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As the days get warmer and the sun shines brighter, all is set for another summer filled with friends, music and good times. With only six weeks left to go, the Paradise City team is more than ready to welcome visitors for its biggest edition to date. Guests can expect extraordinary music and positive vibes across three days and nights. Besides its legendary dancefloor energy, the electronic music festival is famous for its lush green waterside location, impressive stage design, and high-quality light and sound productions. Today, the organisation has dropped the complete line-up for the upcoming festivities: There are some interesting picks amongst the newly announced artists. David August, for example, will present his highly anticipated new live AV show packed with the producer’s melancholic, emotive, organic electronica. In the same lane, Rival Consoles and Rex The Dog are also set to bring entertaining shows to our Live Stage, showcasing the deeper and creative sides of live electronic music. With UK’s house DJ sensation, Sally C going back to back with Brussels’ very own Driss Benis aka OCB, the ecstatic energy on Saturday’s Contrast Stage is sorted. But Paradise City would be nowhere without the support of local artists – and so the team is excited to give proper slots to some of the most exciting homegrown talent around, including Bjeor, Catalina, Eline Anne & r.omy, Odymel and RIET. Saturday and Camping tickets almost sold out Ticket sales for the Paradise City weekend have been rolling smoothly, and the demand is not slowing down – at all. Day tickets for Saturday and Camping tickets are almost sold out – only a few hundred of each remain – so the clock is ticking for those who haven’t made their move yet. Once these sell out, they’re gone. Tickets available here The post Paradise City Festival announces full line-up appeared first on Decoded Magazine.

The French producer was scheduled to appear at the Marseille event this weekend Continue reading...

Growing up in Porto, inspired by Call Of Duty montages and internet lore – Molecular AKA Rafael Pinto’s introduction to drum & bass was not filled with sneaking into raves, or digging through a friends-older-sibling’s tape pack collection. It was a steady diet of Noisia, Spor, DJ Die and other legends of that 2010s era, as well as countless hours of YouTube and forums to learn the art of music production – all through the headphones and screens. The culmination of these inspirations and graft shaped Raf’s future, building that trademark funk into his productions today. On top of the unmistakable groove he purveys, Molecular has become equally renowned for some of the tightest engineering. It’s a combination of talents that’s reasonably rare at this level. But when you think of a satisfying shuffle in tandem with boundary-pushing production – the Bristol names like DLR and Break come to mind, too. So the question is, how can you take it one step further, in a new direction? As Molecular hits a crucial stage in his music career – the debut album – this has been the mission he’s trying to conquer. ‘Heritage & Sound’ takes inspiration from dub music and culture in a variety of ways, from the more obvious things like samples and effects to the more nuanced details like track arrangement and bass texture. In true soundclash culture fashion, Molecular makes a statement with this new LP. Bringing 12 super-heavyweight tracks to the table that show the world not only his abilities in the studio, but his ability to bring in new elements and establish his own, patented sound… It’s been a while since we spoke to you. You were still at university at the time. What’s been up since then? Well, music kicked off! So I didn’t have any time to finish my uni. I’ve only got three or four subjects to go, but I haven’t been there for 2 years now… The degree was interesting – and I’m very passionate about management and digital marketing. And actually, the marketing subjects were the ones I did the best in terms of grades. I was good at it, and I do take some stuff from it, but a lot of it you can just learn online. I just got to this point during covid where I didn’t have time – there was so much going on with music, and I was trying to build my Patreon, and build my platform and everything. It started working out so quickly that I realised I could do music full time – not because of royalties, but because of Patreon, allowing me to be closer to my fans and allowing them to support me. So that’s what happened during covid – I quit my job, stopped doing uni, and it worked. Do you think having that study helped get a head start on the business side of music, seeing Patreon as a good revenue stream for example? I guess it does help you in the first couple of months. But a lot of the stuff you learn in uni… it’s all theory. You don’t get practical management courses, I didn’t get any internships through uni. You do learn some stuff and it’s cool, but I would say that anyone else without that sort of experience can achieve the same thing, they would just be one or two months behind. They would catch up quickly. It gives you confidence though. It did for me – I knew I knew the basics of marketing and management so I felt confident to try it. But once you get there, it’s completely different… it doesn’t prepare you very well. Well take it from someone who has that very same degree you were studying for – I think you might be right. There’s so much theory – but it’s all basic! You can pick it all up, you know. If you’re smart. YouTube was my friend, and Reddit. Uni didn’t teach me how to set up my website, or how to sort of my accounting, it was YouTube, Reddit, and forums to understand all these other real life situations. Was it the same for music then, in terms of how you learned? It was. I started reading and watching tutorials when I was about 12 or 13 years old. And I think that’s one of the other reasons that I was able to understand English so well – because everything was in English. I did this music production course – a 6 month course – when I was like 16. But I feel like I already knew pretty much everything. So I guess I’m just self taught on music – pressing buttons, troubleshooting on YouTube, trying things. How long have you been producing? I started messing around on FL Studio when I was about 11 years old. But I wasn’t doing anything interesting until I was about 14 or 15. Those first few years I was barely even making loops. So where did the influence come from to make drum & bass? I can’t say I know of a huge D&B scene in Portugal… I could be wrong! It’s not huge, it used to be pretty big 10 or so years ago. But now it’s not. But at that time, I wasn’t going out to raves anyway, so I didn’t catch that ‘train’, if you know what I’m saying. I guess the inspiration came from when I used to play Call Of Duty (COD) – I loved watching the COD montages on YouTube, and they all had D&B tracks on them. I’d heard of house and techno and things, but this fast music with snares and stuff – it was sick. The first track I heard was The Qemists – On The Run (feat. Jenna G). I listened to that track all day, everyday, until YouTube began recommending me more… Noisia – Block Control… I was hooked. There was no turning back. There wasn’t really any ‘real life’ situation that pulled me into D&B. It was more of me first finding out D&B on my own, and then starting to look at who the DJs are, and who’s into it around where I live. I then started making some connections locally. But that was way later on, when I was like 16 or 17. Do you remember wanting to go out and be a part of that ‘real life’ or live rave scene? Yeah 100%. I remember when I started looking into live sets on YouTube, there were some cool videos – there was this live Break set from like 10 years ago, everyone was vibing, and I would think “I wish this would happen here!”. So how did you get more involved in it? Was it production that took you there? Yeah pretty much. I started messaging anyone that was related to drum & bass here in my hometown, Porto. That’s how I met Martim, who runs Counterpoint Recordings. Which is a local label from my town. When I met him I sent him loads of music, and he said it was not good enough – so I kept trying. I don’t really like to take no for an answer. If you’re telling me no, I want to eventually make you say yes. So I kept sending music, and he eventually wanted to meet up and start releasing the tunes. At the same time as this, I was meeting a lot of other people who enjoy D&B, just to network and see what’s up. I remember going an hour by train to meet some guy I met on Facebook to spin records because he had decks. It’s like Tinder for D&B. I love that. Yeah, it’s really cool, and we’re still friends to this day. I’ve played B2B with him a few times, and he’s still one of my favourite DJs from Portugal. So anyways, Martim signed some tunes and let me play at some events, so I started meeting more and more people, including the artists we were booking. Jack Workforce, Icicle, and that’s how I met DLR as well. He came over when I was like 19, and that’s how I got introduced to Sofa Sound, J (DLR) said I could send some music, so I did. You fit Sofa Sound like a glove… that funky, raw, from-neurofunk sound. How did that relationship with DLR tighten once you met him? So once I met him, I sent him music and he played it. We had a few phone calls about getting releases on Sofa Sound. He could tell my sound was heavily influenced by him, Break, and the old-school Bristol sound with a touch of neurofunk. I remember him saying the tunes were really cool, but that I should try to do something different, because it obviously sounds a bit too similar. That was 100% true. One thing I like to do as a production exercise is to literally immitate something I like, because that’s a good way to learn. And I remember trying to imitate DLR, Break, Noisia, DJ Die, and all those types of artists. Up until a couple of years ago, people would say I’m a ‘DLR rip-off’, or I’m ‘DLR’s son’ – I’ve heard that one multiple times. So I’ve been trying to fight this off, and make it obviously different. Running away from the classic ‘wobbly’ sound that he does, that’s so nice and so prominent in Bristol. I’m not going to change my drums, because I love them, so I needed to find where else I could change stuff. In a way, my latest releases and the album does that. Because I wanted to show people- this is who I am. Although a lot more people are recognising it, I still feel like a lot of people are associating me with DLR, or Break, or The Sauce – so I want to stay away from those and just do my own thing. That’s a tough place to be. You do want to integrate with Sofa Sound when you’re releasing on it, but you also need to differentiate. It’s a common issue I’ve been hearing about recently. Alix Perez doesn’t want more Alix Perez’s making replicas of his tunes on 1985. So what are the key things you’re doing to differentiate? I try to play around, and create my own samples. The main thing that starts to set me apart now is textures, samples, and the way I’m using basses. I would go with that wobbly bass for a long time – but now I’m trying to go for things like a sustained bass or an 808, and I’m trying different ways of processing it. It takes me back to the album too – because it’s really influenced with dub and dub music, it’s got like the simplest basslines ever. Three notes, sustained, so there’s no wobbliness whatsoever. There’s a lot of texture and reverb in the bass – and in every sound – in dub music. So I started messing around with these processes on my bass, and just really simplifying the notes. My older tracks would have a lot of notes in the bass, and it’s cool to complicate it sometimes for sure, but I’m just trying to simplify it as much as possible and keep it true to its form. Just drums, bass, simple bassline, good texture, one or two cheeky samples, and that’s the track. I’ve also been trying different arrangement styles. One thing you can find in the album a lot is just tracks that don’t have a breakdown. It’s just the first drop, and a sort of interesting middle section, but not the typical breakdown where everything stops and it rolls back into the second drop. This is something I take from dub influence too. Because, in dub – which I believe to be the first electronic music genre ever, back in the 70s, they were the first genre to have the ‘drop the bass’ thing – they had no breakdowns. There might be a section without bass, or without drums, but it’s never really a stop, it would just keep rolling and rolling for 4 or 5 minutes. And they would use effects and texture to simulate that sense of direction, and create that tension you would normally have in a classic 16 bar D&B breakdown. They would high-pass out the bass, or roll out the drums, doing loads of echoes and things. So I tried to play around with that as well, using loads of effects and textures. But the drums are a hard one to differentiate – I love my drums and it took me a long time to get them to that level. Have you been spending quite a bit of time engrossing yourself in dub and reggae recently? Well when I was a teenager I used to listen to loads of reggae, and there would sometimes be the odd dub track in there. I always knew about dub, but it’s only when I started getting older, is when I started really listening to it and appreciating it. I think my love for dub grew after drum & bass – maybe my brain was able to connect the dots on the similarities or something. I remember when I was like 19 or 20, I saw this documentary about dub and how it was made. It blew my mind that they could do something like that with only an 8-track mixer, and that they created all these classic effects that we use now – like the dub siren, where they had a tuning button in the mixer that they put some echo on, it and it created the classic ‘bleep’ sound. A lot of effects that we use now, echoes, reverbs, spring reverbs – that I use a lot in my music – was founded in dub. The texture in dub was crazy, and they did this like 50 years ago! Dub isn’t something I discovered recently, but I discover more about it every year that goes by, I try to delve a little more into it. I’ve been really into studying recording techniques for drums in dub, like in the 70s and 80s because the drum sound is so amazing. I don’t think I’ll be recording my own drums, but it’s good to know these techniques so I can simulate them. What’s your favourite track on the album? The first track, ‘Cold Hands’, was possibly the track I enjoyed doing the most. Because it’s so simple. It started as a tester track for a sample pack that I did. I wanted to test the viability of the sample pack before I sold it. And the drums sounded really nice, and I thought I might as well build it out. It’s one of those ones that wrote itself in like one or two short sessions. And I just kept going back to it and adding sounds and it was just easy. Then there’s two others – ‘Soundclash’ and ‘Low End Craze’. I like these a lot. Everytime I play them I get such a good reaction, so in a way it’s a couple of tracks that put me in a good place, they make me feel good, so I have a good relationship with them. It’s like me giving myself a pat on the back. Why did you decide it was time for an album? They’re becoming less and less popular… Yeah they definitely are becoming less popular. People just want to release singles and that’s what works best for Spotify. I don’t think people often have the time or attention span to listen to a full album. Even I struggle a lot when one of my favourite artists releases an album – I feel like I can’t give one hour of my time to listen in one go, so I’ll split it over a few days. So I do understand that it’s difficult right now for artists with albums. But I really needed to make a statement. I wanted to show people: “Here I am, I can write 12 club tracks, with my own sound, takes, and influences”. Going with the culture of sound-clash: “If you can make something better, then prove it!”. Not saying I’m the best or anything, I more just mean that soundclash mentality, proving to people my sound and my ability. I thought about naming the album ‘my sound’ but obviously that’s Dillinja’s – but that’s where ‘Heritage & Sound’ comes from. Heritage that I take from these other genres like dub, african music, and Jamaican music and culture – this is our heritage that we have in D&B and jungle. We have so much of that influence, and sometimes people forget about it, and just use it without paying any respect to it. And then there’s my ‘sound’ and how I use that heritage, and respect that heritage, to build it on my own sound. And I guess this is also very much an album for DJs? A collection of rough and ready tracks… Exactly, just 12 club tracks, like Ed Rush & Optical did with ‘Wormhole’. I might want to do a concept album with interludes and weird tracks some time, but I feel like that’s a lot more difficult to do. Heritage & Sound is really more of a ‘DJ album’. I don’t expect this album to be doing a load of streams for me – I just want this to be a statement for me, I want DJs to play these tracks, and I want people to dance to it.

The Now Here familia is gearing up for its biggest season yet at its spiritual home of Hï Ibiza. This will be its third consecutive year taking over the iconic Club Room. Paco Osuna‘s beloved house and techno concept has pulled together a lineup of 30 artists over 15 parties. Mark your calendar as every Tuesday from June 18th through September 24th you’ll dance with Paco Osuna at Hï Ibiza. 2023 was the peak but 2024 will be even bigger Fresh off a globe-trotting 2023 that saw Now Here touch down everywhere from Miami to Medellin, the brand returns to its Balearic birthplace reinvigorated and ready to cement its reputation as one of Ibiza’s most musically daring and artistically coherent parties. At its core, Now Here was conceived to provide an immersive dancefloor experience fueled by a forward-thinking vision of melodic and grooving four-on-the-floor sounds. “To live and experience music with passion and enjoy the moment to the fullest” has been the mantra driving Osuna’s inspired programming since year one. This summer the quality will be reflected in the caliber of acts tapped to soundtrack sultry Ibiza nights at Hï. While anchored by resident Paco Osuna himself and a cast of longtime Now Here favorites, the 2024 line-up sees fresh new faces and sounds. Established scene leaders like Nicole Moudaber, Chelina Manuhutu, Mason Collective, and Latmun are expected. They will be joined by a host of bright up-and-comers including Ariel Rodz, Blackchild, De La Swing, Melainie Ribbe, Reboot, Reelow, Rsquared, Sosa, Toman, Tomi & Kesh, and Youniverse. For brand founder Osuna, each year represents an opportunity to further refine and recalibrate based on what works. This season is as special as the previous ones. However, what makes this season different is the experience I have gained before. Each year I can better adjust the music and style to what the audience that comes to visit us every Tuesday needs. try to choose the artists who have connected the most with the crowd in previous years, to be sure that whoever I select will be very special to the crowd, keeping in mind, of course, that what matters most to me is the creativity and talent in the DJ booth. – Paco Osuna Full 2024 Now Here lineup at Hï Ibiza 30 years in the industry for Paco Osuna Summer 2024 marks a major milestone for Osuna himself too. He celebrates an incredible 30 years behind the decks. Across 15 jubilant weeks, the Club Room will bear witness to the next chapter in this Spanish great’s iconic career – one built on true passion, relentless hard work, and an eternal love for music. From the looks of this year’s armada of talent, that passion burns brighter than ever in the Now Here ranks. With a finely-tuned sonic vision, world-class Hï Ibiza production, and the unbreakable spirit of the White Isle backing it, Paco Osuna’s 2024 residency is undoubtedly shaping up to be the hottest one yet. With the sincere passion that comes from focusing on music to live the moment to the fullest, Paco Osuna’s Now Here is prepared to deliver its best season to date. – Paco Osuna Full 2024 Now Here lineup at Hï Ibiza The full 2024 Now Here lineup at Hï Ibiza’s Club Room is: Agus O, Ariel Rodz, Blackchild, Chelina Manuhutu, De La Swing, DJ Oliver, Fer BR, Francis De Simone, Hector Couto, Iglesias, Latmun, Mahony, Manu Gonzalez, Mason Collective, Melainie Ribbe, Mendo, Miguelle & Tons, Nicole Moudaber, Paco Osuna, Rafa Barrios, Reboot, Reelow, Rendher, Riaz Dahnani, Rsquared, Sosa, Toman, Tomi & Kesh, Wheats, Youiverse. The post Paco Osuna’s Now Here Announces Massive 2024 Hï Ibiza Lineup appeared first on The Groove Cartel.

Less than 24 hours before boundary-pushing producer Covex delivers his new album OSCILLATE, he takes to YouTube to host a live mini-mix that introduces his album a day before it’s formal release. His new album draws inspiration from the dichotomies and complexities of life and it arrives via Seeking Blue Records. Covex explains that “OSCILLATE can be described as a piece to encapsulate the human experience. Through all the highs and lows, love and heartbreak, abundance of joy and pits of sadness, we can’t experience light without the dark. This album is about finding balance in the in-between and weaving gracefully between the range of emotions we experience.” Stream his mini-mix below. Featured image: Covex/Instagram The post Covex celebrates new album ‘OSCILLATE’ with live mini-mix via Seeking Blue Records appeared first on Dancing Astronaut.

Mirage season is back in NYC and the venue has kicked off the season with acts like the legendary Swedish House Mafia and most recently progressive house producer Audien with support from Ship Wrek, Frank Walker, Öwnboss, Third Party and more. What was originally a Sunday daytime show, was rescheduled to a prime time Friday night show — and the shift in energy that followed it was evident in the music tone shift. There were some surprisingly heavy drops and song choices now that the event took place late night as opposed to during the day. Personally I was all for it as it showed the versatility of the artists there and they were able to read the crowd and play to their needs. It was a great blend of nostalgic progressive house but with a twist, a perfect example of how music is ever evolving, but always referencing the past. In that sense, progressive house truly never died. The set up of The Mirage for this show was a 360 degree stage which was interesting to see as I have not been to a show like this since GRiZ a few years back. While it was cool to witness, I do think it would have been much more of a vibe for the original Sunday daytime show. At night, I noticed people couldn’t help but turn towards the giant 150 ft LED screen like moths to a flame — and thus making the DJ in the 360 set up much less impactful. It was however, still amazing to be able to see the DJs work in a variety of angles. It was a great show regardless and the cooler weather did nothing to stop the crowd from enjoying an amazing show. The post [Event Review] Audien: Progressive House Never Died at The Brooklyn Mirage appeared first on EDMTunes.

The electronic music scene has always found some of its deepest roots in Europe. Many countries see the genre as part of its cultural history. Some others do not. However, some of these countries aim to turn it into a vital part of their artistic and economic industries. A clear example of this is Spain. Last weekend, the Ukrainian duo ARTBAT held a historic concert inside one of the country’s most famous venues. We’re talking, of course, about the Santiago Bernabéu Stadium, home to the team Real Madrid. Last Sunday, Artbat’s label, UPPERGROUND organized a concert featuring some massive artists and unreal performances. Considered one of the most iconic stadiums in European football, the Santiago Bernabéu is home to the most awarded team in the history of the game. A team that gathers millions of fans across the entire world. It’s hard to think of a more iconic venue to throw a dance music event at. Spain, a country known in the industry for being the country in which Ibiza is located, has an interesting story when it comes to dance music. While widely accepted in some regions, mainly those with the biggest cities, there’s still a big segment of the population that stigmatizes the genre and those who partake in both sides of this industry. Artbat Takes Over One Of Europe’s Most Iconic Stadiums 8000 people. A sold-out event. Camelphat. Vintage Culture. Miss Monique. A pretty iconic lineup for one of the most innovative events we’ve seen in Spain in a while. There’s no denying the immense success this event has had. More importantly, we’re sure this is just the first of what will become a series of unreal events. Who would you like to see at the Santiago Bernabéu up next? Certainly, another great step for electronic dance music in the right direction. The post ARTBAT and UPPERGROUND Make History With Historic Sold-Out Performance At Santiago Bernabéu Stadium appeared first on EDMTunes.

One of the more unexpected collaborations in dance is finally dropping this week. John Summit took a few weeks off from touring a few months ago to go to London. During his time there he met up with Drum & Bass legend Sub Focus. In secret, they worked on a fusion of their sounds. John has been teasing it in shows since then and the people have been loving it. This week, the track will finally be released for all to enjoy at any time of the day. Titled ‘Go Back’ featuring Julia Church, the track is a beautiful journey. The record explores John’s expert ability to work with female vocals with Sub Focus’s signature DnB sound. It will be stuck in your all day long. Both Summit and Sub Focus will be at EDC this weekend so you can expect ‘Go Back’ to be heard a few times. I am sure they both will be joining each other on stage as well. Sub Focus will be at Circuit Grounds on Sunday and John will be there too on Friday. John Summit will also B2B with Green Velvet for a special closing show at Kinetic Field on Sunday. Sub Focus has a jam-packed summer coming up hitting up festivals throughout the UK, Hard Summer, and of course Creamfields. John will be everywhere this summer from his LIV Beach residency to Electric Forest to his sold-out Madison Square Garden show. The post John Summit & Sub Focus Collab Coming Out This Week appeared first on EDMTunes.

Excitement is building for the return of HBO®’s acclaimed series HOUSE OF THE DRAGON, set to premiere on Sunday, June 16th. HBO Max and Beatport are giving music producers a chance to shine. They’re inviting talented creators to reimagine the series’ iconic theme song. The competition opens its doors today to fans, artists, and music aficionados across the United States. It offers them a platform to showcase their creativity and compete for a coveted prize package. Participants are encouraged to infuse the House of the Dragon title track with their distinct sound and vision. The deadline for all remix entries is Wednesday, May 29th, at 11:59 p.m. PT. Next, Beatport, the esteemed Ed Banger Records team, and a selection of cast members from HOUSE OF THE DRAGON will undertake the task of judging and selecting the winning tracks. Finally, Two Grand Prize Winners will be selected as the “Green Remix Winner” and “Black Remix Winner. Winners will have their tracks released on WaterTower Music. Additionally, they will be awarded a 1 Year Subscription to Beatport Studio and, Beatport Pro or Beatsource Pro Streaming, 100 LabelRadar Credits, and a $10,000 cash prize. Four runner-ups will also receive a 6-month subscription to Beatport Studio and 50 LableRadar Credits. This initiative celebrates the series’ cultural impact and bridges the gap between the visual and auditory realms of storytelling. Up for the challenge? Head on over to Beatport to register. The post Beatport and HBO Max® Set the Stage for ‘House of the Dragon’ Remix Challenge appeared first on EDMTunes.

For a quarter-century, deadmau5 has taken electronic music where it's never been before. Naturally, his next creative frontier to conquer is AREA15, the immersive Las Vegas campus changing the fabric of Sin City. deadmau5 and his team at mau5trap have announced "immer5ive experience," a bespoke, eight-week long activation celebrating the deeply influential career of the pioneering producer. Fans will walk through a "spectacle of lighting scenes" soundtracked by deadmau5's timeless music, according to a press release. At AREA15, where surrealist art palpitates at every corner, deadmau5 disciples will find themselves lost in the auditory hallucinations of the mau5trap mainframe like never before. If you've ever imagined hearing "Strobe" while adrift in a sea of literal strobes, it's a must-visit. AREA15 It's all starting on May 16th, a few days before EDC kicks off at the Las Vegas Motor Speedway. deadmau5's team at mau5trap will head to AREA15 for "mau5hop Las Vegas," a pop-up shop in The Wall area of the complex. The marketplace, where fans can purchase rare items like mau5-themed rubik's cubes and hoodies, will be open to the public May 16-19 from noon to 10pm daily. deadmau5 himelf will be in attendance for an autograph session on Sunday, May 19th from 6:30pm to 8pm. Entry is free and fans who make a purchase will receive a wristband to enter the "immer5ive experience." The "immer5ive experience" will run until July 11th, 2024. You can purchase tickets here.

Sometimes the stars align just right. For Brandi Cyrus, her constellation is the DJ booth. Stepping into the booth felt like a natural evolution, but not right away. Cyrus spent her early twenties as part of an electropop band, with whom she learned a lot about the nuances of electronic dance music production. Following a hiatus from the band, she found herself drawn to the fashion world as she began frequenting LA parties, often attending events featuring female DJs. That sparked an immediate and incendiary passion within, so she began learning how to spin. Today, she's been DJing for six years and even landed an official 2024 residency at Wynn Las Vegas. Now she's preparing for her another triumph in Sin City, her debut performance at the iconic EDC Las Vegas, one of the biggest and most popular music festivals in the nation. As the vibrant neon lights of EDC beckon, we caught up with her to chat about the watershed moment in her career and her appreciation of dance music. View the original article to see embedded media. Country-influenced EDM, colloquially dubbed "YeeDM," is experiencing an undeniable surge in popularity. Diplo is leading the charge at Stagecoach, where his curated HonkyTonk Dance Hall stage featured Marshmello and The Chainsmokers this year. Insomniac Events, the organizer of EDC Las Vegas, is now unveiling a Wild West-themed dancing hub on the festival's grounds called "YeeDC Saloon." That's where Cyrus will perform. With country music deeply woven into the fabric of her upbringing—thanks in part to her father, Billy Ray Cyrus—she finds solace in its nostalgic melodies and heartfelt lyrics. Despite her foray into dance music, Cyrus doesn't limit herself to just one genre, instead blending diverse sounds and styles to deliver a dynamic experience for all. "You can always expect to hear a little bit of everything," Cyrus tells EDM.com in a Zoom interview. From timeless classics by Whitney Houston to the emotive melodies of Tim McGraw, her genre-bending sets promise a thrilling fusion of familiar favorites and unexpected delights. "I always call it one big dance party," she gushes. "I want everyone to have fun. I want the energy to be high and I'm just looking to have a good time." Brandi Cyrus.Jessica Amerson Cyrus is now eager to immerse herself in the magical energy of EDC Las Vegas for the very first time. Beyond the festival's pulsating beats and larger-than-life ambiance, what truly resonates with her is the sense of kinship and inclusivity within the dance music community. "I think my favorite thing about it is just how much of a family it feels like," she explains. "The dance music community really is so loving and so welcoming and loves to discover new artists and new music. I think that's such a cool thing that you don't see all the time." From fans to fellow artists, Cyrus says everyone has welcomed her with open arms. Through countless shows and festivals, she's learned invaluable lessons, including the importance of three essentials for surviving the weekend: comfortable shoes, staying hydrated and having a good crew by her side. She’s also learned to prioritize self-care. When she needs to recharge from the breakneck speed of life on the road, she seeks solace by returning to her home just outside of Nashville to reset. Surrounded by nature as well as her horses and a few dogs, she's able to replenish her soul when she feels depleted. "It's important to unplug and make sure I'm taking care of me," Cyrus says. "At the end of the day if I'm depleted, I can't go out and give my energy to everybody the way I want to when I play." View the original article to see embedded media. As her career continues to soar, Cyrus is already looking ahead to her next projects. Currently, she's hard at work producing her own music at the intersection of country and EDM. While she's keeping the details under wraps for now, she hints at exciting collaborations with fellow country artists and promises to tease the tracks during her DJ sets. "If you come to my sets, you'll hear some of it," she says. "So if I see you at EDC, I'm sure I'll play it for you." Cyrus' upcoming EDC debut has all the makings of a can't-miss experience. While she may be a newcomer to the festival's cosmic grounds, she's arriving with the energy that encapsulates the community and togetherness at its heart. You can catch Cyrus at EDC Las Vegas on Sunday night at the "YeeDC Saloon" from 1:30am to 2:45am. Follow Brandi Cyrus:X: x.com/brandicyrus Instagram: instagram.com/brandicyrus TikTok: tiktok.com/@brandicyrus Facebook: facebook.com/brandicyrus

Alison Wonderland, DJ and producer known for her electrifying performances and dynamic sound, has taken her creativity to new heights with the launch of her own festival-friendly makeup line, FMU Beauty. Dedicated to empowering individuals to express their true selves, FMU Beauty offers a vibrant and daring collection of beauty products designed to turn heads, set trends, and unleash creativity. FMU Beauty is more than just a makeup line; it’s a celebration of individuality and self-expression. Alison Wonderland, whose real name is Alexandra Sholler, has reimagined the art of makeup, transforming it into an empowering experience that celebrates uniqueness and unleashes inner beauty. Each product in the FMU Beauty line reflects her vision of bold self-expression, making it perfect for festival-goers and beauty enthusiasts alike. Alison’s insatiable curiosity and passion for creativity led her to experiment tirelessly, pushing the boundaries of conventional cosmetics and exploring their boundless potential. The result is a collection of products that are as innovative as they are eye-catching. From vibrant eyeshadows and striking lip colors to glittering highlighters and bold liners, FMU Beauty offers everything needed to create show-stopping festival looks. Key products in the FMU Beauty line include: vibrant eyeshadow palettes, long-wear lip colors, glittering highlighters, and bold eyeliners. Since its debut, FMU Beauty has garnered widespread attention and praise from fans and beauty influencers alike. The brand’s commitment to quality, inclusivity, and creativity has resonated with a diverse audience, making FMU Beauty a must-have for festival season and beyond. Alison Wonderland’s journey from music to makeup is a testament to her multifaceted talent and relentless drive to empower others. By merging her love for music with her passion for beauty, she has created a brand that encourages everyone to express themselves fearlessly and authentically. As festival season approaches, FMU Beauty is set to become a staple for those looking to elevate their makeup game and embrace their true selves. Get ready to unleash your creativity and make a statement with the ultimate festival-friendly makeup line that celebrates the beauty within us all. For more information and to shop the FMU Beauty collection, visit their website here and follow @FMUBeauty on social media.

Emily Goldberg, remembered by many as the ex-girlfriend of the late icon Avicii, passed away in La Jolla, California, at just 34 years old. Her obituary states that she died on April 3 from a pulmonary embolism, which results from a blood clot in the lungs. Originally from Poway, California, Emily graduated from George Washington University in 2012 with a Bachelor’s Degree in Art History. A gifted cellist, she played with the San Diego Youth Symphony and had a keen interest in art, photography, and both American and Japanese wrestling, alongside her love for animals. Avicii, whose real name was Tim Bergling, left an everlasting impact on the music industry. His renowned tracks like ‘Wake Me Up,’ ‘Levels,’ and ‘Hey Brother’ highlighted his ability to blend various genres, from folk to pop, into his electronic music. ‘Wake Me Up’ achieved RIAA Diamond Certification and remains the highest certified dance/electronic song in RIAA history, according to Billboard. His sudden death in 2018 deeply affected many, including Emily, who often honored his memory on social media. In her last Instagram post on May 24, 2023, Emily revealed she had battled cancer over the past year and was celebrating being cancer-free. She is survived by her parents and her brother. RIP, Emily. The post Avicii’s Former Girlfriend Emily Goldberg Dies At 34 Years Old appeared first on EDMTunes.

Celebrating its 20th birthday this year, legendary Drum & Bass label Shogun Audio has announced its upcoming LP 20 Years Of Shogun Audio, featuring 10 remixes of some of Shogun’s most legendary tracks alongside 10 groundbreaking new cuts from a selection of drum and bass’ most exciting talents. Releasing in November 2024 across digital platforms, a limited-edition 4 x 12” vinyl, and a beautiful anniversary box set including an 80-page coffee table book, the 20 Years Of Shogun Audio LP will be a collectable release that marks the culmination of two decades at the very pinnacle of drum and bass. Featuring a ridiculously stacked lineup of artists from beginning to end, 20 Years Of Shogun Audio is home to new music from Friction, DJ Marky, Break, Pola & Bryson, Monrroe, Emily Makis, Technimatic, Icicle, S.P.Y, Lens, GLXY, Sustance, Duskee, Javeon, Flowdan, SP:MC, Document One, Deadline, GEST, Watch The Ride, Total Science, Lenzman, Particle, Levela, Emperor, Subwave, Dynamite MC, IYAMAH, Note, and more. The album’s first single, ‘Lights Go Down’ from Document One and Dynamite MC, kicked off the LP with a powerful, emotive, and high-octane offering, released last Friday 3rd May. UK-based Shogun Audio has left an indelible footprint on the Drum & Bass scene. Founded by award-winning DJ & producer Ed Keeley (aka Friction), alongside business partner and collaborator Keir Tyrer (aka K-Tee), the label and its affiliates Elevate Records, Temple Publishing and SGN:LTD have been responsible for breaking many of today’s drum & bass stars. Since its inception in 2004, Shogun Audio has dedicated the last twenty years to championing the best underground dance talent, hosting some of the genre’s most memorable events and releasing some of dance music’s biggest anthems. 2024 marks twenty years since the label began with the announcement of a UK/EU Tour from June to November, which included parties and venues Motion (Bristol Day Party) / Troxy (London), HOTW Festival (UK), HOTB Festival (Croatia), Let It Roll Festival (Czech Republic), Electric Castle Festival (Romania), as well as 10 Remixes Of Classical Shogun Tunes and 10 New Original Tunes. Continuing its reputation as one of drum and bass’ most groundbreaking record labels, the 20 Years Of Shogun Audio LP presents the label’s most ambitious musical project to date. 20 Years Of Shogun Audio is a celebration that pays homage to Shogun Audio’s past whilst underpinning their ambitions for the future. Head to their website for vinyl, downloads, tour schedules and merchandise The post Legendary DnB label Shogun Audio celebrates 20th anniversary appeared first on Decoded Magazine.

This is not a drill: Lightning in a Bottle's 21st edition is a mere week away. The festival is returning to Buena Vista Lake, California from May 22-27, and if it's your first-ever visit, the anticipation of the unknown is likely taking over with each passing day—we've all been there. No matter which category you fall, it won't be long until the Do LaB's flagship festival kicks off once again. To ease your mind, here's a comprehensive guide to the experiences you'll find at Lightning in a Bottle 2024. View the original article to see embedded media. As you may have caught on by now, Lighting in a Bottle is so much more than just a music festival. It's a "journey to the heart of wellbeing," according to its organizers, who are inviting us all to "transformative wellness events and soul-nourishing experiences designed to inspire, heal, and connect." "Dive deep into practices that rejuvenate the body, elevate the mind, and awaken the spirit through art, movement, and interactivity," the post continues. "We’re proud to present our 2024 Compass, Yoga, Movement, Meditation, Artclave, and Learning Kitchen programming." Take a look at the featured presenters and facilitators that will be at LIB 2024 below. View the original article to see embedded media. For any first timers—to the festival or to its non-musical experiences—Lightning in a Bottle is an incubator for humankind to celebrate life, community and self-expression. It's all made possible through an abundance of curated offerings each day. The Compass is the festival's learning hub that consists of a wide variety of discussions and workshops, including "The Magic & Medicine of the HoneyBee" and "Relationship Standards." If you're interested in food-focused programming, you should check out the Learning Kitchen. This year, dive into "Growing Mushrooms for Meals," "Elixars: The Nectar of the Gods," "Backyard Superfoods" and other culinary classes. Elsehwhere, the ArtClave is an interactive, creative space that offers everything from sensual painting to circus revival to journaling. And if art really speaks to you, we recommend you check out the "Lightning in a Paintcan" activation. According to the LIB website, "over 50 live painters transform blank canvases into incredible murals and paintings throughout the festival" before an art walk and silent auction on Sunday night." Festival-goers can also experience one-of-a-kind interactive art instillations and "micro-environments within the festival" to explore. Tnesta Photography Of course, the music is the main attraction for most. And this year's lineup is most delectable. Headlining artists this year include Skrillex, Lane 8, James Blake, ISOxo, CloZee, Nora En Pure and M.I.A., among others. Not to mention Skream, who has been confirmed for a dubstep set; and Tycho, who will deliver a special sunset performance. You can check out the full music lineup below. Few tickets to this year's edition of Lightning in a Bottle remain. To purchase a last-minute pass, navigate here. c/o Lightning in a Bottle FOLLOW LIGHTNING IN A BOTTLE:Facebook: facebook.com/LIBfestival X: x.com/LIBfestival Instagram: instagram.com/libfestival

We recently had the opportunity to chat with Kaveh of the legendary DJ duo Pleasurekraft to discuss their highly anticipated final album. Formed in Washington D.C., Pleasurekraft has been a driving force in the techno house scene for years, and their music has garnered a devoted following around the globe. Kaveh, known for his visual style as well as his musical prowess, offered exciting insights into the creative process behind the album, his thoughts on the evolution of techno, and what fans can expect in this next chapter for Pleasurekraft. Hey Kaveh, hope all is great with you! Summer is on the way – does that affect the music you make and play, and the vibes you enjoy? Perhaps if I’m playing an outdoor festival, or deciding on the release date of a song, yes. For instance, “The Ultimate Ride” which has a euphoric 80’s vibe to it, screams summer, but generally, those are outlier cases for our music I’d say. Most of our songs aren’t traditionally ‘uplifting’ in sound, even though the themes can be – e.g. “The Optimist”, and the title-track “On Growth and Form”. What inspired the new album, what was the plan for it when you started? Darwin, evolution, Scottish biologist D’Arcy Wentworth Thompson’s book of the same name from 1917, and really, the idea that there is a continuity that runs through all living things, and the distinctions we often draw are our species-specific manner in which we categorize nature for our various purposes, but that these boundaries are not only more porous than we imagine, but are constantly evolving. As far as a plan goes, like previous albums, we had a growing number of electronica tracks that were nearing completion, and once that reaches a critical mass of about 4 or 5, as they typically take longer than the club tracks, then it’s a sign that an album is on the horizon. Why have you decided this is the last album? Well there is a bit more nuance to the headline-sounding “final album” – as this album will not be our last musical contribution. There are already several singles and EPs of techno tracks that will be released throughout the course of the upcoming year, however, this is the final album we will be releasing that will feature any techno music on it. For us, the appeal of releasing albums at all has always been to treat them as trojan horses, where we can sneak in all the synth-wave, non-club tracks that we love to make. Once the traditional techno music listener opens the gates of their veritable mind, a collection of tracks that usually don’t exist on techno albums sneaks out – hopefully greeted with enthusiasm! Of course, being a musical act that is predominantly known for techno, the electronica tracks will always garner the least attention, but they are also what sets us apart from most of the techno producers out there. Additionally, we never set out to make albums for an end user in mind, rather they are what we love to make, and this is the best format for us to covertly get them heard. How does it differ from previous works? Did you approach it in a different way or use different gear for example? Not really, most of the stuff used is not hardware based, but a lot of careful compression and EQ can go a long way! Similar to the last 2 previous albums, there are club-oriented tracks interspersed with more electronica, synth-wave tracks – which are tracks we really enjoy making but are not a style we are known for. Releasing albums is our covert way of sneaking in the music we really love into people’s ears – Trojan horses you could say. Not that we don’t enjoy making techno, but there is a freedom to create in tracks like “The Optimist”, “The Social Primate”, “Umbilicis Universalis” etc, that is missing from the much more rigid constraints of techno. Who does what, do you each take care of certain aspects of the production of each track? It really changes from track to track – with the vast majority of the tracks we make never seeing the light of day. But we are notoriously slow producers, I’d say a track usually takes a month or two on average to achieve its final form as a result of back and forth between different things we try. But there is no general production routine that we always follow. How has the sound of Pleasurekraft evolved over the years and what has driven that? I think we were as surprised as anyone when our first hit “Tarantula” became such an iconic tech-house record. It was too different, we thought, to have that kind of mass appeal, and yet it opened many doors for us, some of which I wish we’d never walked through whether because of the various personalities and motives involved, or just that it pushed us to keep trying to recreate and repeat ourselves. I think our eventual shift to techno, which was fully complete by 2017 was a chance to do what we wanted to do and do it predominantly on our own terms and on our own imprint, Kraftek. I think by and large, tech house is a really fun genre with tons of party appeal, but for me particularly as someone who has had the privilege of being a full-time touring artist for over a decade, I didn’t want ‘party music’ to be the only thing I contributed to the world of electronic music. The ‘cosmic techno’ trajectory allowed us to explore more cerebral philosophical themes while still maintaining a club-friendly musical form, albeit, our brand of techno has always been about an emotional hook that is the beating heart of the track, something that is not all too common in techno, where even a small simple lead is often deemed too melodic. But we’ve been fortunate to garner a whole new set of fans with whom our music resonates. What have been the highs of this project up to now? Any time you can give life to ideas in your mind, release them into the world, and then watch complete strangers across the planet lose themselves on a dancefloor, it is a high that is truly singular and never gets old. Everything else is a footnote to that moment. And what challenges have you faced over the years? Too many to name, but they’ve all been learning experiences. From agents and managers who place their bank accounts ahead of your longevity as an artist, forgetting that they are employed by the act they represent and not the other way around, to managing the peaks and valleys of a capricious industry, to making peace with the fact that social media is just something that will never appeal to the way I wish to represent myself or the music we make – despite it being the primary platform on which not just musicians, but (almost) everyone broadcasts their creative endeavors. The fact that I still get to tour the world despite having minimal social media output is a testament to the fans out there with whom our music is the primary resonating factor. What is next for you? What else do you have coming up? Musically, there are a few techno singles and EPs that will be forthcoming throughout the rest of this year and next. We will also be compiling all our non-club tracks into a single collection for release this fall, as I think many people don’t even realize that part of our catalogue exists. As far as what is next, generally speaking, I’m working on a second master’s in psychology and neuroscience and when the final sentence of this Pleasurekraft chapter is written, I will be moving on to the mental health field professionally, but maintaining a creative outlet in the form of writing. What are the most important lessons you have learnt in your career so far? That human beings have a much more difficult time re-catgorizing something they are already familiar with than just categorizing something for the first time. We certainly felt the brunt of this cognitive bias when we started releasing techno 7+ years ago, and there were times early on when we felt we’d made a mistake by not using a different alias for the genre we were now releasing in. But there will always be people who prefer what an artist was to what an artist is. Ultimately, if music is the medium in which you creatively work through ideas, and not a product in which you think first about the end-user, then change, or some form of evolution, is precisely what is to be expected.Pleasurekraft’s “On Growth And Form” LP is out now on Kraftek Grab it here – The post EDMTunes Chats with Pleasurekraft About Final Album & What’s Next appeared first on EDMTunes.

Music festivals are a sacred space to let your freak flag fly. But after rattling the rail for hours in the desert heat, many are left with raccoon eyes and a melted base with nowhere to turn but a filthy porta-potty. Alison Wonderland gets it—raging that hard takes tough makeup that won't crease, cake or disappear, and you need fortified formulas as relentless as you are. She's now launched FMU Beauty, a "festival-friendly" cosmetics line to let your makeup face the music with you. An ode to the uninhibited spirit of festival life, the new makeup line was essentially created so ravers can go the distance from the RV camp to the afterparty without heavy maintenance. FMU Beauty's "performance-driven" cosmetics are "specifically formulated to withstand the demands of all-day, all-night dancing and celebration," according to its website. View the original article to see embedded media. But FMU Beauty isn't just about looking beautiful. All of the brand's products are cruelty-free and "never animal-tested" so you can rock your warpaint with a conscience. The new line has launched with three products: Hyper Hue pH Lip & Cheek Tint, UFO Body Art Stamp & Liner and a handy waterproof fanny pack with translucent material "designed to adhere to security guidelines." It's a beauty line that lives by the same rules as Wonderland's music: bold and unapologetic. And it's the realization of a dream for the chart-topping producer and singer-songwriter, who recently gave birth to her first child. "All I have ever wanted it so make life a little more fun for everyone around me," she said in an Instagram post. "Makeup is self expression and I have always done my own even on shoots and videos. I created festival friendly multi use products for everyone… I just can’t believe this is real. Thank you everyone for believing in me." You can peruse the FMU Beauty marketplace here. View the original article to see embedded media. Follow Alison Wonderland:Facebook: facebook.com/awonderdj X: x.com/awonderland Instagram: instagram.com/alisonwonderland Spotify: spoti.fi/3clhKRg

Following last August’s announcement of a long-term deal with Defected, legendary UK dance act Groove Armada revealed the first music with Free Jam EP on Defected’s sub-label DFTD. Following a run of successful club and festival appearances for Defected and Glitterbox, Groove Armada will continue to headline Defected’s international roster of events, while releasing new music that spans house and disco, demonstrating the sonic diversity of Defected’s label repertoire. Showcasing their club proficiency with the two-track Free Jam EP, the best of their extensive dancefloor experience is demonstrated on the release; the title track is a love letter to deep house, featuring delicious, soulful vocals from prolific dance vocalist Kathy Brown that meld with the duo’s unique percussive choices. ‘New Kind Of Drama’ delivers another dose of expertly curated club music, bringing the heat with bold squelchy synths and in-your-face Slarta John vocals moulded into raw, unfiltered carnival bliss. “’Free Jam’ was born in a Byron Bay hotel room after a sweat soaked house session the night before. It’s a return to those late-night moments of house euphoria, love and warm Red Stripe, at the free parties where me and Tom began. ‘New Kind of Drama’, with outtakes from the Slarta John’s ‘Pull Up’ vocal, has been our secret DJ weapon for over a decade, it was rooted in the bass heavy sonic chaos of endless nights in the yards around late 20th century Brick Lane. It’s lovely to be back in the house groove where everything started, and to be there as part of a Defected family who are taking the ethos of the original house party worldwide.” – Andy Cato, Groove Armada Achieving huge chart success with singles such as ‘At The River’, ‘I See You Baby’ and ‘Superstylin’’, and with nine studio albums under their belt, Groove Armada’s influence on UK electronic music is undeniable. Speaking on the signing, their management Nathan Thursting and Mike Cridland said, “the relationship with Defected is a perfect fit at a perfect time with Tom and Andy back djing across the globe, celebrating the culture and heritage of their sound.” “Very few artists have been able to produce and perform across multiple sub-genres of house and disco and stand the test of time like Groove Armada, so I’m very proud of this signing. From their Shoreditch beginnings, Tom and Andy have always been at the very top of their game, and we’re very much looking forward to working with them in the future and releasing lots of great music.” – Wez Saunders, CEO Defected Records Free Jam EP will be released via DFTD on 24th May 2024. Pre-order/pre-save: DFTD.lnk.to/DFTDS200D The post Groove Armada reveal ‘Free Jam EP’ on Defected appeared first on Decoded Magazine.

Alexander “Alex” Pall, the dynamic half of The Chainsmokers, celebrates his 39th birthday today. Known for his electrifying music alongside Drew Taggart, Alex continues to captivate fans worldwide with their hit tracks like ‘Closer’ and ‘Don’t Let Me Down’. As he embarks on the final year of his thirties, anticipation builds around what innovative beats and new ventures he will pursue next. Here’s to another year of success and chart-topping tunes for Alex Pall. Happy 39th, Alex! 10. ‘Sick Boy’ – 459m streams 9. ‘Who Do You Love’ with 5 Seconds Of Summer – 542m 8. ‘Call You Mine’ with Bebe Rexha – 609m 7. ‘This Feeling’ with Kelsea Ballerini – 619m streams 6. ‘Takeaway’ with Illenium – 627m streams 5. ‘Roses’ with ROZES – 1b streams 4. ‘Paris’ – 1.1b streams 3. ‘Don’t Let Me Down’ with Daya – 1.8b streams 2. Something Just Like This with Coldplay – 2.5m streams 1. Closer with Halsey – 2.8b streams

If you want to hear all the EDM radio stars, throw a dart and pick a festival. If you want to see a lineup of nothing but galaxy-brain producers, head to Portola Music Festival. Goldenvoice has revealed the lineup for the next iteration of the San Francisco-based festival, which returns to Pier 80 on September 28th and 29th, 2024. Despite facing a spate challenges from city officials after last year's event, the corporation behind Coachella and Stagecoach will once again welcome fans to the Bay Area this fall. This year's headliners are RÜFÜS DU SOL, Gesaffelstein, Four Tet, Jaime xx, Justice, Disclosure, FISHER and M.I.A. Joining them is a collection of some of the finest production minds across the electronic music spectrum, like BICEP, Floating Points, Tycho, Chase & Status, Barry Can't Swim, LP Giobbi and EDM.com Class of 2024 stars Sara Landry and Kenya Grace. Tickets to Portola 2024 will be available for purchase on May 17th at 12pm PT here. Check out the full lineup below. Portola Festival 2024 lineup.Portola Music Festival FOLLOW PORTOLA FESTIVAL:Facebook: facebook.com/portolafestival X: x.com/PortolaFestival Instagram: instagram.com/portolafestival

Hot off the heels of "Mockingbird," which just dropped at the beginning of the month, Tiësto is back with another spicy single just in time for EDC Las Vegas. A collaboration with Barcelona dance music duo PROPHECY, "My City" is the official EDC Las Vegas 2024 festival anthem, according to a press release shared with EDM.com. It's also the first song to appear on Insomniac's accompanying compilation album, which will feature 90 tracks. Out now on Insomniac Records, "My City" is sure to heat up any dancefloor this summer. Sultry vocals compliment a dynamic, driving bassline in the chugging house banger, which incorporates vitalizing synths and thick, techno-inspired kicks. PROPHECY are set to perform at Hï Ibiza for David Guetta and MORTEN's "Future Rave" alongside MEDUZA, Elderbrook, ARTBAT and many more. The residency will continue through the entire summer on the White Isle, every Friday from June through October. Tiësto meanwhile, has a typically robust international touring schedule of his own. Listen to "My City" below and find the new collaboration on streaming platforms here. Follow Tiësto:X: x.com/tiesto Instagram: instagram.com/tiesto Facebook: facebook.com/tiesto Spotify: spoti.fi/3dVvySo Follow PROPHECY:X: x.com/prophecylive_ Instagram: instagram.com/prophecylive Facebook: facebook.com/prophecylivefb Spotify: tinyurl.com/4upf2es7

Techno phenomenon Eli Brown has yet another label up his sleeve, only this time it’s unlike anything he has released before. Fusing together the worlds of high-frequency sound and high-end design, Eli Brown unveils 92 Thing – a forward-thinking streetwear brand that distills the essence of a seminal year in Dance music history into a contemporary apparel collection. With a limited-run drop of only 200 units (100 per each style) arriving on May 15, the debut of 92 Thing signals the multi-hyphenate DJ and producer’s first serious foray into the fashion realm and offers a testament to his unstoppable drive to carve out his space in popular culture, on his terms. The inaugural 92 Thing drop arrives on May 15, 2024 via 92thing.com. The first capsule collection will include two distinct, heavyweight and oversized T-shirt styles (Gasoline and Cloud) available in sizes XXS – 3XL. Each style will retail for GBP 70 (USD 87.13) while quantities last. For more information refer to the aforementioned site, or to @92_thing on Instagram. A homage to a famed era of Bristol’s sonic underground — and the inception of the singular artistic vision that is Eli Brown — 92 Thing captures the audacious spirit and style of 1992’s rave scene. With the Techno force at its helm, 92 Thing will come to life as a tangible, effortlessly cool connection to the rebellious innovation of 1992’s electronic revolution, offering a piece of prolific music history woven into the fabric of each garment. Akin to Eli Brown’s non-conformist approach to music production, the collection is poised to transcend the conventional approach to artist merchandising through a hypebeast-inspired lens. An apparel and lifestyle brand at its core, 92 Thing will blend modern fashion, nostalgic touches and the exclusivity of streetwear culture to offer a covetable range of styles that will be released in limited quantities throughout the year. “I’ve never been one to follow the status quo as I find it to be quite boring – In everything I create, I try to find ways to set myself apart from industry standards and break some boundaries along the way”, said Eli Brown. “I could have gone the traditional merch route, but that just isn’t me. To launch a streetwear collection that embodies my style and captures the essence of the origins that made me into the artist I am today feels like the most authentic way I can connect with my fans. My career was literally born in 1992 in the shadows of Bristol’s underground music scene; Acid House was in its infancy…hardcore was growing…the dance fabric of the UK had really begun. It was a 92 thing, a time of resistance and rebellion, one which continues to inform my production to this day. This brand is meant to encapsulate that spirit in a new, exciting way and I can’t wait to share this new project with music lovers and style savants alike”. Equal parts a master producer and veritable phenomenon, Eli Brown is a sonic force in a category of his own. Since bursting onto the scene in 2016, the Techno powerhouse’s brooding sound and visceral energy have catapulted him from the UK’s underground to global icon status at meteoritic pace — but you would be remiss to call him an overnight sensation. Boasting a career that spans over two decades, the enigmatic persona is yet another incarnation of the ingenuity, intensity and innovation of the man behind the music. The genesis of Eli Brown’s distinct auditory expression can be found veiled in the shadows of Bristol’s famed clandestine realms, where a passion for subversive soundscapes quickly progressed into an unrelenting obsession with the craft. Balancing self-taught technical mastery with raw instinct, his genre-defying productions capture the rebellious edge that defined the city’s Electronic legacy, while simultaneously forging a new frontier that beckons listeners into the furthest reaches of his own creative depths. Rooted in the sinister, his sophisticated compositions offer a high-frequency exploration of the darkest sonic recesses in a way that resonates with loyal fans and new audiences alike, leaving an indelible mark on the industry as a whole. The visionaire is also the founder of Arcane, a trailblazing imprint championing both emerging and established acts who are similarly bridging the gap between the underground and mainstream worlds. The launch of 92 Thing comes hot on the heels of a massive few months and a slew of chart-topping releases such as his most recent hit ‘Gasoline’ with Lily Palmer. Brown’s penchant for breaking boundaries has undeniably cemented the DJ, producer and record label head as one of music’s most in-demand names and highest-streamed Techno artists in the world with unprecedented fervor. To date, the multi-hyphenate has amassed a cult-like following with over 3 million monthly listeners on Spotify, 254 million cumulative streams and ardent support from industry legends such as Carl Cox, Calvin Harris, Reinier Zonneveld, Adam Beyer and Lily Palmer. The post Eli Brown Unveils First Streetwear Collection, ’92 Thing’ appeared first on EDMTunes.

Imagine Festival‘s founders say inflation and rising costs forced them to cancel the highly anticipated 2024 event, while also hinting at future editions being smaller in scale. Glenn and Maddy Goodhand, the husband-wife duo who founded Imagine, were blunt in their assessment of the festival’s challenges. “Prices kept going up and never went down“, Maddy revealed to the Atlanta Journal-Constitution. “Our costs went up 50% from before COVID but we couldn’t justify raising our ticket prices by that amount“. The Goodhands say increasing expenses associated with staging the ten-year-old EDM party made it difficult for them to break even. “With the infrastructure we have to create and the 24/7 security, the costs have become astronomical“, she said. Debuting in 2014 as a 2-day event in Atlanta, Imagine moved thirty miles south to Atlanta Motor Speedway and became a camping festival two years later. After a pandemic pause, it relocated to Chattahoochee Hills, but faced an abrupt cancellation due to unfavorable weather conditions. In 2022, it found a new home at Kingston Downs in Rome, Georgia. The return of Imagine Festival to Kingston Downs is in doubt, the Goodhands say. If the festival takes place in 2025, it may return to Atlanta and be significantly smaller. The post Imagine Festival Blames Inflation for Cancelation & Hints At Future Downsizing appeared first on EDMTunes.

Ultranouts, Ultra Music Festival 2025 tickets are officially live! Fans can now secure their spot for next year’s edition, one which is sure to be for the books. Making its annual return to the beautiful Bayfront Park, the Miami-based music festival is expected to go bigger than ever for its 25th anniversary. Looking back at past anniversary celebrations, Ultra has repeatedly delivered surprises for its attendees. For example, during its 15th anniversary, Ultra hosted its festival for two weekends, making it one of the first electronic music festivals to introduce the two-weekend party. 2013 attendees also witnessed powerhouse trio Swedish House Mafia host one of their final sets before their temporary breakup. Fast forward to 2018, the music festival celebrated its 20th anniversary with the official return of Swedish House Mafia and brought out special guests such as Will Smith, Halsey, Desiigner, Above & Beyond, and more. To get fans excited for next year’s edition, the music festival released a Memories Clip to reminisce on some of the epic moments captured during this year’s event. If you weren’t there in 2024, then you certainly need to be there for 2025. Ultra Music Festival will make its return on March 28 – 30, 2025. Purchase your tickets and secure your spot for the event here. The post Ultra Music Festival 2025 Tickets Go Back On Sale appeared first on EDMTunes.

If you’ve been to Las Vegas’s Electric Daisy Carnival (EDC), you know that the music, lights, and pure happiness make it an experience you’ll never forget. But among the pumping beats and flashy production, the amazing fireworks shows and mesmerizing ceremony acts are some of the most memorable parts. Check the map to see where the fireworks are. Our guide will also drive through EDC Las Vegas 2024. Main Fireworks There is no better show than the Main Fireworks at EDC. From 1:41 AM to 1:47 AM, this pyrotechnic show will light up the desert sky with a kaleidoscope of colors and shapes that will move to the music. Expect a shower of thousands of sparkly sparks falling like bombs going off all at once. There’s so much going on that it’s overwhelming. Intermezzo There are fireworks, but they are only one part of EDC’s big show. “Intermezzos,” which are parts of the ceremony, tell stories throughout the night with choreographed dancers, amazing visual effects, and live instrumental performances. Start the night off right with the Intermezzo: Chemistry from 11:18 PM to 12:24 AM. It adds drama to the stage. After that, from 3:17 AM to 3:20 AM, Intermezzo: Symphony is fun with, as the name suggests, symponic-style music. Later, the Intermezzo: Harmony from 4:10 AM to 4:13 AM includes happy and peaceful vibes. Closing Ceremony And finally, the Closing Ceremony from 5:28 AM to 5:30 AM, just as the sun is rising over the Las Vegas desert, marks the end of the whole thing. You can see these amazing fireworks and formal shows from anywhere on EDC’s huge grounds. They make the event into an experience that is so real that it’s hard to tell that it’s not real. One big reason why EDC is still one of the world’s most-loved dance music events every year is this. Feel free to check the whole set times for the festival. The post When are the fireworks at EDC Las Vegas 2024? appeared first on The Groove Cartel.