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Deborah De Luca, widely acknowledged as one of the most influential figures in the global techno scene. Unveils her highly anticipated third album, Hard Pop. Combining twenty-one electrifying underground cuts that bridge the borders of hard techno and pop. De Luca’s aptly-titled, full-length magnus opus is released via her own esteemed Solamente Records. Following the critically acclaimed releases of her debut and sophomore albums Ten, and She Sleeps -released in 2018 and 2020 respectively -her latest long-player not only represents her biggest record to date but unveils a new facet to De Luca’s sound palette; one that champions the growing popularity of hard techno and its new wave audiences who crave pop music’s melodious edge. The release also follows Deborah’s return to New York City on Tuesday, May 21, where she performed an exclusive album pop-up event in the beating heart of Manhattan’s iconic Times Square. Deborah De Luca-Hard Pop Representing a culmination of De Luca’s decade-long career and the influences that have inspired her ascendency to dance music royalty, Hard Pop celebrates her deep-founded roots in Neapolitan techno and her appreciation for pop’s growing role within the genre. Masterfully navigating the contrasting landscapes of these two realms, De Luca’s latest album is a sonic tour de force in cross-pollination that honors the golden era of rave music with a pioneering twist. With a huge catalog of music to her name. De Luca’s records are synonymous with Beatport’s top-charting territories, and as such. She brands a flag-bearer for the progression of techno, both in the studio and on stage. Dubbed by many as the “Queen of Naples,” Deborah De Luca’s journey from humble beginnings in one of the city’s toughest districts to international acclaim has been nothing short of extraordinary. Her ability to captivate audiences with electrically charged, technically nuanced sets has solidified her reputation as one of the most exciting talents to emerge from the international techno scene over the past two decades. From intimate club performances to headlining prestigious international festivals, Deborah De Luca continues to captivate audiences worldwide with her high-octane performances and drive for her own musical evolution. With nothing left to prove, Hard Pop is an exploration into her own sonic repertoire and serves as further testament to her relentless pursuit of artistic excellence. You can listen to Deborah De Luca–Hard Pop below! The post Deborah De Luca Releases Her Anticipated Third Studio Album, ‘Hard Pop’ appeared first on EDMTunes.

Live Nation and Ticketmaster now face a $5 billion consumer class action lawsuit following the recent DOJ antitrust case. Filed May 23 in Manhattan Federal Court, the lawsuit seeks damages for millions of ticket buyers. The filing accuses Live Nation and Ticketmaster of monopolizing the live events industry by driving out rivals and pressuring venues that work with Ticketmaster competitors. This mirrors the DOJ’s allegations in its recent filing aimed at breaking up the two companies. “Over the past three decades, Live Nation and Ticketmaster collectively built empires in several key markets within the live concert and event economy,” the lawsuit claims. It states the merger led the entity to dominate US concert promotion, primary ticketing, and secondary ticketing markets. On Friday, the court assigned the case to US District Judge Arun Subramanian, who has a background in antitrust lawsuits. Attorneys at Israel David and Robbins Geller Rudman & Dowd represent the plaintiffs in the class action. Live Nation has dismissed the DOJ’s lawsuit as “baseless,” arguing that the live events market is more competitive than ever. Legal experts note Live Nation’s defense may hinge on the DOJ’s prior approval of its Ticketmaster acquisition. The DOJ’s new case differs from 2010 by focusing on more expansive anti-competitive conduct by Live Nation. The government argues Live Nation’s failure to follow original merger guidelines warrants the current legal actions. As the legal battles unfold, the pressure on Live Nation and Ticketmaster is likely to intensify, potentially reshaping the live events and ticketing landscape. Photo by Wendy Wei. The post Live Nation Hit With $5 Billion Consumer Class Action Lawsuit appeared first on EDMTunes.

The UK singer spoke to ABC News about “experimenting” with track lengths Continue reading...

Brazilian dance music superstar Vintage Culture has finally unveiled his highly anticipated debut album, Promised Land. The making of Promised Land spanned roughly four years, during which Vintage Culture meticulously crafted its narrative. The album, which doubles as a celebration of his roots and influences is a tour de force that's poised to resonate deeply with listeners on a global scale and reaffirm his standing as a dance music trailblazer. Vintage Culture.c/o Press The release brims with dynamic collaborations alongside electronic producers, vocalists and songwriters, presenting a masterful blend of artistic talents who collectively shape its scintillating soundscapes. The titular track features London-based singer-songwriter Paige Cavell while the single "Nothing Ever Changes" is buttressed by the velvety vocals of MAGNUS. Vintage Culture's production also stuns in "Pleasure Chasers," an indie-tinged anthem featuring NoMBe. Elsewhere, Grammy-nominated house duo Goodboys shine on "Chemicals" and "Moments Alive." Other standouts include "Weak" with Irish rapper Maverick Sabre and German producer Tom Breu; and "Come Come," a vibrant collaboration with Tube & Berger and Kyle Pearce. Complementing the release of Promised Land, Vintage Culture revealed a limited-edition merch capsule. The collection is available for purchase via his artist store For The Culturists and Só Track Boa exclusively for Brazil. Vintage Culture, who has a performance on tap at Tomorrowland's 20th anniversary in July, is also gearing up for a residency at Hï Ibiza this summer. The DJ also recently kicked off a world tour in support of the album. You can find Promised Land on streaming platforms here. Follow Vintage Culture:X: x.com/vintageculture Instagram: instagram.com/vintageculture Facebook: facebook.com/vintageculturemusic Spotify: spoti.fi/2PWdehz

Robert and Lyric Hood announce the release of their fourth studio album, ‘The Master’s Plan,’ which will land on Luke Solomon’s Classic Music Company imprint on Friday, June 21st. Spanning 18 crafted house and techno tracks, Robert and Lyric playfully juxtapose the light and dark of their signature sound, navigating a spectrum of genres and styles on this highly anticipated body of work. “In these troubled times, we are grateful to be able to share our music with the world. Especially the dance community. We hope this album will uplift and invoke you to dance.” – Robert Hood “I want people to feel inspired and empowered, but most of all, to feel the love of God and his connection in every track. This album was made for the fans that love house music as much as we do.” – Lyric Hood Between the two of them frequenting clubs and festivals worldwide together, Robert still reigning supreme as the techno vanguard, and Lyric further expanding her solo discography and DJ activity, the duo operates on a divine level of blood harmony. The father-daughter pairing demonstrates their unparalleled outlook on electronic music, their generational gap only strengthening their breadth of musical inspiration on The Master’s Plan. From the signature gospel joy of ‘We Give Thee Honour,’ to the tough club beats of ‘What A Friend,’ right through to the dreamy house soundscapes of ‘Feel It’ and boundless warehouse energy of ‘Summa Funk,’ features from Detroit vocalists like trio Dames Brown, Earthtone (Eunice Hood) and Lowell Pye demonstrate an album with its sound deeply rooted in Floorplan’s Motor City home. With Classic remaining the duo’s musical home for some time, since their acclaimed solo debut on the imprint in 2021 ‘Right There/ Holy Ghost’, it seems only right that esteemed label-mate Honey Dijon would also feature, adding her signature allure to ‘Fake & Unholy.’ “The combination of wonderful people and wonderful music is always the absolute top for me. Floorplan is an unstoppable force that stays in their lane and delivers dancefloor music in a way that no one else can, but beyond that, they are special human beings, and I am beyond grateful to be able to call them Classic family.” – Luke Solomon, Classic Music Company founder “Although my hands never touched the mixing boards, my mind, body, and soul have been infused in each recording. House music, much like gospel, speaks to the soul.”– Eunice Hood (Earthtone) Releasing the final preview of the LP ‘Feel It’ on Wednesday, May 29 (alongside pre-orders for the album), the single continues to demonstrate the sonic diversity of Floorplan. With Robert crediting Lyric for “changing my ideas about what Detroit house could be” in a recent interview with Disco Pogo, this is seen clear as ever on ‘Feel It,’ as deep, swelling pads, dreamy soundscapes, and soaring yet soft vocal harmonies for a glorious slice of Motor City house at its finest. As always, Floorplan’s faith remains at the forefront of what they do, cementing the connection between the creative process and their listeners: “This is an invitation to eternal salvation … At some point, this natural earthly body, the shell that we live in, is going to deteriorate. We’re going to pass away at some point, but we don’t have to; we don’t have to die. That’s what ‘Never Grow Old’ means. ‘The Master’s Plan’ is expanding on that precept that where we’re going, those who believe, are never going to grow old and will never die.” – Robert Hood Floorplan The Master’s Plan’ LP will be released via Classic Music Company on June 21, 2024. Pre-order HERE The post Robert and Lyric Hood release their fourth Floorplan studio album ‘The Master’s Plan’ appeared first on Decoded Magazine.

Unveiling a monumental moment in their musical journeys, Busterkun & Mt. Sierra unite to unleash their debut collaborative track – ‘Vendetta’ – under their new duo alias, Low Hanging Fruit. This eagerly awaited release not only signifies their inaugural official collaboration but also introduces a vibrant, dynamic presence in the electronic music domain. ‘Vendetta’ pulsates with lively house rhythms intertwined with mainstream techno beats, drawing inspiration from artists like Odd Mob. Infused with sharp stabs reminiscent of Busterkun’s recent single, ‘Blasé,’ the track maintains its distinct energy and inventive twists. The track wastes no time getting into the action. A huge bass groove moves our bodies before a female vocalist takes over the track. Before we know it we are thrown into the electric drop filled with ear candy galore. There are unique stabs and touches throughout keeping the record interesting. I am a huge fan of the bridge/2nd build. It is super tension-filled and makes ‘Vendetta’ stand out from the pack. This part would go off live for sure. I can already imagine the club rocking to it. This experimental fusion has resulted in an electrifying collaboration carrying a message of resilience and ambition. Busterkun had this to say: “The lyrics pretty much carry a ‘Don’t underestimate us; we will rise to the top’ kind of vibe.” As Busterkun & Mt. Sierra embark on this new journey with Low Hanging Fruit, ‘Vendetta’ serves as a promising glimpse into their musical prowess and creative growth. Make sure to check it out below! The post Busterkun & Mt. Sierra Drop Explosive House Track ‘Vendetta’ appeared first on EDMTunes.

Kayzo and Scarlxrd's new single, "Eyes Wide Xpen," isn't comfortable—it's a furious excavation of the buried truths we choose to ignore. A punishing blend of metal, hip-hop and trap music, the track rips open like a ruptured artery, Kayzo's bass a barbed-wire riff twisting through Scarlxrd's snarling verses. The latter's lyrics are jagged hooks, each syllable laced with a bitter truth about society's decay. Simultaneously invigorating and unsettling, Scarlxrd's claustrophobic verses offer a beautifully abrasive exploration of the human condition's darker recesses. To that end, the song is a primal scream that demands to be heard amidst the noise of the modern world, a hellscape of technological alienation and emotional desolation. Kayzo crafts a melody akin to a rusted razor scraping against bone, a brutal counterpoint to the hollowness exposed by Scarlxrd's tormented vocals. It's clear that the beloved producer, who recently tore up EDC Las Vegas alongside a live band, remains fascinated by nu-metal's potential to push dance music to its most manic levels. Listen to "Eyes Wide Xpen" below. Follow Kayzo:X: x.com/kayzomusic Instagram: instagram.com/kayzomusic Facebook: facebook.com/kayzomusic Spotify: spoti.fi/3kiAtQO Follow Scarlxrd:X: x.com/scarlxrd Instagram: instagram.com/scarlxrd Facebook: facebook.com/scarlxrd Spotify: tinyurl.com/m8mkd4v8

Set within the former site of The Zoo Project, 528 Ibiza will host its first electronic shows this July Continue reading...

It seems like the rain wasn’t the only thing that affected Lebanese/British Techno Queen Nicole Moudaber. Monday Afternoon, Nicole took it out on the social platform X (formerly Twitter) to express her mistreatment while trying to set up for her set as Movement Music Festival announced the gates would reopen. Fans were concerned that the main stage remained silent for an hour before Richie Hawtin started his set, debuting his new DEX EFX X0X project. Set-Up The strangest thing happened to me last night at Movement Detroit. After the rain stopped they called me up to come play at 10pm, I rushed over there, my table was ready to be plugged in but the dj that was supposed to play after me didn’t want to move his set up to accommodate… — Nicole Moudaber (@NicoleMoudaber) May 27, 2024 In her post, Moudaber explains how after being called back to play her set as the weather cleared out, the DJ meant to close out the night (Richie Hawtin) refused to unplug his equipment so she could play. Thus, the stage stood silent for an hour until Richie Hawtin performed his set and closed out the night. There has been no public response from Movement officials nor Richie Hawtin’s team. We are not sure if it was a miscommunication or flat-out disrespect. Nevertheless, Nicole closed out the weekend celebrating 10 years of her In The Mood radio. With support from Devon James and Techno Titan Chris Liebing, Techno reigned supreme in the city of Detroit. Stay tuned for an exclusive interview we did with Moudaber. We sat down moments before she got on stage for her In The Mood 10-year anniversary set. The post This Techno DJ Refused to Unplug His Equipment for Nicole Moudaber at Movement appeared first on EDMTunes.

*Featured Cover Photo Credit: Sacha Lecca / Rolling Stone Recently on TikTok, an account by the name of “@I don’t snort percs” made a comment to John Summit, calling him the “next Avicii“. This person’s comment was: “Bros gonna crash out like avicii just wait” TikToker John Summit then made a TikTok clip of his own (see below) and stated his displeasure towards the comparisons. The house music star, whose hit tracks include, ‘Where You Are’, ‘La Danza’, and ‘Shiver’, said that the comparisons were “extremely disrespectful” and the late, legendary Swedish icon of dance/electronic music was an inspiration for him. John Summit then added that the only way to honor Avicii’s legacy was to “not make the same mistakes”. At the end of the clip, John Summit then affirmed his love for entertaining the fans and music making. Avicii and John Summit are two incredible electronic music professionals who have their own unique and phenomenal way to connect with their fans through their unforgettable tracks. The post John Summit Has Words for Fan Calling Him the “Next Avicii” appeared first on EDMTunes.

After its grand anniversary celebration, Time Warp is back at Maimarkt Mannheim on October 25 and 26, 2024 for a significant birthday celebration as techno legend Sven Väth turns 60. The “compact” edition of Time Warp began in 2021 due to the pandemic and was so well-received that it has become an annual fall tradition. This year, Two Days Two Stages transforms into Two Days Two Celebrations, celebrating 30 years of Time Warp and 60 years of Sven Väth. On Friday, Sven’s birthday will be celebrated with a stage in the Maimarkthalle, and on Saturday, the second part of the 30-year celebration will take place with the usual two stages in the Maimarkthalle and -club. A diverse lineup of long-time Time Warp heroes and newcomers has been curated to mark the special occasion. Sven Väth, who first performed at Time Warp in 1995 and has been an integral part of the family since, will be performing, while Nina Kraviz will join in the celebrations, along with Keinemusik members &ME and Rampa. A back-to-back set from Charlotte de Witte and Enrico Sangiuliano is also expected to be a fan highlight. On Saturday, techno and house music heavyweights like Adam Beyer, Indira Paganotto, Reinier Zonneveld, and Vintage Culture will perform. New talents such as Alignment, Cera Khin, Miss Monique, and Nico Moreno will make their Time Warp debut. Fans can look forward to another stellar edition in this jubilee year. The April Time Warp drew 30,000 visitors from around the world to celebrate with over 70 artists for nearly 30 hours. A successful edition followed in Sao Paulo. This fall, alongside Mannheim, Time Warp will debut in Madrid and hold its seventh edition in New York. For more information and tickets, visit www.time-warp.de. Tickets are expected to sell out quickly, as the November edition sold out several weeks in advance.

The fourth edition of Croatia’s scene-leading LMF Festival at Jarun Lake, Zagreb is just around the corner and once again on June 7th – 8th, 2024, world class DJs such as Dom Dolla, Argy, Chris Lake, Mind Against, Claptone, Matroda, Dubfire, Sam Paganini and more will arrive in Zagreb alongside a mix of regional and domestic electronic talents. LMF is More Than a Festival, It’s an Unforgettable Experience In just a few years, LMF has become the most important electronic festival in Zagreb. It is hosted at the beautiful Lake Jarun, only 15 minutes from all major points in the city, and is renowned for top-notch production, creative stage designs such as aboard a Zagreb tram, mouth-watering culinary offerings, and art displays across the site which all make it one of the most desirable in this part of Europe. Zagreb – The Ideal City Break Destination In recent years, Zagreb itself has cemented its reputation as one of the most interesting cities in Europe for a short city break. Not only is it well connected by regular and low-cost airlines with major European centres, but it is also on a great route for backpackers exploring this part of Europe and passing through Croatia to reach the beloved Adriatic coast. In the centre of this urban oasis is Lake Jarun, the host of the LMF festival. You can spend your day exploring Zagreb’s rich history, excellent cultural and gastronomic offerings, and in the evening, dance to the beats of the most electric stars of the scene World Class Music This year’s line-up is another epic showcase of the best in house, dance and techno music with Dom Dolla leading this year’s star-studded lineup. The Australian maestro is behind hits like “Take It” and “San Frandisco” which have become anthems of electronic music, and he is currently one of the most sought-after DJs in the world. Argy also stands out as a long time underground favourite who mixes up lassi house and techno with his own fresh sound, while Briton Chris Lake has always explored different genres and created his own distinctive sound that combines elements of house, tech-house, and many other similar genres. His hits like “Changes,” “Operator,” and “Turn Off The Lights” are real classics. Claptone is a magical DJ who brings real soul to his sets. He plays all over the world and has his own Ibiza party ‘The Masquerade’. He’s recognisable by his gold bird mask, hypnotic rhythms and seductive melodies that win hearts worldwide. Also performing will be the hugely popular Matroda, well-known to this audience, Mind Against, and the icon of Italian electronics, Sam Paganini. They will be joined by big names from the regional and domestic electronic scene: Bosk, Dallerium, Damir Hoffman, Danceelectric, Discopolis, DJ Jock, Einfakinn, Ilija Đoković, Joe2shine, Kosta Radman, Kraundler, Lanna Lokka, Luka Kosty, Mjuz, Percassi, Tomo in der Mühlen, Vedran Car, Viktor, and Yakka. Let the Music Be Free At LMF, the music allows you to explore your own freedoms, meet people, and create unforgettable memories, free your senses, and experience an unforgettable weekend in a stunning location. Sign up now to get tickets via https://www.lmffestival.com/.

AMF is sparking pure excitement with the reveal of headliner Martin Garrix, setting the stage for an electrifying lineup and solidifying AMF’s longstanding title as the biggest event with the biggest names held during the world-famous Amsterdam Dance Event. Martin Garrix needs no introduction. With a string of global hits including ‘Animals’, ‘In the Name of Love’, and ‘Scared to Be Lonely’, the Dutch DJ and producer has become a household name in the electronic music scene. His energetic and melodic style has also earned him a massive following worldwide, making him one of the most sought-after DJs in the industry. This will be Garrix’s fifth time returning to the famous AMF stage in what’s expected to be one of his most monumental performances yet. With 40.000 fans set to fill Amsterdam’s Johan Cruijff ArenA, AMF becomes the biggest nightclub in the world and the perfect stage to host such an iconic performer. However, the announcement of Martin Garrix is just the beginning of what promises to be an unforgettable experience, with AMF soon to announce another legendary Dutch DJ alongside the rest of its world-class line-up of artists. Insomniac Europe is making an extraordinary debut on the scene by hosting AMF, the biggest night club in the world. A new division of Insomniac — the organization that hosts 10,000 concerts, club nights and festivals for seven million attendees annually — Insomniac Europe was established to grow the organization across the continent and is tackling that head on with AMF. Backed by Insomniac’s incredible range of expertise, they’re set to put on the best edition of AMF to date.

Ex-Global Head of Publisher Licensing Adam Parness has claimed that Spotify’s new subscription service scheme is “misguided and unfair” Continue reading...

Celebrating four decades of house music, Derrick Carter and DJ Heather are among DJs set to play at Daley Hall Continue reading...

The Online Tomorrowland DJ & Producing Academy has collaborated with famous UK DJ & producer James Hype to present an Exclusive Masterclass titled ‘From Beginner to Pro‘. People from all over the world can now delve deep into James Hype’s astonishing skills. He personally guides you through a step-by-step approach to enhance your transitions and increase your mixing skills. The course takes in mind any setup with the most viral DJ tips & tricks from the master himself. As one of the most experienced and charismatic DJs around, James Hype is the ideal person to explain DJing from flagship to home setup. Beginning and expert DJs and producers who want to take their career to the next level don’t require an expensive setup; James Hype explains all of his tricks on several controllers. Learn and improve tricks for mixers, and controllers Starting DJs can use the DDJ-FLX4 with an easy, medium, and hard DJ trick per controller, progressing to the DDJ-FLX10, XDJ-RX3, and four-deck mixing on CDJ-3000s. To top it off, Hype debuts his most recent DJS-1000 routines, which include the usage of drum machines and the creation of songs on the moment. The Tomorrowland DJ & Producing Academy The Online Tomorrowland DJ & Producing Academy is Tomorrowland’s instructional DJ & producer platform, devoted to educating and motivating passionate people from all over the world to produce, release, create, and perform music. The Online Tomorrowland DJ & Producing Academy is the ideal venue for scouting fresh and young talent. It also allows adults to hone their talents and network with other industry professionals. DJs, both new and experienced, can use the online academy’s in-depth courses to practice and take their first steps into deejaying and producing, challenge their skills, innovate their music library, and solve common DJ problems. Producers can learn from the best in the industry, upgrade their techniques, browse samples and project files, and receive feedback on their demos. Costs A subscription to the brand-new Online Tomorrowland DJ & Producing Academy is €15 per month or €165 per year. The brand-new Masterclass with James Hype is not included in the monthly/yearly subscription and costs €149. The post Learn how to DJ with James Hype and Tomorrowland Academy appeared first on The Groove Cartel.

Rolling Stone spoke to dozens of people known to Diddy as part of a new investigation Continue reading...

The UK festival scene is in crisis, with 40 festivals already cancelled this summer and over 170 disappearing in the past five years, according to the Association of Independent Festivals (AIF). The recent cancellation of the El Dorado Festival in Herefordshire highlights the severe financial pressures festivals face, including rising operational costs and the impact of the increased cost of living. The AIF warns that without government intervention, over 100 more festivals could vanish by the end of the year, primarily due to unpredictable and unsustainable supply chain costs. To combat this, the AIF has launched the ‘5% For Festivals’ campaign, urging festival-goers to lobby for a temporary VAT reduction on ticket sales from 20% to 5%. This measure aims to provide the necessary support for festival promoters to rebuild. AIF CEO John Rostron emphasized that the industry’s decline is not due to a lack of public demand but financial challenges. The loss of smaller festivals also threatens emerging talent, reducing opportunities for new artists to perform and grow. Immediate action is needed to preserve this culturally significant industry. article credit to: www.nme.com

It’s hard to believe that the so-called ‘new sound’ of dubstep music is now 15 years old. It feels like only yesterday that the old guard of dubstep were complaining about the tonal shift in the genre. A rift occurred in the mid-00’s between the UK-sounding, sub bass filled half time tracks which still resembled its ‘dub’ origins, and the newer version of the genre which emphasised anthemic synth lines, big build ups and Electro-style basslines. At the cusp of this shift in sound was Shaun Brockhurst aka Doctor P. and Joshua Steele aka Flux Pavilion. With classics such as Bass Cannon and Big Boss and their iconic remix of DJ Fresh’s Louder feat. Sian Evans which could be heard at every festival in the UK, Doctor P. and Flux Pavilion have become household names in the landscape of dubstep music, and are now seen as pioneers of dubstep’s more contemporary sound. The pair have been pushing their sound of dubstep through their label Circus Records since 2009 which has exposed the world to the likes of Zomboy, Funtcase and Cookie Monsta. UKF sat down with Shaun and Josh to discuss their recent tours around the world, dubstep in 2024 and their record label; Circus Records, celebrating their 15th year of releasing music with a 43-track compilation album; Circus Four. Where are you guys currently? Doctor P. I’m just home from Australia after a run of shows. I’m glad to be back in the studio though and getting back to work. Flux Pavilion. I was away for four months touring….I’m just back from the states. I need a break from Flux Pavilion this week! Is it good to be back in the UK? FP. It is and it isn’t. When I’m away I don’t engage with the rest of the world. Tours are really good for that. You can disengage and just concentrate on the next gig. What about you Shaun? DP. I know what you mean, though to be honest, I’ve stopped looking at social media at all. FP. I use it for my social life. Just tweets and private messages. DP. It just makes me anxious. FP. Yeah, I’ve got an eye twitch from looking at Twitter. Ok, I’m glad to hear I’m not the only one. You guys are successful in your musical journeys, I always thought that stress and anxiety would dissipate when you’ve made it. FP. It only gets worse the more popular you are. Though having been around for 15 plus years of Flux Pavilion, it’s a bit better these days. There was a time when I just spent my whole time judging comments. Now that I’m a bit older, I feel like I’m enjoying it more. Writing music is better, going on the internet isn’t as bad as it was. But yeah, popularity can be a blessing and a curse to be honest. You guys have been at it for a long time now. Has your experience turned you cynical about the world of music? FP. It’s easy to get like that sometimes, I guess that’s the same as any creative industry. I was extremely competitive years ago. It’s only natural. Nowadays though I’ve really turned around. I’ve started having a less competitive mindset and these days I’m way more excited about other producers’ work. I have to remind myself that I’m a loved and cherished member of this dubstep community. I’m not in competition with these people. I love the work everyone is doing. Before I would see someone come out with a new sound and beat myself up going “Why haven’t i done this massive thing!?” Nowadays I can appreciate up and coming producers. I can sit back and say that their music is amazing and when I’m doing amazing things, I hope that they’re going to say the same thing. DP. I agree. The more I talk to everyone else in the scene, the more you realise you’re not alone. Everybody is in the same mindset. Everyone is experiencing the exact same thing. You guys have been putting out dubstep tracks for over 15 years now. Tell me a little about the current landscape of Dubstep. Where is it sonically and in the zeitgeist? FP. As always, it is absolutely killing it in the states. DP. Outside of the US, the cooling off period has been happening for close to ten years now. I think that’s why we’re getting so much dubstep that’s really out there. FP. I think the lack of the spotlight on it in the UK (for example) has meant that it’s generating a space where producers can be free. In my opinion, some of the best dubstep is happening now as a result of it not being as popular in local markets. Drum & Bass seems to be having its moment in the sun currently in the UK and the rest of the world. Do you think Dubstep will have a similar resurgence in the UK soon? DP. For dubstep, a lot of people just call it 140 now. I think dubstep is a taboo term in the UK these days because of the association with brostep. People like it, but the style is out of fashion. I think people are interested in the tempo and the vibe that originally existed back in 2008. The likes of Hamdi indicates that things are happening again. FP. I’m interested to see what it develops into, and I want to be a part of it. These days It feels important for me to dedicate myself to dubstep as a concept and to understand what it is now. I’ve only recently started to use the term evangelically. You’ve recently just been on tour in Australia and New Zealand. Is dubstep still going strong in Australia? DP. It was fun! I think Oz has definitely been affected by the pandemic though. According to the people on the ground, Australia is really suffering because of the post-covid recession. As a result, music has died down there a bit. How’s the New Zealand dubstep scene doing? FP. I think the New Zealand dubstep scene has been killing it! I find it hard to see the reality that people these days aren’t interested in dubstep as much as they were because every time I get a booking the rooms are full. I think that the people want it but the industry hasn’t realised it yet. And what about the USA? DP. It’s still massive out there, though to be honest, however musically I live in a little bubble. I’ve just always been doing my own thing and making my own thing. Luckily people have just liked it. I’m never the first one to hear about a brand-new artist coming through. My focus is just solely on making tracks in the studio. I have noticed that lots of artists in the US have gone the way of “death metal dubstep”. It’s not the dubstep that I know (obviously coming from the UK), but I appreciate it for what it is. FP. I don’t like the way some fans criticize the new wave of American dubstep. Why do they judge the metal stuff harshly? Loads of kids are showing up to dubstep shows and headbanging to it. Just because it’s not what you like (or understand) doesn’t mean it’s automatically bad. DP. I love the fact that they’re out there loving it. It’s cool to see live. FP. I don’t think it really pays to be bitter and angry. My advice is to just do the thing that you do well. Rather than just sitting around and complaining about the new style, it should be a call to arms for you. Especially the British scene looking at American dubstep fans. Let them enjoy it! If you don’t enjoy it, make your own new sound! There’s space for everyone! Your audience is all over the world. Is it difficult to keep on top of trends from other countries? FP. We’re not really plugged in to what everyone’s doing on purpose. Once you chase what everyone is doing it can get seriously distracting, so what is the point of doing that to yourself. It is fun for the listener to know what’s going on, but as a creative endeavour, obsessing over what’s popping can go against you. You have to ask yourself: what’s there to gain. That’s not why we started our label or wrote dubstep. It was to push the boundaries of electronic music. Even after loads of exploring, I still come back to dubstep because there is so much room for exploration. Some stuff hasn’t even been conceived. It might not be called dubstep in the next wave but there is so much untouched gold that I can’t keep away from it. DP. It’s crazy how broad it is these days. The term these days is basically just a general guide for a track at 140bpm with a drum pattern and a bassline. FP. House and drum & bass have so many constraints. People are trying to do that with dubstep, keep it constrained to a specific sound, but I don’t think it’s going to stick. It can just become boring and monotonous. As I said, the point of writing dubstep for me is because I think it’s the best avenue to explore new sounds and push the boundaries of electronic music. Do you think that the dubstep fans more than other fans are more open minded to genre bending stuff. DP. These days people are going to see the dubstep act they like, so there’s definitely a level of trust the fans have for the artist. If that artist wants to explore new avenues in their sets, I think the fans are there for that. FP. I’ve got a show in Bristol tomorrow and it’s my first show outside of London in about 5 or 6 years. I really just want to be there in front of that crowd and just say “Look guys, this dubstep is going to be different. Let yourself go and we’re all going to have an amazing time. Forget about the past. My music is good. Just trust me on this, I’ve been doing it long enough. I know the Bristol scene loves the deeper stuff but I’m going to go full heavy tonight. So just trust me and remove judgements and we’ll walk out of this room thinking heavy dubstep is ok. Now that we’ve covered the dubstep landscape. Let’s talk about Circus Records. You guys set up Circus Records all the way back in 2009. Does it feel like 15 years ago since its launch? DP. I remember right at the beginning thinking if I can do it for 5 years, it will be a success. Then before I knew it, it was 10, and now 15 years. Our original goals have been far exceeded. Thinking back, we were so young and extremely naive and didn’t have a clue. We had a lot of ideas and just went for it. I think that helped us in the long run really, not knowing what we were doing. It’s crazy to think it’s been 15 years and it’s so nice to know people are still here for us and listening. FP. When I was younger, I had more ideas of grandeur. I thought we were going to change the world of electronic music. I wanted to make a project that would be remembered for a thousand years. I realise now that I was just putting myself under immense pressure DP. I had zero idea of any of that. I was just thinking why can’t we do it ourselves. FP. One thing I do appreciate is that we were just putting out the songs we like, rather than questioning ourselves on whether it suited the scene. We don’t really question whether our music is good, we just kind of feel it. The lack of self-doubt plays a big part in whether what we’re doing is actually a huge benefit. DP. It means we do a lot of things that are highly questionable, but I guess that’s what it takes to succeed. Taking chances and not thinking about them too much. Has Circus changed much since its inception? FP. We’ve multiplied our staff by about 6 or 7 and they are doing such a sick job. We’re making great numbers. There hasn’t really been a business takeover as such; it’s very much artist led. Thanks to the team, Circus has become a force to be reckoned with. DP. We wouldn’t be where we are without working with a bunch of people who know what they are doing. FP. Yeah, if we made all the decisions, I would have wasted all of our money on ideas that would have lost all our money by 2011.I don’t think of Circus as just being us two anymore like it was. I’d say we are still the body and ethos of the label, but Circus is very much the team. Over the years you have put out Circus Compilations, showcasing some of the best Dubstep tracks out there including some iconic tracks from yourselves like Bass Cannon, Sweet Shop, Got 2 Know and of course I Can’t Stop. Circus Four dropped a few weeks back including 17 unreleased tracks totalling 43 tracks! Tell us a little about the release. DP. We had an idea of doing a big album every year which represents us, but in retrospect it was a bit too ambitious. Now we think of it as the album that describes an era. There’s been four and it kind of encompasses the last 15 years of dubstep. It’s kind of like putting things together that represents a milestone in the label’s history. Its aim is to showcase the sound that we were interested in at this moment in time. You’ve got some new emerging artists on the compilation including ANGEL CANNON, AIMER, DirtySnatcha and more. How do you find this new talent? DP. Our team is really doing a lot of great A&R. They are always sending me new things from relatively unknown artists. It’s a nice way of seeing who’s coming up. Prime example of this would be M!KESHIFT. FP. I discovered M!KESHIFT from Circus Four and have become a big fan. I don’t like to keep on top of things because it can cloud my own work. But when I heard M!KESHIFT for the first time in a long time I was like “Ok, what the hell is this?’. DP. Yeah, his release on Circus Four, PRODEEJAY really caught my ear. I think he’s going to have a really big moment soon. He hasn’t released that much but he’s definitely one to keep an eye out. FP. He seems like a perfect fit for Circus. It’s funny, I don’t think he really knows what’s going on. I saw an interview with him and I don’t think he knew what’s happening around him. Circus is definitely for the misfits. I think of us, Cookie Monsta and Funtcase as the core four. We didn’t really fit everywhere. We were all just weirdos from all over the country who didn’t really fit except for in each other’s sets. Circus still definitely has that vibe. The label is a lot about a specific identity. If the artist feels unique then Circus is the perfect home for them. Other labels must have a uniform where it all neatly fits together. Circus is definitely not like that. We’re very much like “Oh, you’re on a pogo stick that plays weird techno goth dubstep, come right in!”. The compilation really represents what circus is: a mad house. It’s stacked with some serious bangers. What’s your favourite track on this compilation and why? FP. My track with Jessica Audiffred and Doktor, Bigger Than Bad. Is it weird to pick my own track? A bit. FP. But it’s true! It’s the opener to my set. It’s such a banger. DP. I don’t think I have a favourite but I love Somewhere I’ve Been by Dead Rose, and Wobblesaur by Dino Shadix. I’ve been playing those out a lot in my sets. Ushūu is great too. He’s another one who’s going to pop off FP. I saw him play at Lost Lands festival and it was so sick. DP. He’s French as well. I feel like they are always one step ahead musically. FP. I think that’s right. They always elude that British self-consciousness we have beaten into us. They’re way more visionary. I think English people don’t have that confidence that the French have to experiment. French people like it when their artists push boundaries. Congratulations on the sick compilation. What can we expect coming over the horizon for Circus Records? DP. For the time being, it’s just continuing as we are for 15 years. We’re just going to keep putting out music that we believe in. What can we expect coming over the horizon for Doctor P? DP. Well, I’ve got a lot of songs I’m trying to finish now. I’ve so many unfinished tracks it’s mental. The writing of a new idea is fun, and finishing a new track is not fun. Over lockdown I was working remotely with a lot of vocalists. I just want to get them out there! Beyond that, Josh and I have started a load of tracks together that we can’t talk about right now…. Ominous…So, what can we expect coming over the horizon for Flux Pavilion? FP. I’ve made a more concerted effort to be more confident in my music production ability. Can we all just accept that we’re good? Each day I don’t have to go through the sludge of self-doubt. I’m stopping to have to persuade myself to keep making tunes without doubting myself. It’s hard to say I’m good, because I’m English and we find it hard to give ourselves confidence, but I’m done with all that self-deprecating. You’ve clearly just spent a couple of months in America. FP. I think they’ve got a lot of stuff right. Besides changing my mindset I’m also working on a bunch of collaborations. It’s been my focus to hang out with other artists and re-imagine what dubstep is and what music is at that tempo. I’ve too many songs to finish. I can’t say who they are with or when they are coming out, but I can’t wait to get them out there for you to hear. When it comes to Flux Pavilion and Doctor P., we didn’t really change what we did much to move with the times, but now the times are moving back in our direction. When the world wants it, we’re here and the best at what we do. Circus Four is out now on all digital streaming services.

Bobby Shann invites listeners on a musical voyage with his new 17-track album, ‘A.N.P.A – Power Unleashed’, a follow-up to his 2020 album, ‘A.N.P.A’. Working alongside his passion, interest, and knowledge of the Japanese anime franchise Dragon Ball, the album works to capture the essence of the series, incorporating concepts, themes, and characters to offer an immersive sonic journey that encapsulates powerful ideas of love, strength, friendship, and self-discovery within bold musical soundscapes. With an innovative approach towards music production, Bobby Shann appears as a unique creator, striking out with a project distinctive in its vision and sonically explorative in instrumental arrangement. Having been inspired by the emotive potential of Japanese City Pop, intrigued by its fusion of Jazz, Funk, and Pop to evoke nostalgia, a feeling only heightened when combined with the visual elements of anime, Bobby Shann has taken to carving out his own signature style; an enthusiastic historian of Dragon Ball, the talented Producer set out to produce an album that introduces the nuances and dynamics of the series, its characters, and the psychological aspects uncovered within the relationships and narrative. With a background in Hip Hop and Disco, coming to music production with a particular penchant for vintage sounds, Bobby Shann has continued throughout his musical journey to draw influence from a variety of sources, and this new production surely comes as yet another example of his confidence to push sonic boundaries to offer listeners eclectic soundscapes and refreshing musical journeys. ‘A.N.P.A – Power Unleashed’, an album infused with the spirit of Dragon Ball, makes for a compelling listening experience; as each track comes as another narrative in the saga, the album continues to introduce new themes, emerging as a bold tribute to the timeless allure of the series. With emotive melodies, anthemic details, groovy basslines, shuffled rhythms, and exciting beats, the intricately detailed soundscapes on the album place Bobby Shann’s production talents in the spotlight, serving as a distinct reminder of his artistic potential when it comes to weaving unique sonic tapestries of innovative elements and creative musical narratives. As each track layers in new energy, continually refreshing in sonic makeup, from bouncy synth chordal lines to punchy leads and animated arpeggiators to full-bodied pads, ‘A.N.P.A – Power Unleashed’ evolves into a mighty-sounding production, delivering a listening journey unlike any other and one not to be missed. So, embark on a voyage of sonic discovery and dive into Bobby Shann’s ‘A.N.P.A – Power Unleashed’ now to experience the playful, distinct, and enthralling vibes for yourself. Make sure to keep Bobby Shann on your radar by following him across social media, as he remains a talent to be watching closely. ‘A.N.P.A – Power Unleashed’ is out now and is available to stream and download across platforms. Listen and Buy ‘A.N.P.A – Power Unleashed’ Now: https://open.spotify.com/album/1RHlsPcj4yFtqzmVYFwcD3 https://www.beatport.com/release/anpa-power-unleashed/4540268 Bobby Shann Online Spotify | Instagram The post Bobby Shann Releases ‘A.N.P.A – Power Unleashed’ Album appeared first on Electic Mode.

In this insightful interview, DJ/Producer Cynthia Laclé shares a glimpse into the creative process behind her latest remix of ‘No Good’. From her initial inspiration to the challenges she faced and the techniques she employed, Cynthia offers valuable insights into her approach to remixing tracks and staying true to her signature sound. With a focus on maintaining the essence of the original while infusing her own style, Cynthia’s passion for music shines through, as she discusses her dedication to delivering high-quality productions and her excitement for future projects. Hey Cynthia Laclé, how’s it going? Hi guys, all good here and you? All good, thanks! Can you tell us about the creative process behind your new remix? Sure, this track came on my favourite radio, SLAM FM, and I have noticed that this track wasn’t remade for quit some time. And its just such a classic epic track that I thought this is a cool one to make an own version off. So then you start working on it, and let your creativity flow. Were there any specific elements of the original track that you wanted to highlight or focus on in your remix? Yes, I really love the original melody and the vocals of the track. I wanted to keep that part because everybody knows the lyrics and the melody. Is an epic classic track. How do you ensure you stay true to the original while also incorporating your own signature style and sound when remixing a track? By picking specific parts of the track. I didn’t want to loose the original vibe from the track. It’s because with artists like these that inspired so many generations, it’s an honour to have such great artists as guidelines. What did you struggle with most with this remix? Was there a specific element that took longer to create? The biggest struggle was the vocals. To get them in the best quality possible. How do you hope listeners react to this new track? I hope they like it though, but that is always the question, though. Can you walk us through your process when it came to creating the integral elements of the production? How did you approach producing the pounding beat and punchy synth parts? Even though its a massive track already, I did want to make something that people would recognise that it is a Cynthia track. I wanted to make sure that the energy and vibe is high in it, like I always do. So, I added the screech sounds in it, and the bass. The synth makes the drop a bit dramatic like how I usually make my breaks, but in the second drop it fires again when all the sounds are combined. Of course when it comes to the kick I am very selective, it still is the most important sound for me. It sets the tone and vibe for my track and inspiration. When it comes to your workflow, how does your approach differ when you are producing originals compared to remixes? My workflow doesn’t change if it’s a remix or original track. There is still the same amount of work that you put in it. The only thing that might go a bit faster is the melody, because it’s already there, but still you want to make it ‘your own’ sound/track so that requires also time and creativity. Did you experiment with any new techniques, or did you craft any elements differently during the production of this remix? No, not specific in this one. I did make some new stuff with my new track that comes out later. But with this remix it wasn’t necessary. What can we expect from you in terms of future remixes or original productions? There will be so much more production coming. Originals, as well as remixes. Remixes are fun to make, and its even more epic when the original artist replies to it. It’s a massive honour. Own productions are just fun to do, you can put any emotion or vibe to it. Basically, you’re telling a story about who you are, or something that you have experienced in life that you would like to share. Stay tuned guys! Closing this interview, we thank Cynthia Laclé for her time and for our conversation that provides glimpse into the intricate production process behind her latest remix of ‘No Good’. From drawing inspiration to overcoming challenges and infusing her signature style, Cynthia’s passion for music shines through, and with a commitment to delivering high-quality productions and a promise of exciting projects on the horizon, Cynthia leaves listeners eagerly anticipating what’s next in her musical journey, so make sure to follow her across social media to remain updated on her latest releases and projects. Listen to ‘No Good Remix’ now: Cynthia Laclé Online Spotify | Instagram | Website    The post Cynthia Lacle – Behind The Scenes Of ‘No Good Remix’ – Interview appeared first on Electic Mode.

In this candid and riveting interview, Dutch DJ and producer Tony Junior takes us on his incredible journey from a rock music teenager to becoming one of the biggest names in EDM and the Hardstyle scene. We dive deep into how Tony’s passion for electronic music was ignited after discovering the raw power and energy of hardstyle. He opens up about making the transition from playing in rock bands to immersing himself in EDM production and performing at the biggest festivals like Tomorrowland, Defqon.1, and more. I want to start off first, can you tell us a little bit about who you are, where you’re from and what it is that you do. All right. This is always fun to do. I think it’s always very hard to talk about myself, but my name is Tony. Born and raised in Holland, in Utrecht. I’ve been a drummer. I was always in music. That was my only option in life, I guess. I started playing in bands when I was like 10 years old. I made a switch from being a drummer to making electronic dance music in, let’s say, 2011, 12. And I’m 34 right now and living life with music. Do you have an earliest memory that really drew you into music? Or how did you become a drummer? You just picked up some drumsticks and started banging around in the house?. The thing is my father was a famous drummer here in Holland in a Dutch band. It was called Het Goede Doel. And for me, it was super logical that I would play the drums like my dad, because I was like one year old and my mom would hold me and had a small drum kit for me, and I was already playing and fooling around with it. So, the moment I had conscience, I knew I’m going to be a drummer. It’s the only thing I like. It was like Pokémon and playing the drums. That was my whole youth and after a couple of years in school, I quit high school when I was 12 years old. So, everyone saw like, all right, this kid needs to be doing what he wants to do, not like doing mathematics or history class, whatever. He’s good to go. How did you go from playing rock music to becoming a DJ? What did that transition look like for you? That was, to be honest, one of the most important moments in my life because that flipped it all around. I had this pop rock band. I played for almost eight to nine years and that started when I was like 10. So those guys were like 10 years older, but they were my best friends. So, for years and years, we did a lot of shows. We recorded albums and EPs and when I was around 21 years old, that band split up. We got into a musical fight and we were never able to fix that. So suddenly one night, I lost my best friends and my reason to wake up in the morning because my life was playing the drums with my band and making new songs and just hanging around and being together. And then one day it was just simply, boom, it was gone. So, then I got super addicted to playing Call of Duty. I played Call of Duty for one year, like almost professional. I played 12 hours a day and suddenly I came to like realization when I went to my first house party in Utrecht here. It was a show with Sunnery James, Ryan Marciano, Leroy Styles and Melvin Reese. And I was like, holy s***, this is what I’m going to do. I’m going to sell the Xboxes and I’m going to make music on my own because I cannot have fights with band members and have issues about money. It’s going to be around me and I can decide everything. So that moment, like when my band split up and that year doing nothing, changed my life until now. Sunnery James and Ryan Marciano are kind of Big Room House, mainstream EDM, you would say. Did you decide to take that route first? What made you decide on that specific subgenre of music? I’m going to feel like almost old with saying this, but in the time, I started, it was a little simpler. EDM wasn’t a term yet. It was just House music. Everything was house music. And you had like, you had Trance, you had Hardstyle and Hardcore, but like Sunnery James and Ryan Marciano or those guys, but you also had like the Swedish House Mafia. They were just House. My first party was the party where they played a lot of Latin House. And that got me. But within a couple of months, I became a big fan of the Swedish House Mafia and Avicii. Back then it was Progressive House and that was like what we call Big Room-ish now. So, like the old Swedish House Mafia and Avicii stuff. You had Latin House, you had like the Dutch House, so the old Afrojack stuff. I felt the most connection with Latin House and normal House first. So, I just started producing that because that’s what I heard and had a party with. I was like, I’m going to make this music. That’s what I love. And later, like months of producing and locking myself into the studio, I started to love Big Room House as well. From 2015, I became a Big Room EDM DJ. It’s interesting, the evolution of the genres. Would you define your music then at the time as Latin house, or would you just say a default? No, the Latin House, that was a time that I produced a lot of music, but it never was good enough to release. So, when I started making electronic music in 2011 or 2010, 11-ish, I locked myself up in the studio literally for three years, doing nothing, no drinking. I never did drugs and not going out, just making music, music, music. In those three years, I accidentally scored like a number one hit here in Holland. I made like a remix of an old Dutch song from the 30s, and that became a number one hit. Suddenly I was all over the radio and people and clubs were booking me, and they didn’t even know what I was. Was I a dancing act? Was I a DJ? Was I whatever, a live act? So, the Latin House was something I liked to play during those shows. I produced, but after a couple of years when my music evolved, it got good enough, and I got signed to Spinnin’ Records. But before that, I had like random releases on random labels, and I was super f******g happy that I got a release. So Latin House, it’s definitely rooted in my electronic music taste. But I didn’t make it a lot that came out so that the public could hear it. That makes sense. How did you discover hardstyle? Have you always like hardstyle? How did you go to kind of what the music you’re doing now? Like for me, I never say I’m Hardstyle. I always say the Harder Styles because I’m not Hardstyle. I make it, but I can do like a Hard Techno song as well. But I always flirted during my sets with the Harder Styles and Hardstyle. If you look back to my old releases, like Immortal or Nobody Beats the F*****g Drum, those are kind of old school Hardstyle songs, but just 20 BPM lower. So, and during my sets, I played the last 20, 30 minutes was Hardstyle because I love to play it. And sometimes I made like a bootleg or, but I never like said in my career, okay, it’s going to 130 BPM to 150 BPM. And that’s what happened now. So, I always was busy with Hardstyle already. Like when I started, you had like, you had House music and like Latin House, Minimal House, Tech House. You had Techno, you had Dubstep, Jungle, whatever, Trance. And now everything is so blended that Techno is almost early Hardstyle. So, it’s coming so close, like music wise. So early old Hardcore is almost Techno from now, you know? So, in the Techno scene, all the credible people are playing show Tech songs. So, it’s a super interesting time. And that’s why I never said I am this, or I am EDM or I am whatever. And what happened a couple of years ago was what we call EDM. I never put myself into like I am EDM or I am Hardstyle or whatever. So, I just like put it up 20 BPM around 150. And a couple of weeks ago, I did an Uptempo song with a friend of mine called Rosbeek. I’m doing some harder Techno songs and I make what I like to play. And that’s the thing. I don’t want to be credible Hardstyle like Headhunterz or Brennan Hart or Wildstylez. I just like the music and when people like it, I’m a happy man. And when people don’t like it, I’m a happy man as well. When you’re talking about haters, how do you respond to hate online? And how do you respond to those people? How would you respond to those kinds of haters? If you don’t have haters, you’re not doing a good job. The more people who hate you, there’s also people that love your stuff and I was on television in Holland a lot. That’s like a side thing that started a couple of years ago that I didn’t even want, but they just asked me for like television programs and asked me for The Bachelor and Exhibition Robinson. So, I’m experienced when it comes to getting hate on social media, because when you do something on TV, let’s say you give a rose in The Bachelor to a girl that the whole world doesn’t want you to give it, everyone’s going to hate on you. And with music, it’s interesting because my music is my baby. I spend time making them, producing them, playing them. So that hurts a little bit more. The people that hate will listen to your music as well, probably. I don’t really care. And genre-wise, for example, in the Hardstyle industry, they are very protective about their genre. And I get that, because I was on a podcast a couple of months ago, and I spoke with a lot of people, because there were people that thought I would enter the Hardstyle industry and wanted to be credible. And people think of that like, no, f*** off. It’s our industry. But I get why they are that protective because they feel like it’s their genre. It’s like 10 years ago, they were like maybe outsiders loving to rave with Hardstyle or Hardcore. And they think that people didn’t like those sub-genres or people that went to hard sell festivals. So, they’re like if you didn’t like us back then, don’t like us now. Don’t touch us. So, they’re protective and I respect that a lot. So, I understand that they maybe can hate on me, because I’m making songs with like Brandon Hart or Coone, or Da Tweekaz. But there’s a lot of people that like Hardstyle as well. And they’re like, oh, I like the song, whoever the f*** it is. And you see that with a lot of genres, I think people are always scared that it goes too commercial and it isn’t cool anymore to like a kind of genre, I guess. It goes too mainstream. So, I’m super cool and super chill with that. That’s why I never say I am Hardstyle. I am Harder Styles. F****g love it or hate it. I don’t care. This interview was originally published on the Drop Bass Not Bombs podcast and an excerpt has been transcribed for this article

Lucidity 2024 Lucidity is a narrative co-authored by its participants. This year, the festival invites you to step into The Lucid City, a place “where all possibilities, creativity, and love are born”. Nestled in the oak-dotted hills above Santa Barbara, the Live Oak Campground transforms into a vibrant city of dreams from June 28 to 30, 2024. Headliners Jade Cicada and Detox Unit are set to weave their auditory magic. Next, Wajatta – a dynamic duo comprised of Reggie Watts and John Tejada brings a performance that blends humor with rhythm. Mija, The Crystal Method, and Coki will be delivering a pleasantly mixed bag. They round out a lineup as eclectic as it is electric. Other notable acts include Balkan Bump, Boombox, The Funk Hunters, and Christian Martin. Beyond the Beats Lucidity’s narrative extends beyond the music. It offers a transformative journey through art, community, and learning. Artists, healers, performers, vendors, and storytellers come together to create an experience that transcends the ordinary. Workshops designed to enlighten and inspire, art installations that challenge perception, and performances that defy gravity. Additionally, Lucidity boasts a variety of theme camps – microcosms of creativity, collaboration, and connection. Enchanting theme camps awaiting your discovery include Camp Stop Won’t Stop, Dreamboat Oasis, Fishbon, and Hive 5. To check out more of what the festival has to offer and to purchase tickets, head on over to the Lucidity website. The post ‘Auroras Light’ to Shine at Lucidity Festival 2024 appeared first on EDMTunes.

On an X post that Skrillex made on Friday, May 24 (see below), he stated that he and Fred again.. “have way too much new music” to test out and then announced that they will host a rave in San Francisco. Shortly after, both Skrillex and Fred again.. uploaded their own respective posts on Instagram, announcing that tickets go on sale to the general public at 12 p.m. on Tuesday, May 28. In their posts, the two EDM icons then included a Ticketmaster link so that the fans can visit it and obtain the tickets before they sell out. As of this writing, the tickets have sold out, although fans can still obtain tickets via ticket reseller sites (if they are able to). The time and date of this event will be at 6:30 p.m. on Saturday, June 1, 2024. According to an article from SFGate, the spectacular rave of Skrillex and Fred again.. will occur at the Civic Center Plaza, across the street from the Bill Graham Civic Auditorium and the City Hall. The event’s promoter is the local and well-known name, Another Planet Entertainment, the same minds behind the city’s famous Outside Lands Festival. June 1st will definitely be a date that many fans of the two superstars will forget in the “City by the Bay”. Fred and I have way too much new music we need to test out so we’re going to throw a rave in San Francisco next week BRB — Skrillex (@Skrillex) May 24, 2024 The post Skrillex and Fred again.. Announce Event in San Francisco appeared first on EDMTunes.

There’s a long and respected lineage of electronic dance music artists stemming the musical hotbed that is Stockholm. Adam Beyer, Jeremy Olander, Joel Mull, Genius of Time, Studio Barnhus, Jesper Dahlbäck are just a few, and the latest and greatest to join the aforementioned artists on her very own quest is MOLØ. Following in the footsteps of her father, a well-respected and highly regarded selector in his own right, shet has been making moves on the local underground scene in the Swedish capital for the last half-decade. With progress in the studio and behind the decks has her playing multiple shows week in and week out at every imaginable club and underground event in the country, and in early 2018 she caught the attention of Jeremy Olander. The Vivrant label founder put MOLØ on opening duties at his label show, she quickly landed residency honours at all his future hometown shows. Olander proceeded with inviting her to spend time with him in the studio, which has resulted in a collaboration EP on Olander’s Vivrant imprint in 2019. In the summer of 2018, MOLØ continued to rack up impressive accolades when she landed herself a residency at Stockholm’s club Kvarteret. There, she joined the Vivrant Open show with Marino Canal, Henry Saiz and Jeremy Olander, whilst also played the closing set after Detroit legend Carl Craig. Warming up Luciano and Sasha at festivals and clubs as The Ark Cruise in Ibiza, Culture Box in Copenhagen and Big Burn Festival in Istanbul, we had a brief Q&A ahead of her debut album on Jeremy’s Vivrant label. MOLØ, congratulations on the release of your debut album on Jeremy Olander’s Vivrant label! This is a significant milestone. Can you share what this moment means to you? It means so much. The album reflects a lot of my journey this past year, and I’m excited to invite listeners into my world through these tracks. It’s a mix of excitement, relief, and a touch of nervousness. Vivrant is known for its high standards and unique sound. How did your collaboration with Jeremy Olander and Vivrant come about? This was around 2018. I sent one of my songs to Vivrant, which is how I first connected with the label. I received a response from Jeremy’s manager, Alex, saying that he liked the sound and asked if I wanted to play a warm-up set at one of Vivrant’s parties in Stockholm. I did, and after that, I was lucky to become a resident at their showcases. After some time, I sent a new draft to Jeremy, a melody I felt really passionate about and thought would be an even better fit for the label than my earlier tracks. He responded and asked if I would like to finish it together. This became our first collaboration as well as my career-first release, ‘Vanadis’. Can you walk us through the creative process of this album? What were some of the inspirations behind it? The album includes some older ideas that I refined over the past year, along with several new songs. Initially, the plan wasn’t to create an album, but after completing some tracks, Vivrant and I decided to assemble a full album rather than an EP. Listening to them from start to finish in the order that’s on the album made it feel really cohesive. For a while, I’ve felt a strong urge to explore new creative directions and experiment with different sounds. Ambient music has been a big part of what I’ve listened to personally in recent years, and something I wanted to explore more as a producer. During this time, I also listened a lot to more experimental electronic music like Rival Consoles and Daniel Avery. This turned out to be an eye-opener for me, and instead of sticking to a specific genre, I embraced the freedom that initially drew me to electronic music. This album is a little reminder to make whatever resonates with you. Was there a particular track on the album that was especially challenging or rewarding to produce? ‘Balo’ and ‘Moma’ practically wrote themselves. I love it when tracks seem to know exactly where they’re going. That was a rewarding experience. One track that needed a lot more time was ‘Mio’. I felt like something was missing. It took me a long time and many different drafts before I finally reached out to Running Pine, an artist and vocalist I had admired for a long time. The version he sent back with the top line was beyond my expectations, and I felt like the song had finally hit home. ‘Chelle’ is a special one. It’s dedicated to my relative, Kjell, who passed away in May 2022. Kjell was an incredible musician and entertainer. Whenever I released a new song, he’d give me a call to discuss chord progressions and the melodies I had written. G minor held a special place in his heart, a detail he never failed to mention. So, after his passing, I wrote ’Chelle’ as a lullaby for him in G minor. When I decided to seek boerd’s input on it, the version he came back with was remarkable. I cried like a baby when I heard it for the first time in the studio. How do you feel your sound has evolved from your earlier releases to this debut album? I was fortunate to release a track early in my production journey, initially focusing on straight club music, even if it was slow burning then too. Releasing music at the start of your career, before fully developing your sound, has pros and cons. I felt the pressure of expectations before truly understanding my own sound. During the pandemic, without the ability to test new tracks on a dance floor, it felt natural to move away from dance-centric music. This shift brought some uncertainty, and I questioned whether I should introduce an alias or not. At one point, I even feared I lost my ability to produce club-oriented tracks. Thankfully, that wasn’t the case, and now, it feels good to be able to do both. Now I feel more confident about breaking out from the path I started on. I personally find it more inspiring to follow an artist’s journey and witness their musical development over time. I’ve stopped being afraid of trying new directions, and I think there’s still much to uncover about the direction I want to pursue. Jeremy Olander is known for his distinctive sound and artistic vision. How has working with him influenced your music? Working with Jeremy has been incredibly inspiring. Collaborating with him has pushed me to explore new creative paths and dive deeper into my own artistic vision. Early on, he taught me the impact of building a journey that resonates on a deeper level. I will always admire his way of creating his journey with very few elements. His ability to blend deep, emotional melodies with energetic rhythms has influenced how I approach composing and producing music. Jeremy’s influence has definitely left a mark on my approach to music. The electronic music scene is constantly evolving. Where do you see your music fitting in, and how do you hope it will impact listeners? I’m not entirely sure where my music fits in to be honest. I’m still trying to understand it myself. I do have a sense of the contexts and communities I want to be a part of, and I hope my music will find its place in those spaces where I feel most at home. I hope that “Aqua Lull” will find its audience and resonate with people emotionally, giving listeners comfort and inspiration over time. My goal is for the music to leave a lasting impression of tranquility and evoke some sense of hope. Looking ahead, what are your plans for the future? Are there any upcoming projects or collaborations we should be excited about? I’m currently working on an exciting project with Slacking Beats, and I’m really looking forward to sharing it. I’m also finishing an upcoming solo EP release. Plus, I’m eager to try another album. Next time, I want to start with a blank canvas and build an entire narrative from the ground up. Finally, is there anything you’d like to say to your listeners who have supported you on this journey? To all my amazing supporters and listeners, thank you from the bottom of my heart. Your unwavering loyalty and passion fuels me every step of the way. Your feedback, enthusiasm, and dedication make me believe in myself and give me the courage to share my vision. Available now via beatport The post Interview – MOLØ “I embraced the freedom that initially drew me to electronic music” appeared first on Decoded Magazine.