially caps the pre-album rollout. Stream “Kettle’s Up,” by Mahmut Orhan and Botan, below. Featured image: Sea Star Festival The post Mahmut Orhan shares final early-release album single, ‘Kettle’s Up’ appeared first on Dancing Astronaut.

The dynamic house duo of Max Dean and wAFF will make a long-awaited tour run in the United States this March. Named one of Dancing Astronaut‘s Artists to Watch in 2024, Max Dean has been one of the fastest rising house DJs in the UK, and he’s quickly catching fire in North America. Teaming up with wAFF, a mainstay on the Hot Creations label and founder of NATURE records, Dean remains a long-standing champion of the underground. Since making his United States debut, Max Dean gained significant momentum in 2023, which ultimately led to his momentous signing with United Talent Agency. With releases on Solid Grooves, EASTENDERZ, and his new imprint Four Thirty Two, Dean’s records’ seem to consistently materialize as volatile dance weapons. While on tour, the British DJ pairing will make stops in New York, Chicago, plus a final stop at Factory Town for Miami Music Week. Although Max Dean and wAFF’s US tour will be brief, the duo will certainly make their return in the near future. Featured image: @strangebrewcreative/Instagram The post Max Dean & wAFF announce United States tour appeared first on Dancing Astronaut.

SVDDEN DEATH and Marshmello have joined forces for a new mixtape, "MELLODEATH Tapes Vol. 1." "Triumphant" is one of the its undeniable highlights, its melodic bass euphoria serving as a respite from the pandemonium. Things take a much darker turn, however, with the ensuing "Fireball," a collaboration with metalcore band Crown the Empire, whose fire-and-brimstone vocals run roughshod through a ferocious dubstep arrangement. Elsewhere, "Vortexblade" takes a more minimal approach with its croaking bass, which slithers through thunderous 808s. Mello and SVDDEN DEATH close out with "Burn It Down," blending elements of Wave and riddim to tie a bow on the record with an anthemic barn-burner. SVDDEN DEATH and Marshmello.Jason Fenmore/Oh Dag Yo The heavy-hitting release arrives ahead of a co-headlining "MELLODEATH" tour, which is set to kick off on April 4th at Colorado's iconic Red Rocks Amphitheatre. Meanwhile, SVDDEN DEATH is currently gearing up for Miami's Ultra Music Festival alongside Eptic and Space Laces, with whom he's performing a highly anticipated set as MASTERHAND. Take a listen to MELLODEATH Tapes Vol. 1 below and find the new tape on streaming platforms here. FOLLOW SVDDEN DEATH:X: x.com/svddendeath Instagram: instagram.com/svddendeath Facebook: facebook.com/suddendeath Spotify: spoti.fi/3yUw3Zn FOLLOW MARSHMELLO:X: x.com/marshmellomusic Instagram: instagram.com/marshmellomusic Facebook: facebook.com/marshmellomusic Spotify: spoti.fi/3eeTJuD

Channeling the bittersweet beauty of impermanence, Camden Cox has unveiled a new single, "Another." The track is a forgotten polaroid in a dusty attic, its layered production and introspective songwriting inviting us down a nostalgic path of self-reflection on growth and impermanence. The prolific singer-songwriter, who was recently named to the EDM.com Class of 2024, bares her soul over a haunting house beat, exploring our desire to cling to the ephemeral memories of love lost. Set against the fading warmth of a bygone flame, Cox's emotive vocals convey a sense of rising above pain while acknowledging the void left behind. Her lyrics weave a tapestry of solitude, but the beat throbs with a steady resolve—a dancefloor therapy session where the pain of letting go finds a rhythm. The release coincides with International Women's Day and follows Cox's recent sold-out headlining show at The Hackney Social in London, where she was joined by Hayla, Alex Mills, Darla Jade, Driia, Hannah Boleyn and Lily McKenzie. Check out "Another" below and find the new single on streaming platforms here. Follow Camden Cox:Facebook: facebook.com/camdencoxmusic X: x.com/CamdenCoxMusic Instagram: instagram.com/camdencoxmusic Spotify: spoti.fi/3szd9qJ

Mumu Clubhouse is to make its long-awaited Grand Opening on March 9 2024 with world renowned house tastemaker Jamie Jones with support from Rec. ‘N Cue b2b Wildealer and opening sets from Zoárd and Leo Greenslade of YOYO London. The party runs from 3pm until late and for further information and tickets head to www.mumuclubhouse.com. Mumu Clubhouse is a sanctuary for kindred spirits, seekers and wanderers; connoisseurs of connection, tempo and bass. A dynamic meeting point at the edge of Phuket’s largest man-made lagoon, it offers a contemporary dance music haven, host to the world’s best known DJs, where the rhythm ebbs and flows beneath the stars. By day, Mumu Clubhouse is a sun-kissed retreat for relaxation, with soft white sand underfoot, cocktails, small-plates and Balearic beats. By night, it becomes a contemporary dance music haven and host to the world’s best-known DJs, where rhythms ebb and flow beneath the stars. The 4000 capacity space boasts a state of the art D&B Audiotechnik sound system and will offer carefully curated weekend parties with six large-scale events already planned throughout 2024. They will showcase a diverse lineup of both world class international and local talent, including Thailand’s Biggest Pool Party for Songkran Water Festival 2024, which will be an unforgettable experience and iconic celebration, but first comes this superb Grand Opening party. Jamie Jones needs little introduction. He heads up the HotTrax label, has legendary residencies at Amnesia in Ibiza with his cult Paradise brand and has played just about every major dance event in the world. He is right at the forefront of the global scene and will be bringing his own unique take on house and tech, along with a taste of Ibiza hedonism, to the opening of Mumu. Joining them will be Mumu resident collective Rec. ‘N Cue going b2b with Wildealer for more stylish grooves, while Leo Greenslade of YOYO London will be spinning a Balearic set and Zoárd from Mumu’s creative team brings his unique musical visions early in the day. This unmissable first party of the season will be brought to life in unforgettable style with cutting edge audio visuals. There will be spectacular lights, 3D mapping and bespoke stage design by Bangkok design and production studio Yellaban all of which promises to be on a level of the sort that Phuket hasn’t seen before. The Grand Opening of Mumu promises to be a historic session so make sure you are a part of it Get your tickets now through the Mumu website: www.mumuclubhouse.com Follow Mumuclubhouse The post Brand New Club Mumu Clubhouse Launches In Thailand With Jamie Jones Headlining Opening Party appeared first on Electic Mode.

The Living Wage for Musicians Act would see artists receive a "fair share" of streaming royalties as part of the Artist Compensation Royalty Fund Continue reading...

In light of the recent report – Misogyny in Music, it’s evident that women are underrepresented in the industry compared to men. However, if you’re a woman aspiring to carve your path in the world of music, don’t let this deter you. While there’s still progress to be made in closing the gender gap, comparing historical data reveals a promising trend: we’re moving in the right direction. Today, let’s keep the spotlight on the positive. We want to introduce you to some phenomenal women working behind the scenes in the music industry- there are loads of them- and there’s always room for more. If you’re interested in delving deeper into the statistics and understanding the challenges women face in the music industry, we’ve provided some links to reports below. But for now, let’s celebrate the achievements of these extraordinary women. May their stories inspire you to take the next step towards pursuing your dreams in this exhilarating, passion-filled industry. Maya Event Marketing Manager Hi! Who are you? I’m Maya, I’m 24 and have been working within the events department at Hospital Records / Hospitality D&B Events for the past 3 years. What is your job role? Event Marketing Manager How did you get into the role? I have always loved drum & bass and have been going to raves and listening to the genre since I was around 15/16. I knew I wanted to get into the industry but didn’t go to uni so I wanted to gain some experience. I started doing my own D&B nights in my hometown alongside mates mainly when I was 18 and then began doing freelance marketing managing during covid which led me to my role. I love drum and bass, and I love marketing so this role was essentially my dream job. What’s the best part of your job? There are a lot of great parts. The networking part is great, I have met friends for life through working in the industry and it’s great to be able to work alongside so many talented and like-minded people! I think definitely one of the best parts is when the event comes around and I can physically see the campaigns I work on come to life. One notable highlight of my career was probably looking out to our sold-out London festival with over 12,000 ravers seeing them all with smiles on their faces having the time of their lives, knowing I had a part in making that happen. Have you faced any female-specific obstacles during your career? I have encountered instances where expressing my opinions became challenging, with my views sometimes being undermined or challenged. This has been particularly evident when collaborating with agents, managers, and promoters, which is a big part of my role. There are a lot of big characters within the industry, and I do find myself sometimes doubting my ability or lacking confidence when it comes to working alongside them and struggle to get a word in. But I have been very lucky to have been supported by incredible men throughout my career from the artists I work with and within my company. I have grown into a manager in a short amount of time, have been given opportunities that have helped me excel, and I know that with my peers my opinions are always valued, and I know who to go to in times of need, knowing I’ll always get the support I need. Has the industry become more accepting of women over the years? 100%! Don’t get me wrong there is still a lot of work to be done but I have seen a shift over the past couple of years – more diverse lineups, more celebration of talented women with initiatives such as Hospital Records Women In Drum & Bass, EQ50, NOWIE, etc and generally there’s a growing presence of talented women in the industry, and I feel fortunate to work with them daily. In my opinion, more women are increasingly vocal when something is not right or when something needs to change; from challenging promoters booking all-male lineups to supporting labels and promoters with suggestions for female talent. Personally, I am very lucky to work with very talented women in my team, and within the events & music we promote at Hospital Records. Roshni Distribution and Rights Manager Hi! Who are you? Hi, I’m Roshni and I work for AEI and in my spare time I like to hoop. What’s your job role? I’m the Distribution and Rights Manager at AEI. I deal with all things related to DSPs and Copyright Infringement among other things. Sometimes it’s almost like being a detective, making sure all of the metadata is an exact match and picking up on any issues, such as a few numbers being wrong in a series of numbers we use as codes. How did you get into the role? I was first introduced to the world of Copyright and Intellectual property at uni and found it really interesting. I used the knowledge I gained from it in previous jobs and found it really helps with this job. What’s the best part of your job? Hands down the team! Having a fab team around to help and support you makes all the difference. Having women at every level of the company is fantastic as well as there’s always a voice who understands and can help with what we go through as women. Have you faced any female-specific obstacles during your career? I would say that behaviours are different. I’ve often noticed that when meeting someone (especially for the first time) they tend to shake the hands of a male colleague yet will go in for hug with you. I’ve also had conversations with female colleagues where we’ve found that people tend to be pushier and more aggressive when trying to disagree with us than they would if they were disagreeing with a male member of the team. People think they have more of a chance of getting an upper hand with us and feel they can intimidate us. Has the industry become more accepting of women over the years? I think it has, but it still has a long way to go, as proven by the recent studies into the topic. We have a lot of work to do to improve the industry. That change needs to come from our male counterparts as well. We’re always told to speak up and report any issues we experience but in reality, it can be quite frightening to do so Jess Senior PR Manager Hi! Who are you? I’m Jess, 29, and have been working in PR in the music industry for 6 years. What is your job role? Senior PR Manager at Jukebox PR How did you get into the role? I got into raving late compared to some, 18 onwards- when I started uni. It was then I decided I wanted to go down the music route in my journalism degree so interned at NME and Mixmag. But I was also interested in the world of PR, particularly in electronic music and after I graduated I did PR internships and freelance work before going full-time and haven’t looked back since. What’s the best part of your job? Working with some top clients and having a versatile roster but also having worked on some of my dream clients across D&B and beyond! No day is the same and something new is always around the corner, you never know what exciting project you may have the opportunity to work on next. Networking too, and building long-lasting relationships face to face with your clients whether it’s the artist, manager, label or media plays a great part and is one of the most valuable and exciting parts of the job. Also, seeing the projects you’ve worked on tell the artist’s story with interviews and features as well as supporting clients at their shows, meeting like-minded people like you’re on one big team and seeing your client’s release or a live show that they’ve worked so hard for come to life. Have you faced any female-specific obstacles during your career? I am lucky to say I haven’t personally faced any serious female-specific obstacles during my career so far but have unfortunately heard of some other people’s experiences. I am very fortunate that so far the people I have worked for have had zero tolerance and are completely understanding of any kind of sexism within the workplace and also when working with external clients. I used to feel apprehensive about sharing my views or suggestions when meeting all-male client teams as if I won’t be taken seriously as I used to get cut off in the past. However I feel now with experience, I will always voice my opinion and won’t be shut down, especially if I think it’s going to add value to whatever I’m working on. I am really glad to say that in my current role at Jukebox, the team is majority female which shows that the PR, marketing and media landscape in the industry has definitely progressed. I have been surrounded by talented and influential women since working full-time in PR, it’s great to see us all smashing it and owning our talent in an industry that overall is still very male-dominated. Has the industry become more accepting of women over the years? Yes definitely, slowly but surely. It’s unfortunate to hear on more than one occasion that there is still a gender pay gap within the industry, and I feel this needs to change ASAP. I am extremely lucky to have never worked somewhere that employs this, women work just as hard as men and do the same job so should be paid the exact same. There are great festivals and events leading by example with more female headliners, and female lineups in general as well as females curating the lineups. This is super important and has been great to see a shift here, definitely in more recent years. Personally, I have always felt supported and accepted by my male peers and never felt undervalued due to my gender. There are some men I know who are an incredible example of how to treat people fairly – supporting, encouraging and mentoring women and allowing them to be heard. I really hope more men continue to foster this mindset and attitude towards women who are making their first steps into the industry today! Amy Jayne Label Manager Hi! Who are you? I’m Amy Jayne and I’m currently based in Brighton. What is your job role? I’ve worked in underground dance for over a decade and currently spin several plates. My main gig is with 1985 Music where I’ve been the Label Manager for 3 years. I also work as a freelance artist and label consultant where I mostly advise self-releasing artists. I work closely with Workforce and his label Must Make Music and have previously worked with Technimatic, S.P.Y, and The North Quarter to name a few. Outside of music releases, I’m also a freelance Tutor at BIMM Brighton focusing on Music Business and Marketing. How did you get into the role? My journey into the music industry was certainly not planned or straightforward. From a young age, I was always surrounded by people with musical talent and loved organising ways of helping them showcase their art – from putting on a charity Battle of the Bands show at the age of 13 to running my own drum & bass event while at university. When I started going out to clubs I became immersed in the community as much as I could, joining forums (this was way before Facebook let alone social media as it is today) and travelling to meet other people who shared the same love for underground dance – whether that be fellow ravers, promoters, club owners, etc. I didn’t realise it at the time but it was networking – which apparently, I’m good at. After years of exit flying for fellow promoters, promoting my own dubstep events, and working as an event photographer in the North East of England I caught the attention of Tony Colman AKA London Elektricity who invited me to move to London to join the Hospital Records team as their Promotions Assistant. That was probably the point where it all changed for me, where I thought about it as a career rather than just things I did for fun or to get me into clubs for free or a bit of extra spending money for nights out. I threw myself into the role and soaked up all the knowledge I could from the amazing team which resulted in me being promoted to Head of the Promotion Department a year later. After that, I continued to try and make myself as multifaceted as possible and attended music conferences across the world – and later, going on to speak at some. Picking up even more knowledge I went on to work with other labels and after a brief freelance period went to work with Shogun Audio as Head of Marketing. You could say as I’ve grown up my role in the music industry has also grown – I’ve gone from promotion and marketing to wanting to understand the release process from start to finish – this finally led me to the Label Manager role with Shogun and the other imprints under their umbrella. Fast forward to the pandemic and everyone and their gran were self-releasing due to the circumstances, but not all creatives understand the business behind it – this is where I saw a gap in the market and started my consultancy business. A year or so into that Alix Perez called me for some advice which resulted in him asking me to manage 1985 Music – I certainly didn’t see that coming but obviously jumped at the chance. What’s the best part of your job? There are so many elements to what I do. Even after being part of hundreds and hundreds of records, I still get excited the eve before a release regardless of whether it’s a single track or an album. Hitting refresh at midnight and seeing the artist’s work pop up on stores will never grow old – and if it does I think I would question my position. Artists put their faith in me to present the best campaign for their art and it’s a lot of responsibility, watching them get the recognition they deserve is so rewarding. Another side of it is the live events, watching the reaction from the fans as they see the venue and watch the sets – it’s such a great feeling. We recently sold out the Roundhouse and when the doors opened and fans started coming through the doors it was amazing watching the look on their faces as they looked around such an epic venue. I kept taking myself up to the balcony to have little moments on my own like “I helped do this!” in disbelief. I won’t be forgetting that day anytime soon that’s for sure. Don’t get me wrong – these are the fun parts of my job and it isn’t always like that. I’m hardly posting pictures on my Instagram of me knee-deep in admin, emails, and metadata which is a daily occurrence and is a very important part of what I do. Have you faced any female-specific obstacles during your career? Working at events as a woman can be tough at times, drum & bass in a male-dominated world where alcohol and drugs are involved and people’s judgement isn’t always at its best. I’ve experienced countless times at events where I’ve been made to feel like I shouldn’t be there, whether that’s people assuming I’m a girlfriend of one of the artists (or trying to be) or people assuming I’m just there to bring them beers when I played a large part in the event happening in the first place. I’ve been told I can’t possibly be a label manager because I’m too young or a girl! Another thing that I’ve struggled with over the years is people not taking me seriously when I’ve been a woman in a managerial position and had to have difficult conversations. Then when a male colleague steps in echoing what I said, they instantly back down and accept the proposal or answer they were given in the first place. This isn’t unique to the music industry of course but it is very frustrating. Has the industry become more accepting of women over the years? Things are certainly moving in the right direction but there is still a lot more work to do. I feel that until women feel safe on the dancefloor itself, there is always gonna be unbalance in terms of equality. It’s great to see bookers being more mindful of equality on lineups and more women in higher positions behind the scenes but by some, especially in the live sector they are seen as token acts on bills and discredited. I’ve heard men complain that this artist is getting more bookings than them because they are a woman etc. Sometimes it feels like we can’t win! Predatory behaviour still exists too, it gets called out now more than it ever did but some stories still sadly get brushed under the carpet. Society as a whole is pretty fucked but it’s certainly improving on that front. Savannah Simms Company Director Hi! Who are you? Savannah Simms, 28, loves the creative industries! What’s your job role? Director- We Are Impact, Artist Developer- MOBO UnSung, Freeland Event Manager and DJ How did you get into your role? In my current role as a Freelance Artist Developer for the MOBO Awards, my dedicated commitment to the creative industries is evident. My journey began with serving as a Band Coach and A&R for Mas Records charity, where I meticulously managed recordings, rehearsals, gig bookings, and comprehensive marketing and logistics strategies, contributing to the success of over 90 bands. My impactful contributions continued as I assumed the role of Director for We Are Impact (formerly Tileyard Impact for Tileyard Studios). Here, I facilitated the employment of 82 individuals and secured work placements for over 100 young people. Spearheading masterclasses and seminars featuring industry professionals from esteemed businesses, I impacted the lives of over 20,000 individuals. Collaborating with influential entities such as Apple Music, Spitfire Audio, Google, AEI, Ted Baker, Pioneer DJ, and Broadwick Live, I curated bespoke workshops and work experiences, furthering my commitment to fostering creativity within the community. My involvement with schools in the Camden and Islington area, along with collaborations with organizations like Sound Skool, Loud Futures, Girls I Rate, Girl Grind UK, Small Green Shoots, and The Halley, reflects my dedication to nurturing talent at every opportunity. In the events realm, I’ve showcased my prowess as an Event Producer for Labour’s Summer Reception for two consecutive years. Working alongside prominent figures such as Sir Lenny Henry, Keir Starmer, and Tom Watson, I played multifaceted roles as Event Manager, Technical Stage Manager, Artist Booker, Promoter and DJ Promoter in live music, festivals, and nightlife. Collaborating with prestigious entities like Glastonbury, Abbey Road Studios, PRS Foundation, Royal Albert Hall, and The Great Escape, among others, has enriched my experience and expanded my network. Beyond events, my versatility shines through. From performing spoken word at charity Galas for the Duke & Duchess of Cambridge to producing podcasts for comedians like Dane Baptiste & Eshaan Akbar, I’ve embraced diverse opportunities. My accomplishments have garnered recognition, featuring me in prominent media outlets such as ITV News, Soho Radio, BBC Radio, and The Guardian. What’s the best part of your job? Meeting new people, every day is different! I love the adventure of it all!! Have you faced any female-specific obstacles during your career? Unfortunately sexual harassment, misogyny and belittlement. I was once told to “not bother continuing in events, as I “would not get far as a woman in drum and bass” by an MC/DJ. Remarks have been made on my body as well as inappropriate touching within the workplace. Not being taken seriously as management, especially when I was younger, it was a constant battle! Has the industry become more accepting of women over the years? I feel there has been more of a change. The report ‘WOMEN IN CTRL FOLLOW-UP REPORT- LOOKING AT THE REPRESENTATION OF WOMEN IN THE BOARDROOM IN THE UK MUSIC INDUSTRY TRADE BODIES’ opened my eyes to how far we have come within the industry within a year alone. Highly recommend you to have a read. There are a lot more women in senior roles, I feel our voice is being heard much more than before. We still have a long way to go but I am hopeful it will be a lot brighter in the future! Marisa Specialist Publisher Hi! Who are you? Hi, I’m Marisa (also known as Mel, also known as pyxis) and I co-run S2k Music which is a drum and bass specialist publishing company, with my business partner Laura. What is your job role? I collect mechanical and performing royalties all over the world for labels and producers in the scene. How did you get into your role? I fell into it by accident really, I was looking for work in the music business and I was friends with the people running the company and I got the job, this was in 2001! What’s the best part of your job? Drum and bass! I was a huge lover of D&B before I got the job, and this was just a dream role for me, I love being able to get people the money they’re owed, keep my ears to the ground, watch new talent rise and take care of some really big clients too. We just actually past 40k works on our repertoire this week which is massive. Have you faced any female-specific obstacles during your career? I honestly haven’t, it’s the opposite, everyone thinks of me as a mum or a sister but that said, I do have some really misogynistic clients who aren’t very polite, I have even had a death threat from a certain male producer and a couple of clients have made us feel very uncomfortable, I wonder if they’d speak to a man that way? Or their mum, or their sister? Has the industry become more accepting of women over the years? It really has actually, as a publisher and producer I was on both sides of the coin because people automatically expect women to work in admin, accounts, etc but not as a producer and the biggest win for us is watching our female client base rise and rise in the last few years. When I was in the first few years of working in publishing, we had no female clients and it felt quite miserable if I’m being honest, no offence to the lads but working with other girls feels more cosy and less corporate, signing off emails with love and hugs is really nice to work with, so big shouts to all my female clients and I’m so happy to see it rise and rise! Misogyny In Music Report Being Black In The Music Industry Report Counting The Music Industry Gender Gap Report Seat At The Table 2024 Report The post Women Work Here Too appeared first on UKF.

The days of hidden five-star reviews proudly displayed on your DJ company’s website are long gone. Google has now brought these star ratings to the forefront, showcasing them prominently in branded search results (SERPs) and beyond. This shift in focus highlights the growing importance of star ratings for businesses, as they can: Build Trust: Positive [...] The post Attn: DJs! Google Review Stars Have An Important Change appeared first on DJ Life Magazine.

Enter Midnight: Our new range inspired by silhouettes dancing in the dark… The full collection features a slick black-on-black design across a new signature t-shirt, hoodie, sweater, cap and sweatpants. Designed for creatures of the night. Available exclusively on Telegram. JOIN FOR ACCESS The post Midnight collection appeared first on UKF.

The 12-inch features music from J.Rocc, Fast Eddie, DJ Haus and Shadow Child Continue reading...

A pair of Dancing Astronaut Artist to Watch alumni have united on a stunning melodic bass cover of Billie Eilish’s Grammy Award-winning track, “What Was I Made For?.” And that’s Luci and STAR SEED, who reimagine the cut from the Barbie movie soundtrack with a refreshing new take from the two multi-talented artists. With the former lending his production hand and the latter offering her vocals, this rendition of Eilish’s hit marks the first-ever collaboration between them. STAR SEED is fresh off of releasing his remix of Kill The Noise and Karra‘s “Afraid Of The Dark” off of the former’s Hollow World Reanimated remix album on Ophelia Records. And he’s set to hit the road in March with five tour dates alongside William Black and MitiS. Luci is fresh off a 2023 run that saw her release her debut album, bittersweet. And she opened 2024 with a heavy-hitting single “Decode” that features her dynamic ability as a producer, songwriter and singer that’s become ubiquitous across her catalog. She also just announced that she’ll be performing during Miami Music Week as part of the BPM Music x Prodigy Artists Showcase alongside the likes of Ootoro, Yetep and more. Luci and STAR SEED’s cover of “What Was I Made For?” is out on March 8, but it’s exclusively available a day early on Dancing Astronaut. Featured image: Luci/Instagram The post Luci, STAR SEED give Billie Eilish’s ‘What Was I Made For?’ a melodic bass cover [Premiere] appeared first on Dancing Astronaut.

Coinciding with their current North American tour, CamelPhat‘s first collection of remixes for their Spiritual Milk album is out on March 1. Just a week after launching Vintage Culture’s remix of “Home” from CamelPhat and RHODES’, the British DJs have gathered an impressive list of producers to give their spin on a Spiritual Milk record. Released via When Stars Align and under exclusive license to The Nations, CamelPhat continues to build out a reputation for their surging imprint. First up is Milan based producer Ivory, turning in a psychedelic and visionary version of CamelPhat and Jake Bugg’s “Love Is Something”. Blurring the lines between soothing chords and deep house melodies, “Turning Stones” Arodes and Josh Gigante remix has quickly inserted itself into CamelPhat evolving setlists. Next up is Sideral’s calming melodic mixdown of “What A Day” featuring Delilah Montagu. Known for his 2023 hit single “Dialogue” with Dyzen, Sideral shows his unique range spanning the depths of house and techno. Finishing out the first collection is Dancing Astronaut Artist to Watch alumni KILL SCRIPT. Giving his cinematic techno spin on “In Your Eyes”, the low ends are set to rumble throughout stages for one of the heaviest tunes on the remix album. With more remixes on the way, CamelPhat’s album renewal is just getting started. Featured image: CAMELPHAT/Instagram The post CamelPhat recruit KILL SCRIPT, Vintage Culture, and more on first group of ‘Spiritual Milk’ remixes appeared first on Dancing Astronaut.