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London-Ibiza electronic music collective, 8 Bit Society, joins the prestigious roster at CENTRL Music, marking a significant milestone in their already illustrious career. With a reputation for successful releases, sold-out events, and collaborations with industry giants, 8 Bit Society is poised to make waves in 2024.Scheduled for release on March 15, 2024, Escape features Acid-tinged Deep House and classic Techno influences, showcasing 8 Bit Society‘s innovative approach to electronic music. Club ready, Escape has already received widespread support from some of the heavyweights in the industry including likes of Quentin Harris, Anna Tur, Justin Harrris, Joyce Muniz, Nicole Moudaber, Ruben Mandolini, Alex Medina, Paco Osuna, Leandro Silva, Robert Owens and Deer Jade. On the remix, the relentlessly touring, Ibiza based DJ and producer Mr Doris teams up once again with his studio partner, Sydney based funk phenomenon D-Funk. After numerous releases together on labels such as Jalapeno, Bombstrikes and Ghetto Disco, it’s now CENTRL’s turn to host their sound. 8 Bit Society are a London-Ibiza electronic music collective, drawing inspiration from the past and present to propel their ever-evolving sound into the future. Known for their sold-out events and successful releases on the likes of Wild Card, Divine Sounds, Good For You Records, Foliage Records, SP Recordings, La-Di-Da Records and Salted Music, 8 Bit Society is a force to be reckoned with in the music industry. To celebrate the release 8 Bit Society will be joining the CENTRL Music crew on the 15th of March for ‘Escape Plan’ at The Cross Nightclub London featuring alongside heavy hitters Soul Central, Mr Doris, Syncia and Kevin Cutts. Guestlist registration at CENTRL Music Presents ‘Escape Plan’. Save/Preorder – 8 Bit Society – Escape Available All Available Platforms 15th March Follow 8 Bit Society: Instagram | Facebook | Soundcloud | Spotify Follow Centrl Music: Instagram | Facebook The post Centrl Music Welcomes 8 Bit Society With The Release Of “Escape” appeared first on Electic Mode.

KSHMR has been entertaining dance music fans for the past decade. He’s made massive festival anthems like “Secrets,” “Megalodon” and “Karate”, he’s cultivated a conscious identity and sound based on his Indian heritage and he’s also a producer extraordinaire. While KSHMR, whose real name is Niles Hollowell-Dhar, continued to put out some dance tunes in 2023, his main accomplishment last year was his Indian hip-hop album KARAM. Now, after a brief foray outside of dance music, KSHMR enters 2024 ready to dominate the EDM landscape. Not only did KSHMR just release his first single of the year “All Night” with gritney, KSHMR also just launched his new bi-weekly Dharma Radio show as well as embarking on a North American club tour. We got the chance to chat with KSHMR ahead of his Los Angeles takeover March 8 & 9. Niles is truly one of the most thoughtful individuals in the dance music world and we had the pleasure of speaking with him about a number of topics. We discussed adapting to the current musical landscape, his musical rejuvenation after KARAM, the production of his latest single “All Night” and reflecting on 10 years of KSHMR. He even gave us a production deep dive on how to make tracks sound better in a live setting. Hey Niles! Thanks for the chat, it’s always a pleasure. Tell us what has KSHMR been up to lately and how have you adapted to the ever changing musical landscape? “Yeah, that’s been a tricky one, figuring out how I fit into it. There’s a lot of music out there that I like, that I really respect and admire. But, then I think about me doing it and it feels a bit forced. So, I’ve been trying to find that line of incorporating new sounds that I do enjoy and what my take on it is. And, I was in a bit of a rut with it for a while, but in the last four or five months I found some songs that sort of reignited that passion again. It was nice making that hip-hop album in India that I made, because it got my head out of dance music completely. So coming back to dance music, it felt fresh again, inspired. The newest song, ‘All Night’, when I look at the scene, I really love the faster stuff. When stuff started getting slower, or just groovy, not that there’s anything wrong with that. I was like, I don’t know, I don’t want to make drops that are just groovy with the bassline like a lot of house stuff. But, the Psy energy really appeals to me. That Eli Brown track, ‘Be the One’, I’m actually friends with the girl who wrote it. And it was interesting because throughout that process, she was like, how should I handle this? Because Eli had used a sample of hers to make that track, ‘Be the One’. And she was like is anyone going to know it’s me or how can I use this to get people to know I’m the singer on it, you might be interested in me too. I told her, you should just shout it from the mountain tops, let everyone know who’s listening. ‘Hey, if you like that song, just so you know, it’s me singing.’ Be annoying about it, it’s fine. But, another thing you could do, is do a song sort of in that style, except this time you’ll be featured on it and everything. So, I actually made this beat, just for her to do that. Just kind of for Sarah, to have her song so she could ride the wave of the Eli Brown thing a little bit and have her own song to show for it. Then as it developed we were like, ah, maybe we’ll just make it a collaboration, make it like KSHMR and Sarah; on the track she goes by gritney, but her name is Sarah de Warren. So yeah, part of me was like it’s kind of like the Eli Brown track, but I liked it so much, I was like, eh, it’s cool. I won’t mince words about the fact that it’s definitely inspired by that, and I wanted to do a track for Sarah that had that feel. So yeah, I’m really happy with that one, I’ve been playing it live. There’s another track coming, it’s called ‘Happy’, it’s just a really beautiful song. It’s another one, I was like this is really beautiful, but how do I make this something I want to play live and something that fits in the world of KSHMR. Oftentimes, that’s just a process of the production; I remember Secrets even, I had the vocal and the chords, but then the production and what the style was going to be, it was probably about eight months before really cracking it. So, Happy was another one, it didn’t take as long, but just knowing it was a beautiful song and just finding the right style to make it make sense for the show, and I think the version that we land on is something really special. So, that’ll be the next single. And, this will be really interesting for all you music nerds out there; it’s in Phrygian. So there’s this really beautiful concept in music called plagal cadence, where if say you’re in C major, the sound of the F chord is supposed to be major, but then you could make it minor and then you resolve back to C. It has a very instantly recognizable like, we’re going to sleep kind of sound. It’s one of the most beautiful sets of two chords you can put together in all of music, I would say. And it’s also special because it’s going out of key, so anytime something goes out of key and it works, my ears perk up, and I think most people who are interested in music are like, whoa, what’s the science of that? We’re all familiar with the seven chords that are afforded to us in a normal scale, but you can absolutely step out of those in interesting ways. And if you don’t know what you’re doing, it’ll sound bad. But, there are cases where it does work and it sounds good and it’s even more special because you broke the rules a little bit. So this is a song that’s in Phrygian, which is an interesting scale, it usually sounds like Middle Eastern to people, or it sounds maybe kind of like heavy metal, it’s quite moody. And this plagal cadence thing worked within that scale, it was a nice thing, that feel that you don’t often get to put in dance music because it borders on a little movie sounding, yeah, it’s just moody, overly emotional. But, in the case of this song, I think I was able to get it just right in the pocket of having that emotion but also working well as a dance song. I did that one with Tiina, who I also did “Do Bad Well” with, she’s a great singer. It’s very focused on her vocal the whole time, her vocal is like the drop, it’s the verse, it’s everything, it’s beautiful.” You’re currently on your North American club tour. How’s it been going so far and tell us what kind of preparation goes into your own headline tour as opposed to pulling up to a festival and playing an hour-long set? “You know, there was a time when I was getting prepared for a tour it was sort of incremental. Like I would take the songs and edits that I had that worked, I’d mostly keep them, maybe do a couple of new things. It was hard to justify spending a lot of time going back to songs like Secrets and doing a new edit or a new mix, when I was feeling a lot of pressure to make new music. So going back to these old songs and doing edits of them, it seemed frivolous. But, this tour, something changed, I was just sick of it. I was like, look I’ve been playing this fucking edit too much, I’m scrapping all this shit! I’m still playing the songs that people are familiar with, but I put a new edit, remix, mashup on just about everything. And what comes out of that is cool because I end up producing essentially remixes of old tracks. Sometimes the remixes end up being really cool and maybe I would even put those out, maybe when the tour is done or halfway through. There’s so many edits and remixes now, and it’s also been a big driver for me to take the little demos that I have, that aren’t quite ready yet and them ready enough to play live, because playing IDs, new tracks, that feedback that you get from the crowd instantly informs your decision making when it comes to the production of the track. So, yeah, these sets were supposed to be 75 minutes and I had to push it to 90 minutes because there’s so much new music. I used to say absolutely not, nothing over 75 minutes, now I’m asking them for more time. It just feels like I have so much music I want to play for people. It’s a great feeling, honestly, you feel revitalized, it’s nice.” Has that ever happened, or what’s the feeling like where you play something new for the first time and maybe it doesn’t get the reaction you were expecting? “Yeah, it’s horrific, you know. Yeah, it feels bad, to be fair, I think you have to take the average of a few different cities, how they’re reacting. Because for that crowd, at that time you played it, with that soundsystem, maybe something just didn’t click. So, that doesn’t mean abandon it, you go to the next city. But, if there’s something about the mix that you can tell, then you can fix it. Sometimes it’ll just kill my enthusiasm for a song altogether and that’s happened before too. One thing from a production perspective I’ve definitely noticed is things that sound good in the studio with a lot of bass, cannot translate if you haven’t left a little space. Having more space between a kick, meaning maybe your kick is a little shorter and the sub, creating that space, oftentimes for live works better. Like in the studio, where everything is perfectly treated, having the kick fill all those low frequencies and then the bass comes in right when the kick stops, seems like the right idea, you have this never-ending sub, that’s what you want. But, for live, there’s going to be so much bass, the bass is going to be accentuated, it’s going to be exaggerated, that making kind of cautious decisions, maybe a shorter kick, maybe the bass takes longer to sidechain in and things like that kind of compensate for the fact that there’s probably going to be an exaggerated representation of the bass when you go to play it live. But, in the case of playing it live, creating that separation, you can do it the right way, which is to open up the project and actually mix it differently. But, the other way that you could do, is just put LFO Tool on a track, make sure it’s only affecting the sub and you can just carve out a different shape for it. So if the kick and the sub are really fat and there’s no space between them that low end frequency is just going to look like a sausage kind of. So you use LFO Tool to essentially carve out a little dip in the kick to stop it and halfway through the beat you can lift the sub back in. And if you don’t want to go back into the project, you just want to get a rough idea of what a shorter kick and more space might sound like, you can do that! I’ve been doing that, and you can quickly get just a slightly different mix and see how that feels, and if that is a good idea, you can go back into your project and do a proper mix that way. But, as I’m playing things live, if I had the opportunity to go to a club before it opens, like I’ve done before, and have them let me play music through the speakers, that’s probably the main thing I would focus on. How long does this kick need to be to make it sound like it’s bangin’ and how loud does a sub really need to be. Because some great songs that sound really punchy, really big, like ‘Push Up’ by Creeds. Yeah, that track is really interesting, really loud kick, sub is not that loud, and sub has a big separation from the kick. So, when I saw how well that works live, it made me rethink what I thought I knew a lot about. Maybe a kick could be a lot louder, sometimes it doesn’t need to be that loud. And if I go and get to test things in a club, that’s mostly what I’m checking for. That’s a long-winded way of answering your question. How does it feel when something doesn’t work? It’s not only the problem, but I’m offering the solution, too.” Speaking of festivals, Ultra Miami is just around the corner. How does it feel to be back in Miami and what can fans expect on the main stage? Are you playing any other shows for Miami Music Week? “Yeah, it feels great to be coming back to Ultra. I think the last time I played I did the orchestral show, and I’ve done that twice now in Miami. This time just doing a normal DJ set on the main stage and I think it’s probably going to be like everything I’ve learned from on tour, what’s working and what’s not. All of the new music that I’ll be testing on tour, I’ll get it in a really good place to present it at Ultra Miami. That’s kind of my plan.” Will you be playing any other shows during Miami Music Week at all? “You know, there was talk about doing, but these shows would be at like 5 AM, and I also gotta think about me, my kind of show, and in Miami with that crowd, 5 AM, am I the right DJ? So, there were a couple of things that we discussed, but I ended up deciding it wasn’t the right thing. I wouldn’t want to hear a KSHMR set at 5 AM, I’m off my you know what. It’s not the vibe.” 2024 will mark 10 years of KSHMR, reflect on your musical journey for us. How have you grown and evolved as an artist over a decade? Do you have anything special planned to celebrate? “Yeah, that’s really wild, 10 years since my first show. I was putting out music for about a year before that, I was an anonymous thing and not playing any shows yet. Yeah, it’s been a wild journey. I think I came in with a really concise vision of being this dark, cinematic, mysterious guy. Back then I was riding the wave of songs like “Tsunami”, “Megalodon”, even all the way up until “Secrets”. Somewhere around there more of the Indian side came out with songs like “Jammu” and “Kashmir” and I really leaned into that. And, there’s been these different waves, Harmonica Andromeda album was again a wave, just going to different tempos and really taking the cinematic and organic stuff and taking it to its extreme of what if a song had three different twists in it. In a way, just an absolute showcase of what I was capable of production-wise. I had a lot of fun making that. Another wave was going to India and doing that, I think it’s been a lot of really great waves and that’s all you can hope for. I guess I’m really proud of the challenges and the way that the team and I have faced them and made something really fun and interesting out of them. Like, even the orchestral show, originally it was sort of a challenge because Ultra was going to give me either not-a-great set on the main stage, or they said why don’t you do the live stage, and that was kind of like, are they just throwing us on the live stage? But, then the wheels got turning on what that could mean and it led to one of my favorite shows to play now, the live orchestral shows. Another thing was how we’re going to present the show in general, then the Animated Story idea came about, then thinking it’ll be so cool if we translated that into the different languages of the countries I’m performing in. There’s just a lot of challenges that led to fun ideas that led to a lot of work, but it’s such a great feeling when your work seems to be for something that you believe in. You know, that feeling of you want to stay up all night, you want to stay up all weekend. I really love that feeling when there’s such a singular, clear purpose to your life. The KSHMR project has presented so many of those amazing experiences and challenges, so I’m really grateful for it. And, all the guys that helped me along the way, before my production skill was even really as good as the songs were. The reason the songs were good is because of how many great people collaborated with me. Bassjackers, R3HAB, Tiesto, 7 Skies, all of these guys. So, I’ve been really fortunate in that sense, and now I’m in this period of like, well, everybody into dance music kinda knows who I am and I’ll probably never be that hot, rising guy like I was, so now it’s almost a relief, there’s not the pressure to be that, you can just find new waves, do things that excite you and keep it rockin’.” What other music and touring do you have in store for 2024? “Yeah, there’s going to be Europe in the summer, that’s typically what I do, I spend a lot of time in Europe. I think probably more India is going to be coming around, India is always a big one for me, it feels like a homecoming. Yeah, you know, there’s always fucking shows. I’m just focused on what’s in front of me, which is the North American tour.” I always like to ask this in interviews. Do you have any current book or streaming recommendations? “It’s been a while since I had a book that I really loved. But, streaming recommendations, American Nightmare on Netflix, that is a wild story, that’s a really good one. For people who are fans of sci-fi, ‘Severance’ is a really good show. Sometimes this show gets boring, but altogether I do love it. It’s called ‘For All Mankind’, it’s like historical fiction, it’s kind of like in the High Castle, where it reimagines a critical event in history and then all of the events that emerged from that even being slightly different from the version that we’re familiar with. In this case, it’s Russia beating us to the moon. Not only do they beat us to the moon, but they put a woman on the moon, so this has a dramatic impact on the view of women in society and the amount of investment that the American government makes into NASA. So, by the 90s people are driving electric cars and there’s been all this investment in science. So it does a really beautiful job of sort of reimagining history in a way that’s not cheesy, it’s kind of subtle and it’s trippy to think how things could have been slightly different. I really took it too heart that we lost the moon race and so they just started plowing money into science which ends up having a lot of great consequences, you get a female president, a lot of cool, interesting things happen.” Anything else you want to say to all the fans out there? “Yeah, I just can’t wait for all of you guys to hear this new music, and if you come to the shows, you’ll hear it first.” Check out the latest from KSHMR & gritney “All Night” out now on Dharma. Get your tickets for one of KSHMR’s two upcoming Los Angeles shows here. Remaining tour dates below. March 1 – Harbour Event & Convention Centre – Vancouver, BC March 2 – Prysm – Chicago, IL March 8 – Academy – Los Angeles, CA March 9 – The Vermont – Los Angeles, CA March 15 – New City Gas – Montreal, QC March 16 – Harrah’s Pool After Dark – Atlantic City, NJ March 23 – Ultra Music Festival – Miami, FL March 29 – NOTO – Houston, TX March 30 – The Great Hall – Brooklyn, NY April 5 – The Church Nightclub – Denver, CO This article was first published on Your EDM. Source: KSHMR Talks New Single, North American Tour, Production Techniques and 10 Years of KSHMR [Interview]

KSHMR has been entertaining dance music fans for the past decade. He’s made massive festival anthems like “Secrets,” “Megalodon” and “Karate”, he’s cultivated a conscious identity and sound based on his Indian heritage and he’s also a producer extraordinaire. While KSHMR, whose real name is Niles Hollowell-Dhar, continued to put out some dance tunes in 2023, his main accomplishment last year was his Indian hip-hop album KARAM. Now, after a brief foray outside of dance music, KSHMR enters 2024 ready to dominate the EDM landscape. Not only did KSHMR just release his first single of the year “All Night” with gritney, KSHMR also just launched his new bi-weekly Dharma Radio show as well as embarking on a North American club tour. We got the chance to chat with KSHMR ahead of his Los Angeles takeover March 8 & 9. Niles is truly one of the most thoughtful individuals in the dance music world and we had the pleasure of speaking with him about a number of topics. We discussed adapting to the current musical landscape, his musical rejuvenation after KARAM, the production of his latest single “All Night” and reflecting on 10 years of KSHMR. He even gave us a production deep dive on how to make tracks sound better in a live setting. Hey Niles! Thanks for the chat, it’s always a pleasure. Tell us what has KSHMR been up to lately and how have you adapted to the ever changing musical landscape? “Yeah, that’s been a tricky one, figuring out how I fit into it. There’s a lot of music out there that I like, that I really respect and admire. But, then I think about me doing it and it feels a bit forced. So, I’ve been trying to find that line of incorporating new sounds that I do enjoy and what my take on it is. And, I was in a bit of a rut with it for a while, but in the last four or five months I found some songs that sort of reignited that passion again. It was nice making that hip-hop album in India that I made, because it got my head out of dance music completely. So coming back to dance music, it felt fresh again, inspired. The newest song, ‘All Night’, when I look at the scene, I really love the faster stuff. When stuff started getting slower, or just groovy, not that there’s anything wrong with that. I was like, I don’t know, I don’t want to make drops that are just groovy with the bassline like a lot of house stuff. But, the Psy energy really appeals to me. That Eli Brown track, ‘Be the One’, I’m actually friends with the girl who wrote it. And it was interesting because throughout that process, she was like, how should I handle this? Because Eli had used a sample of hers to make that track, ‘Be the One’. And she was like is anyone going to know it’s me or how can I use this to get people to know I’m the singer on it, you might be interested in me too. I told her, you should just shout it from the mountain tops, let everyone know who’s listening. ‘Hey, if you like that song, just so you know, it’s me singing.’ Be annoying about it, it’s fine. But, another thing you could do, is do a song sort of in that style, except this time you’ll be featured on it and everything. So, I actually made this beat, just for her to do that. Just kind of for Sarah, to have her song so she could ride the wave of the Eli Brown thing a little bit and have her own song to show for it. Then as it developed we were like, ah, maybe we’ll just make it a collaboration, make it like KSHMR and Sarah; on the track she goes by gritney, but her name is Sarah de Warren. So yeah, part of me was like it’s kind of like the Eli Brown track, but I liked it so much, I was like, eh, it’s cool. I won’t mince words about the fact that it’s definitely inspired by that, and I wanted to do a track for Sarah that had that feel. So yeah, I’m really happy with that one, I’ve been playing it live. There’s another track coming, it’s called ‘Happy’, it’s just a really beautiful song. It’s another one, I was like this is really beautiful, but how do I make this something I want to play live and something that fits in the world of KSHMR. Oftentimes, that’s just a process of the production; I remember Secrets even, I had the vocal and the chords, but then the production and what the style was going to be, it was probably about eight months before really cracking it. So, Happy was another one, it didn’t take as long, but just knowing it was a beautiful song and just finding the right style to make it make sense for the show, and I think the version that we land on is something really special. So, that’ll be the next single. And, this will be really interesting for all you music nerds out there; it’s in Phrygian. So there’s this really beautiful concept in music called plagal cadence, where if say you’re in C major, the sound of the F chord is supposed to be major, but then you could make it minor and then you resolve back to C. It has a very instantly recognizable like, we’re going to sleep kind of sound. It’s one of the most beautiful sets of two chords you can put together in all of music, I would say. And it’s also special because it’s going out of key, so anytime something goes out of key and it works, my ears perk up, and I think most people who are interested in music are like, whoa, what’s the science of that? We’re all familiar with the seven chords that are afforded to us in a normal scale, but you can absolutely step out of those in interesting ways. And if you don’t know what you’re doing, it’ll sound bad. But, there are cases where it does work and it sounds good and it’s even more special because you broke the rules a little bit. So this is a song that’s in Phrygian, which is an interesting scale, it usually sounds like Middle Eastern to people, or it sounds maybe kind of like heavy metal, it’s quite moody. And this plagal cadence thing worked within that scale, it was a nice thing, that feel that you don’t often get to put in dance music because it borders on a little movie sounding, yeah, it’s just moody, overly emotional. But, in the case of this song, I think I was able to get it just right in the pocket of having that emotion but also working well as a dance song. I did that one with Tiina, who I also did “Do Bad Well” with, she’s a great singer. It’s very focused on her vocal the whole time, her vocal is like the drop, it’s the verse, it’s everything, it’s beautiful.” You’re currently on your North American club tour. How’s it been going so far and tell us what kind of preparation goes into your own headline tour as opposed to pulling up to a festival and playing an hour-long set? “You know, there was a time when I was getting prepared for a tour it was sort of incremental. Like I would take the songs and edits that I had that worked, I’d mostly keep them, maybe do a couple of new things. It was hard to justify spending a lot of time going back to songs like Secrets and doing a new edit or a new mix, when I was feeling a lot of pressure to make new music. So going back to these old songs and doing edits of them, it seemed frivolous. But, this tour, something changed, I was just sick of it. I was like, look I’ve been playing this fucking edit too much, I’m scrapping all this shit! I’m still playing the songs that people are familiar with, but I put a new edit, remix, mashup on just about everything. And what comes out of that is cool because I end up producing essentially remixes of old tracks. Sometimes the remixes end up being really cool and maybe I would even put those out, maybe when the tour is done or halfway through. There’s so many edits and remixes now, and it’s also been a big driver for me to take the little demos that I have, that aren’t quite ready yet and them ready enough to play live, because playing IDs, new tracks, that feedback that you get from the crowd instantly informs your decision making when it comes to the production of the track. So, yeah, these sets were supposed to be 75 minutes and I had to push it to 90 minutes because there’s so much new music. I used to say absolutely not, nothing over 75 minutes, now I’m asking them for more time. It just feels like I have so much music I want to play for people. It’s a great feeling, honestly, you feel revitalized, it’s nice.” Has that ever happened, or what’s the feeling like where you play something new for the first time and maybe it doesn’t get the reaction you were expecting? “Yeah, it’s horrific, you know. Yeah, it feels bad, to be fair, I think you have to take the average of a few different cities, how they’re reacting. Because for that crowd, at that time you played it, with that soundsystem, maybe something just didn’t click. So, that doesn’t mean abandon it, you go to the next city. But, if there’s something about the mix that you can tell, then you can fix it. Sometimes it’ll just kill my enthusiasm for a song altogether and that’s happened before too. One thing from a production perspective I’ve definitely noticed is things that sound good in the studio with a lot of bass, cannot translate if you haven’t left a little space. Having more space between a kick, meaning maybe your kick is a little shorter and the sub, creating that space, oftentimes for live works better. Like in the studio, where everything is perfectly treated, having the kick fill all those low frequencies and then the bass comes in right when the kick stops, seems like the right idea, you have this never-ending sub, that’s what you want. But, for live, there’s going to be so much bass, the bass is going to be accentuated, it’s going to be exaggerated, that making kind of cautious decisions, maybe a shorter kick, maybe the bass takes longer to sidechain in and things like that kind of compensate for the fact that there’s probably going to be an exaggerated representation of the bass when you go to play it live. But, in the case of playing it live, creating that separation, you can do it the right way, which is to open up the project and actually mix it differently. But, the other way that you could do, is just put LFO Tool on a track, make sure it’s only affecting the sub and you can just carve out a different shape for it. So if the kick and the sub are really fat and there’s no space between them that low end frequency is just going to look like a sausage kind of. So you use LFO Tool to essentially carve out a little dip in the kick to stop it and halfway through the beat you can lift the sub back in. And if you don’t want to go back into the project, you just want to get a rough idea of what a shorter kick and more space might sound like, you can do that! I’ve been doing that, and you can quickly get just a slightly different mix and see how that feels, and if that is a good idea, you can go back into your project and do a proper mix that way. But, as I’m playing things live, if I had the opportunity to go to a club before it opens, like I’ve done before, and have them let me play music through the speakers, that’s probably the main thing I would focus on. How long does this kick need to be to make it sound like it’s bangin’ and how loud does a sub really need to be. Because some great songs that sound really punchy, really big, like ‘Push Up’ by Creeds. Yeah, that track is really interesting, really loud kick, sub is not that loud, and sub has a big separation from the kick. So, when I saw how well that works live, it made me rethink what I thought I knew a lot about. Maybe a kick could be a lot louder, sometimes it doesn’t need to be that loud. And if I go and get to test things in a club, that’s mostly what I’m checking for. That’s a long-winded way of answering your question. How does it feel when something doesn’t work? It’s not only the problem, but I’m offering the solution, too.” Speaking of festivals, Ultra Miami is just around the corner. How does it feel to be back in Miami and what can fans expect on the main stage? Are you playing any other shows for Miami Music Week? “Yeah, it feels great to be coming back to Ultra. I think the last time I played I did the orchestral show, and I’ve done that twice now in Miami. This time just doing a normal DJ set on the main stage and I think it’s probably going to be like everything I’ve learned from on tour, what’s working and what’s not. All of the new music that I’ll be testing on tour, I’ll get it in a really good place to present it at Ultra Miami. That’s kind of my plan.” Will you be playing any other shows during Miami Music Week at all? “You know, there was talk about doing, but these shows would be at like 5 AM, and I also gotta think about me, my kind of show, and in Miami with that crowd, 5 AM, am I the right DJ? So, there were a couple of things that we discussed, but I ended up deciding it wasn’t the right thing. I wouldn’t want to hear a KSHMR set at 5 AM, I’m off my you know what. It’s not the vibe.” 2024 will mark 10 years of KSHMR, reflect on your musical journey for us. How have you grown and evolved as an artist over a decade? Do you have anything special planned to celebrate? “Yeah, that’s really wild, 10 years since my first show. I was putting out music for about a year before that, I was an anonymous thing and not playing any shows yet. Yeah, it’s been a wild journey. I think I came in with a really concise vision of being this dark, cinematic, mysterious guy. Back then I was riding the wave of songs like “Tsunami”, “Megalodon”, even all the way up until “Secrets”. Somewhere around there more of the Indian side came out with songs like “Jammu” and “Kashmir” and I really leaned into that. And, there’s been these different waves, Harmonica Andromeda album was again a wave, just going to different tempos and really taking the cinematic and organic stuff and taking it to its extreme of what if a song had three different twists in it. In a way, just an absolute showcase of what I was capable of production-wise. I had a lot of fun making that. Another wave was going to India and doing that, I think it’s been a lot of really great waves and that’s all you can hope for. I guess I’m really proud of the challenges and the way that the team and I have faced them and made something really fun and interesting out of them. Like, even the orchestral show, originally it was sort of a challenge because Ultra was going to give me either not-a-great set on the main stage, or they said why don’t you do the live stage, and that was kind of like, are they just throwing us on the live stage? But, then the wheels got turning on what that could mean and it led to one of my favorite shows to play now, the live orchestral shows. Another thing was how we’re going to present the show in general, then the Animated Story idea came about, then thinking it’ll be so cool if we translated that into the different languages of the countries I’m performing in. There’s just a lot of challenges that led to fun ideas that led to a lot of work, but it’s such a great feeling when your work seems to be for something that you believe in. You know, that feeling of you want to stay up all night, you want to stay up all weekend. I really love that feeling when there’s such a singular, clear purpose to your life. The KSHMR project has presented so many of those amazing experiences and challenges, so I’m really grateful for it. And, all the guys that helped me along the way, before my production skill was even really as good as the songs were. The reason the songs were good is because of how many great people collaborated with me. Bassjackers, R3HAB, Tiesto, 7 Skies, all of these guys. So, I’ve been really fortunate in that sense, and now I’m in this period of like, well, everybody into dance music kinda knows who I am and I’ll probably never be that hot, rising guy like I was, so now it’s almost a relief, there’s not the pressure to be that, you can just find new waves, do things that excite you and keep it rockin’.” What other music and touring do you have in store for 2024? “Yeah, there’s going to be Europe in the summer, that’s typically what I do, I spend a lot of time in Europe. I think probably more India is going to be coming around, India is always a big one for me, it feels like a homecoming. Yeah, you know, there’s always fucking shows. I’m just focused on what’s in front of me, which is the North American tour.” I always like to ask this in interviews. Do you have any current book or streaming recommendations? “It’s been a while since I had a book that I really loved. But, streaming recommendations, American Nightmare on Netflix, that is a wild story, that’s a really good one. For people who are fans of sci-fi, ‘Severance’ is a really good show. Sometimes this show gets boring, but altogether I do love it. It’s called ‘For All Mankind’, it’s like historical fiction, it’s kind of like in the High Castle, where it reimagines a critical event in history and then all of the events that emerged from that even being slightly different from the version that we’re familiar with. In this case, it’s Russia beating us to the moon. Not only do they beat us to the moon, but they put a woman on the moon, so this has a dramatic impact on the view of women in society and the amount of investment that the American government makes into NASA. So, by the 90s people are driving electric cars and there’s been all this investment in science. So it does a really beautiful job of sort of reimagining history in a way that’s not cheesy, it’s kind of subtle and it’s trippy to think how things could have been slightly different. I really took it too heart that we lost the moon race and so they just started plowing money into science which ends up having a lot of great consequences, you get a female president, a lot of cool, interesting things happen.” Anything else you want to say to all the fans out there? “Yeah, I just can’t wait for all of you guys to hear this new music, and if you come to the shows, you’ll hear it first.” Check out the latest from KSHMR & gritney “All Night” out now on Dharma. Get your tickets for one of KSHMR’s two upcoming Los Angeles shows here. Remaining tour dates below. March 1 – Harbour Event & Convention Centre – Vancouver, BC March 2 – Prysm – Chicago, IL March 8 – Academy – Los Angeles, CA March 9 – The Vermont – Los Angeles, CA March 15 – New City Gas – Montreal, QC March 16 – Harrah’s Pool After Dark – Atlantic City, NJ March 23 – Ultra Music Festival – Miami, FL March 29 – NOTO – Houston, TX March 30 – The Great Hall – Brooklyn, NY April 5 – The Church Nightclub – Denver, CO This article was first published on Your EDM. Source: KSHMR Talks New Single, North American Tour, Production Techniques and 10 Years of KSHMR [Interview]

The renowned Art of the Wild event series returns to Wynn Las Vegas from March 8-10 for its ninth edition at XS Nightclub. Wynn Nightlife will host the return of the anticipated immersive music festival, the Art of the Wild event series. In partnership with Framework, Art of the Wild 2024 returns from Friday, March [...] The post Wynn Nightlife & Framework Announce 2024 Art of the Wild Talent Lineup appeared first on DJ Life Magazine.

115+ artists will perform on six stages across the 3-day (May 25-27) fest at Hart Plaza with Solomon, Fatboy Slim, Richie Hawtin, and more. Among the top 20 electronic music festival in the U.S., Movement Music Festival has been a Detroit mainstay and a scene favorite since its inception. This year, Detroit’s Movement Fest has [...] The post Detroit’s Movement Music Festival 2024 Drops Full Lineup appeared first on DJ Life Magazine.

Richie Hawtin, Solomun, Goldie, Fatboy Slim, Masters at Work, Floorplan and more among 115 acts across 6 stages, 5 showcases and pop-up sets. The post Final line-up for Detroit’s Movement 2024 festival released appeared first on 5 Magazine.

Karl Jordan Jr and Ronald Washington are now facing 20 years in prison for the "cold-blooded" murder of the Run DMC member Continue reading...

The pioneering party welcomes a wealth of world-class artists from across the house and techno spectrum. Pioneering Ibiza residency ANTS will kick off its summer residency with two unmissable Day & Night events on 4 May and 11 May 2024. Having celebrated a decade at the forefront of underground electronic music in 2023, the ANTS colony returns welcoming two huge festival-line ups featuring cutting-edge artists, stars of tomorrow and scene innovators across two of the Island’s leading venues Ushuaïa & Hï Ibiza. With ANTS unrivalled festival atmosphere and out-of-this-world production, these two bold and adventurous Day & Night parties will setting an impeccably high standard for the season ahead. ANTS DAY & NIGHT PART I – OPENING PARTY // SATURDAY 4 MAY ANTS Day & Night Part 1 begins at Ushuaïa Ibiza, where the legendary German live act Paul Kalkbrenner, renowned for his emotive techno anthems and electrifying performances at Ushuaïa Ibiza, will make a much-anticipated return to the iconic poolside stage. ANTS mainstays Andrea Oliva and Nic Fanciulli will join forces for a dynamic back-to-back set that will blend their individual styles into a seamless journey through all forms of house, and sought-after Spaniard Wade will deliver slinky beats informed by a hip-hop sensibility and anchored by wavy basslines. Chelina Manuhutu returns to captivate the Colony with her vibrant stage presence and signature blend of loopy, bass-led house, new school star HoneyLuv brings infectious energy with her vibrant blend of house, disco, and funk, and Ibiza regular Raul Rodriguez lines up with his trademark blend of classic tracks and cutting-edge sounds. As night falls, the party continues at Hï Ibiza, where Ukrainian duo ARTBAT will headline the Theatre with their powerful melodic techno anthems and cinematic soundscapes. They will be joined by Franky Wah and his famously euphoric house sound, Dutch sensation Mau P, who amassed a staggering 200 million streams for his debut single ‘Drugs From Amsterdam’, and Ibiza favourite Tini Gessler and her compelling tech selections. Over in the Club Room, Gordo will lay down his Latin twist on house and bass sounds that draw on his South American heritage, and Fleur Shore will add her soulful house selections and deep grooves. Beatport chart toppers Mason Collective will deliver a high-octane set filled with the same driving basslines that have made them one of the UK’s most exciting DJ ensembles, and AJ Christou brings infectious energy and groove with his eclectic mix of tech, house and minimal. ANTS DAY & NIGHT PART II / SATURDAY 11 MAY Fast forward to 11 May and ANTS Day & Night Part II offers yet another sublime soundtrack. Ushuaïa Ibiza’s towering open-air stage will welcome an anthemic set from Andrea Oliva, an artist who has been instrumental in defining the unmistakable ANTS underground sound. He’ll be joined by hot new talent John Summit who blends classic influences with modern production techniques on mega hits like 2023’s ‘Hungover’, and Cloonee, one of Beatport’s top-selling artists who stands at the forefront of the UK’s modern house movement. Liverpool’s Sosa, who never fails to ignite the dance floor with high-grade house weapons, also joins the bill, along with Hot Creations producer Viot, the artistic expression of Minas Gerais native DJ and producer Lauro Viotti, and revered Ushuaïa Ibiza resident Raul Rodriguez. As the celebrations draw to a close at Ushuaïa Ibiza, the doors of Hï Ibiza’s multi-room immersive clubbing experience open, and the party continues well into the early hours. Hï Ibiza’s cavernous Theatre will welcome a headline set from Desolate founder and master of the underground Loco Dice, who brings his signature raw and gritty and future-facing sound. He’ll be joined by UK selector Archie Hamilton, with his fiery take on tech house that continues to set the global agenda, ANTS regular Syreeta, an artist who has built a career on authenticity, inclusivity, and fearlessness as well as chunky basslines and melodic grooves, also stars, and contemporary innovator Wheats who will keep the dancefloor bouncing with his characterful cuts of house and tech. Expect another trailblazing soundtrack in the Hï Ibiza Club Room, where vital Dutch veteran Joris Voorn, who never fails to serve up serene and well-balanced emotional journeys, will deliver a masterclass in melodic house and techno. Ilario Alicante, an artist so synonymous with Ibiza, he embodies the sound of the island in every pulsating set he plays, also gets behind the booth, along with Chilean Francisco Allendes with his minimal fusions of house and techno, and next-gen talent Miane, who’s tech house sound is made for the intimate dancefloor of the Club Room. Featuring never-seen-before production levels, ANTS 2024 will deliver innovative new audio-visuals and the largest structure in ANTS history towering over the Ushuaïa Ibiza dancefloor, creating a visually stunning experience that heralds an exciting new era of ANTS. Book your place at unitedants.com Follow ANTS Website | Instagram | Facebook | TikTok | YouTube | X Follow Ushuaïa Ibiza | Website | Instagram | TikTok | YouTube | Facebook | X Follow Hï Ibiza | Website | Instagram | TikTok | Facebook | X / Twitter | YouTube The post Ants Kicks Off 2024 Ibiza Season With Two Unmissable Day + Night Events At Ushuaïa And Hï Ibiza appeared first on Electic Mode.

DJ Life’s Magazine Featuring REZZ, Dimitri Vegas, Durante, NAMM ’24 Report: The New Gear, Groove Cruise + FriendShip Recaps & More! In the latest issue of DJ LIFE Magazine (Vol.4 No.1) — and our first of the year — we touch base with the one-of-a-kind DJ and producer, REZZ. As revealed in cover story, less [...] The post DJ Life Magazine Issue Vol.4 No.1 appeared first on DJ Life Magazine.

There’s no festival quite like Deep Tropics. Since their start, they’ve been pioneers in the festival landscape not just for delivering unforgettable music experiences, but for producing climate positive events year after year, earning the title to the Greenest Festival In North America. Take last year for instance, through their non-profit Deep Culture, they diverted 96% of festival waste from entering landfills. Their carbon footprint is offset through global and local tree-planting initiatives. 2024 partnerships include Ancient Nutrition’s R.A.N.C.H. Project, Trees for The Future, Tennessee Riverkeeper and the wonderful team at Bicentennial Capitol State Park. This year, they’re poised for their biggest edition yet as they revealed the name of each headliner starting Monday and completing today. House and bass music fans can rejoice, as this year is fronted by Kaskade, who will perform a coveted Redux set, RL Grime, Sofi Tukker, and Peekaboo. Additionally, Deep Tropics will host a Sustainability Summit on August 15th, curated by Deep Culture. The Summit is a convergence bringing together industry professionals, government officials and engaged citizens across diverse sectors to connect, inspire and showcase regenerative solutions. Furthermore, there will be a Deep Culture Amphitheater Experience to kick off the second day of the festival on August 17th, featuring a transformative set curated by DJ Drez. From breathwork and yoga to meditation and dance, attendees will embark on a journey of self-discovery and connection. “We are redefining the traditional festival model beyond entertainment. The long-term vision for Deep Tropics is to expand into a week-long conference that takes over Nashville. Think SXSW, ADE, Art Basel, Miami Music Week, but with a focus on regenerative design & wellness that is surrounded by amazing parties. The Sustainability Summit & expanded mindful activations at the festival itself serve as stepping stones toward that goal.” – Blake Atchison, co-founder of Deep Tropics) “Picture immersive workshops, thought provoking panels, and captivating talks on regenerative agriculture, sustainable fashion, renewable energy, & holistic wellness practices. Within our event festival-goers will discover activities dedicated to rejuvenation and self-care, offering yoga, meditation, sound healing, and holistic modalities designed to replenish mind, body, and soul. Deep Tropics is more than a festival—it builds a bridge between party and purpose. It’s a vibrant expression of community, connection, and a commitment to the health of our planet through an immersive celebration of dance music culture.” – Joel Atchison, co-founder of Deep Tropics Check out the full lineup below! This article was first published on Your EDM. Source: Deep Tropics Unveils 2024 Headliners Ft. Kaskade, RL Grime & More + Sustainability Summit

There’s no festival quite like Deep Tropics. Since their start, they’ve been pioneers in the festival landscape not just for delivering unforgettable music experiences, but for producing climate positive events year after year, earning the title to the Greenest Festival In North America. Take last year for instance, through their non-profit Deep Culture, they diverted 96% of festival waste from entering landfills. Their carbon footprint is offset through global and local tree-planting initiatives. 2024 partnerships include Ancient Nutrition’s R.A.N.C.H. Project, Trees for The Future, Tennessee Riverkeeper and the wonderful team at Bicentennial Capitol State Park. This year, they’re poised for their biggest edition yet as they revealed the name of each headliner starting Monday and completing today. House and bass music fans can rejoice, as this year is fronted by Kaskade, who will perform a coveted Redux set, RL Grime, Sofi Tukker, and Peekaboo. Additionally, Deep Tropics will host a Sustainability Summit on August 15th, curated by Deep Culture. The Summit is a convergence bringing together industry professionals, government officials and engaged citizens across diverse sectors to connect, inspire and showcase regenerative solutions. Furthermore, there will be a Deep Culture Amphitheater Experience to kick off the second day of the festival on August 17th, featuring a transformative set curated by DJ Drez. From breathwork and yoga to meditation and dance, attendees will embark on a journey of self-discovery and connection. “We are redefining the traditional festival model beyond entertainment. The long-term vision for Deep Tropics is to expand into a week-long conference that takes over Nashville. Think SXSW, ADE, Art Basel, Miami Music Week, but with a focus on regenerative design & wellness that is surrounded by amazing parties. The Sustainability Summit & expanded mindful activations at the festival itself serve as stepping stones toward that goal.” – Blake Atchison, co-founder of Deep Tropics) “Picture immersive workshops, thought provoking panels, and captivating talks on regenerative agriculture, sustainable fashion, renewable energy, & holistic wellness practices. Within our event festival-goers will discover activities dedicated to rejuvenation and self-care, offering yoga, meditation, sound healing, and holistic modalities designed to replenish mind, body, and soul. Deep Tropics is more than a festival—it builds a bridge between party and purpose. It’s a vibrant expression of community, connection, and a commitment to the health of our planet through an immersive celebration of dance music culture.” – Joel Atchison, co-founder of Deep Tropics Check out the full lineup below! This article was first published on Your EDM. Source: Deep Tropics Unveils 2024 Headliners Ft. Kaskade, RL Grime & More + Sustainability Summit

Australian electronic duo Flight Facilities returns with their first new solo music in two years. “Trouble,” their new single featuring longtime friend and collaborator Owl Eyes, is out now via the treasured label Future Classic. A trip to the altar of 2000s dance music, “Trouble” was born during the pair’s 2023 run of Ibiza DJ sets when late nights (sometimes) evolved into missed flights. Be it the Chaka Khan hook of Stardust’s “Music Sounds Better With You,” the emotionally evocative collaboration that became Todd Terry’s edit of Everything But The Girl’s “Missing,” or the mirrorballed drumroll of Spiller’s “Groovejet,” “Trouble” is the collision of magical moments from a period that gave warm and ecstatic music for fans to escape into, with the inimitable freshness of a Flight Facilities anthem. Following the success of their critically acclaimed 2021 sophomore album FOREVER, the new single marks a return to the duo’s roots as they extract the essence of Sydney’s club scene in the mid-to-late 2000s, where they met and played across the thriving scene in the midst of a DJ renaissance. Flight Facilities’ upcoming shows will be centered around filling dance floors as the duo play both intimate clubs and massive stages The Trouble Tour will begin with Miami Music Week parties alongside Claptone and Purple Disco Machine and conclude at Coachella with their debut at the heralded Yuma Tent stage across both weekends. The tour will also hit New York City, Denver, Chicago, Toronto, Mexico City, and more. “Trouble, in many ways, is a return to our origins in taste, influence and collaboration. Working with Owl Eyes and Bag Raiders’ Jack Glass to reference some turn-of-the-century dance-pop was such a natural fit. We’ve always had a spatial nostalgia for the 2000s, so any excuse to inject its sound into today is one we’ll take.” — Flight Facilities Having worked together for over a decade, Flight Facilities have refined their styles and perfected the art of creating genre-defying classics. Through their Decades Mixes and massive record collection, which came to life during their expansive, sold-out The Decades Tour last year, they’ve devoted themselves as dancefloor scholars. The result takes listeners on unsuspecting journeys through musical history to places and times they may have never visited, but that feel familiar nonetheless. Flight Facilities’ music bridges the gap between the vast spectrum of music enthusiasts and, in turn, creates a global community that comes together and finds a connection both on the dancefloor and off. Since originating in 2008 in Sydney, Australia, Flight Facilities, across two albums and a myriad of beloved singles, has amassed over 1.5 billion streams across DSPs and YouTube. They’ve circled the globe as both maestros behind the decks and as a live band, performing for over one million fans worldwide over the course of their career, and have worked alongside artists like Kylie Minogue, DRAMA, Channel Tres, Aloe Blacc, and Reggie Watts. Flight Facilities Upcoming Tour Dates 20 March – Hyde Beach – Miami, Florida 22 March – Antiguo Hotel Reforma – Mexico City, Mexico 28 March – CODA – Toronto, Canada 29 March – Culture – Washington, D.C. 30 March – Prysm Nightclub – Chicago, Illinois 5 April – Knockdown Center – New York City, New York 12 April – Walter Where?House – Phoenix, Arizona 14 April – Coachella – Indio, California 18 April – The Showbox – Seattle, Washinton 19 April – Superstition – Austin, Texas 21 April – Coachella – Indio, California Stream Trouble Connect with Flight Facilities Website | Facebook | Twitter | TikTok | Instagram | SoundCloud | Spotify The post Flight Facilities Release New Single “Trouble” ft. Owl Eyes appeared first on Electic Mode.

Native Instruments revealed the Jacob Collier Audience Choir instrument in commemoration of the release of Jacob Collier’s latest album, Djesse. The post Jacob Collier Partners with Native Instruments to Create a Free Instrument appeared first on Gearjunkies - Music tech news, Reviews, Videos, Synthesizers, Studio, Recording. View the full article

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