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The group indicated they are sitting on unreleased music, further details of which are yet to be announced Continue reading...

Kordhell leads the charge in the phonk revolution, and it’s an unexpected development by his admission. If it’s true that great leaders are born, not made, then it’s only right that Kordhell represents the genre on a global scale. Kordhell sits at the war table with select artists enlisted for the official companion EP of Netflix’s Rebel Moon — Part Two: The Scargiver, a sequel to director Zack Snyder’s 2023 epic space opera. Kordhell joins Black Coffee, TOKiMONSTA and more on a new EP, which features five tracks inspired by one of the characters in the film. View the original article to see embedded media. Kordhell is a lifelong musician under various aliases, but his influential foray into phonk music is musical symbiosis at its finest. Both the genre and Kordhell, one of its early flag-bearers, rode an unforeseen tsunami of popularity in the early 2020s. It’s rightly earned him a reputation as a genre pioneer; however, he owes just as much to phonk as phonk owes to him. We picked Kordhell’s brain following the release of "Revolution" from Rebel Moon - Songs of the Rebellion in advance of Netflix’s Rebel Moon sequel premiering today. EDM.com: Kordhell and phonk's recent rises are synonymous with each other but you've been an active musician for decades. It reminds me of the trajectory of one of my favorite artists, Run the Jewels. What benefits—professionally and personally—do you incur approaching this heightened success as a music industry veteran? After all, we've seen many young artists blow up and struggle to adjust to pressures. I come from a background in metal and punk music. I think that taught me that you have to constantly be working and evolving to keep up with the music industry. Everything changes so fast, so you need to evolve and work hard to keep on top. Since the Kordhell project blew up, I honestly haven't changed in the way I apply myself to working at all. In fact, I probably work harder now on music than I ever had before. I'm getting a lot of demand now too so the work keeps piling up. It's hard to stay on top of it all, but it is fun and I enjoy it a lot. EDM.com: What's the inspiration behind the name "Kordhell?" Originally I played in a metal band and each member had a serial killer theme. My character was supposed to be some corrupt cop like the character in Maniac Cop. His name is Officer Cordell, so I just took that as a starting point. But there's really no meaning behind any of it at all. I didn't really intend it to get popular or expect this to blow up as crazy as it has! It’s really quite mind-blowing. EDM.com: We're seeing drum & bass explode on the electronic festival scene but phonk is making waves globally. How much do you expect phonk's presence to grow in the coming years? Honestly, the phonk scene is really unpredictable. The genre has evolved a lot over the past few years, from more Memphis rap-style beats to house and EDM style. Brazilian style has been a primary influence over the past year and now we are hearing the Memphis sound on mainstream songs like Kanye West. Even Beyoncé used a Memphis sample. I'm just going to keep experimenting with all styles and see what happens next. EDM.com: I came across a screenshot attributed to you on August 18, 2023. It reads, "I'm quitting next year anyway." If it's authentic, what compelled you to write that and what does the future look like for Kordhell? I was just winding up the fans in my Discord server. EDM.com: How did you react when you learned you'd be contributing to the soundtrack of such a big film? Where does it rank among your career highlights? It was awesome, I was super pumped. I thought it was for a trailer, to begin with, and although the song isn't directly featured in the movie, it’s still a really cool thing to be a part of the film’s official companion EP. EDM.com: Walk me through your creative process for this song. Tell me about the character you were paired with and what goal you set out to accomplish musically. The film paired me with Anthony Hopkins' character, who is responsible for providing the voice of "Jimmy," a sentient robot designed for combat with a humanoid body design. I'm already a fan of Zack Snyder's movies and know his style, so I watched the Rebel Moon film and just tried to create something in my own unique style that I thought would fit the movie. EDM.com: Was it mind-blowing to learn you'd produce music inspired by the man who portrayed Hannibal freakin’ Lecter?! It was awesome! He played my favorite character in Rebel Moon and he’s one of my favorite actors! I've always been a fan since I saw The Elephant Man as a kid. EDM.com: There are many vintage gore film elements in your body of work. Name three gore flicks: a good introduction for the trepidatious horror fan, the most uncomfortable gore film you've watched and the one you'd rank highest in quality. I actually don't like gore movies that much even though I've used them a lot in my videos! The aesthetic really fits the older O.G. phonk sound. I prefer more psychological stuff like The Shining, The Omen or Alien. But if I were to pick three of the most brutal films I can think of, probably Street Trash, Cannibal Holocaust and Brain Dead. EDM.com: What are your three favorite movie/television/video game scores? Have any of them had a particular influence on you? I really don't watch regular TV at all. I'm always too busy, so I mainly just watch YouTube. I'm kind of a nerd so I prefer to watch content I can learn something from. I play video games when I'm taking breaks from music. I like the Battlefield games a lot, with Battlefield 1 being my favorite, but Battlefield V is also amazing. I'm hoping the next game they make is even better. Follow Kordhell:Facebook: facebook.com/KORDHELLOFFICIAL Instagram: instagram.com/kordhell Spotify: tinyurl.com/bddz8ae5

A new song by Miss Monique called “Look At You” is her first release on Insomniac’s Interstellar Recordings label. “Look At You” was released on April 19, 2024, the same weekend as Miss Monique’s second Coachella performance. The song seems like a natural way to celebrate the Ukrainian artist’s meteoric rise in melodic house and techno while also welcoming her into the Insomniac family, which is one of the biggest names in electronic music in the US. ‘Look At You’ is the first record I’ve produced with a big room / stage specifically in mind. – Miss Monique Look At You and Interstellar Recordings Interstellar Recordings is a new label project from the industry giant Insomniac. Its music is somewhere between trance and techno, and it continues the company’s well-known history of backing groundbreaking music from the world’s biggest headline DJs. “Look At You” has a dark, sparse production that leans into sawtooth bass, anthemic synths, and an ethereal vocal breakdown that fits with the label’s love of both light and dark elements. It channels the varied energy of every Miss Monique show. There are huge festival stages and dark, low-ceilinged clubs that can hold a lot of people, and “Look At You” is the perfect example of Miss Monique’s artistry. Her recent BBC Radio 1 Essential Mix debut was a statement of intent for the next step in her already impressive journey. Her popular YouTube mix series has been going for ten years, and the channel is on track to get over a million subscribers this spring. At that point, she will be holding a label takeover at London’s Fabric and getting ready to play at big events like Tomorrowland and Dalt Vila, Ibiza. “Look At You” by Miss Monique is now available on Interstellar Records. The post Miss Monique presents new song “Look At You” appeared first on The Groove Cartel.

As UNTOLD Festival gears up for its highly anticipated 9th edition in its hometown of Cluj-Napoca in Romania, it’s adding more fuel to the fire of its jaw-dropping lineup. Following its colossal expansion and debut in Dubai, UNTOLD, Romania's largest dance music festival, making its triumphant return from August 8-11, boasting eight stages and over 250 artists. Joining the Galaxy stage’s star-studded lineup, which for now includes superstar headliners such as FISHER, Solomun and Carl Cox, is none other than Black Coffee. Later this year, the Grammy-winning dance music superstar will become the first South African artist to headline New York’s famed Madison Square Garden, and he also recently announced his debut at the iconic Red Rocks. c/o Press Black Coffee marks the latest exciting addition to UNTOLD’s growing lineup, which includes Swedish House Mafia, Martin Garrix, Alok, Timmy Trumpet, Dimitri Vegas & Like Mike, Lost Frequencies and Purple Disco Machine, as well as Sam Smith and Lenny Kravitz. Tickets for UNTOLD are available now via the festival's website. FOLLOW UNTOLD FESTIVAL:Facebook: facebook.com/UNTOLDFestival Instagram: instagram.com/untoldfestival X: x.com/UntoldFestival Website: untold.com

The new stage is dedicated to South Asian talent, featuring the likes of Anish Kumar, Nikki Nair, and more Continue reading...

What a year it has already been for AXMO, yet these two just keep on reaching new milestones! With ‘Right Here Waiting’, a major label release on Universal‘s Zeitgeist imprint, the German DJ and Producer Duo keeps on writing their unique and fascinating success story. The single is heavily awaited by fans worldwide, a fact impressively showcased by the millions and millions of impressions the track has already garnered on social media – and the support of industry legends. With their Happy Hardcore-inspired spin of the touching ballade by Richard Marx, AXMO have stirred up quite a frenzy already. A video of ‘Right Here Waiting’ has already been viewed almost 4 million times of Instagram and more than a million times on TikTok. “On a long road trip we just randomly came across the original track and immediately had ideas on how we could give it our AXMO vibe. We tested it on social media and we guess the rest is history!” It’s safe to say these two know how to please their fans – and excite grandmasters of their craft like Tiësto, who has already played the newest AXMO release out live! It’s hard to imagine he will be the last… ‘Right Here Waiting’ is now available on all platforms for streaming & purchase! DJ- and Producer-Duo AXMO is a dynamic force in the electronic dance music scene, having made their debut in 2020. In just a short time, they have established themselves as a strong duo in the industry, captivating audiences with their high-energy festival music and dynamic performances. With shows across the globe, AXMO has quickly become a staple in the festival circuit. The duo has played at some of the most renowned festivals in the world, such as Parookaville, Revolution Vietnam, and World Club Dome. AXMO has also enjoyed success in collaborations with some of the industry’s top acts, such as W&W, further solidifying their place in the scene. With 150+ million streams on their high energetic festival music within just a few years, AXMO‘s music continues to resonate with audiences worldwide. With a unique sound, high-energy performances, and a growing fanbase, AXMO is set to become one of the most sought-after acts in the electronic dance music world.

Meet Mr Tout Le Monde, a self-taught multi-instrumentalist, producer, and singer/songwriter to bring his acclaimed live performance to the US for the first time this year. French electronic artist Mr Tout Le Monde, celebrated for his emotive dance tracks, kicks off his first US tour with “Mask Off,” a pivotal single from his forthcoming album YOU. This track follows his successful SUN album, which included the modern downtempo hit “Sunny Day,” that earned him over 60 million streams. On “Mask Off,” Mr Tout Le Monde delves into themes of identity, mental health, and love with a blend of melancholy and melody, characteristic of his chill electronica style. At once melancholic and uplifting, Mr Tout Le Monde’s unique spin explores the sensitive and introspective themes with a buoyancy that softens the edges of the heavy subject matter. Catch Mr Tout Le Monde live on tour throughout the Fall. Thu Sep 19 – Madame Lou’s, Seattle WA Fri Sep 20 – Rickshaw Stop, San Francisco CA Sat Sep 21 – The Roxy, Los Angeles CA Thu Sep 26 – Lost Lake, Denver CO Fri Sep 27 – Kingdom, Austin TX Sat Sep 28 – Deep Ellum Art Company, Dallas TX Thu Oct 3 – Soundwell, Salt Lake City UT Fri Oct 4 – Soundcheck, Washington DC Sat Oct 5 – Racket, New York NY The post Mr Tout Le Monde takes his ‘Mask Off’ and heads out on first US tour appeared first on Dancing Astronaut.

1991’s career has accelerated since we last spoke with him two years ago, when he had just released his debut album, ‘Odyssey’. Anno 2024, he has been touring with fellow WORSHIP artists Sub Focus, Dimension, and Culture Shock, and recently signed a record deal with major label Polydor. This resulted in exciting releases like ‘Worlds Apart’ and ‘Horizon’. The record deal gives him the freedom to explore new sounds and tap into different inspirations. “I might hear a rock song and start to wonder what that would sound like if it was drum & bass. I like to take that musicality and put it into a dance floor vibe,” 1991 explains. His remix of ‘Perfect (Exceeder)’ by Mason vs Princess Superstar is a perfect example. He recently returned from his third US tour with WORSHIP and toured New Zealand and Australia earlier this year with Hybrid Minds and K Motionz, so 2024 is shaping up to be a busy year for 1991. We had the chance to catch him for a chat, and we chatted about his inspirations, where he’s going, and how he has seen drum & bass changing over the past few years. Hi 1991, how are you doing? I’m doing great. It’s been a really exciting year so far! About a year ago, I started talking to Polydor, the major label, and they were really interested in signing me. Since then, I’ve just been doing a lot of writing. They signed me in the summer, and ‘Horizon’ was the first single I released with them. I’ve just been in the studio and in writing sessions a lot of the time. All of that music’s starting to come out now, which is really exciting. It’s all going down really well. I feel really excited. I’ve got a new single coming out around mid-April with Cameron Warren on. That one will sound completely different from anything I’ve ever made, so you can say I’m feeling inspired at the moment. Where do you get your inspiration from? A lot of things inspire me. My upcoming track has some rock elements to it. It feels like a late 90s early 2000s kind of track. What really inspired me to tap into this sound were genres like French Electro, and UK acts like Chemical Brothers and The Prodigy. I’ve got a real mishmash of inspirations. My Spotify playlist is the most random playlist in the world, and everything is in there. You’ll find some SZA, Sleep Token, lots of house music, Steve Lacey, and some Lil Yachty even… Loads of different inspirations. I also listen to drum & bass, but mainly when I listen to all the new music that I get sent or what’s doing well in the charts. I also listen to people’s mixes because I want to hear what people are playing. But if I’m hopping in the car or when I’m walking down the street, I don’t tend to listen to D&B very much. I just don’t get much inspiration from it these days. When I started out, I was super excited to listen to drum & bass all the time; that’s the main reason why I started producing. I still love the genre, but it’s not the main thing that I listen to. My Monday to Friday is working on drum & bass and working on my DJ sets, so on my time off, I like getting inspired by other types of music. Your debut album came out two years ago. With all of your current releases, is another album coming up? Not for a while. The album process is slow and can be quite long. I find it a lot more exciting to be able to release singles. I could write something today and potentially have it out in one or two months, whereas, with an album, you have to write it a year before, maybe. You can’t really release anything at least six months before it comes out. You also have to deliver the album super early, so it feels a bit less fresh when it comes out. I loved the whole process of my debut album, Odyssey. It was fun to work on the conceptual idea of the album, but at the moment, I just want to make straight bangers. I want every track to be a really strong single. It feels really exciting as an artist to make something one month, and then two months later it comes. It’s a really exciting prospect because then you feel more excited about it, and it also gives me the chance to tap into different influences. You can switch it up with every single, which is really liberating. Like I said, my inspirations are so different. I might hear a rock song and start to wonder what that would sound like if it was drum & bass. I like to take that musicality and put it into a dance floor vibe. How have you grown in the past two years? I definitely grew a lot during the process of creating my album. It taught me a lot about songwriting and working with singers and other artists to put everything together. That feels like such a long time ago now, though. I feel like such a different person now. A lot’s happened since then. I’ve been touring a lot and have released a lot of music. I think my sound has developed a bit more, and my productions have developed a bit more since then. I feel like I’ve gotten better at everything during those years. Talking about touring, you’ve just finished your WORSHIP tour in the United States. In one of your previous interviews, you talked about how Sub Focus is one of your biggest inspirations. How is it to tour with him? It’s still a weird thing for me. When I was about 17 or 18, I was getting into drum & bass, and Sub Focus was my favourite artist. I had his first album in the car for maybe a year. I listened to it so much. Now we tour together, and it’s really fun doing all the mundane things, like going out for lunch. It’s all very routine now. This was the third tour we’ve done together, but yeah, I think the younger version of me would be very shocked to see what I’m doing now. We got to know each other because I supported him on a couple of shows. Then, in 2017, we did a collab remix of ‘Don’t You Feel It’ by ALMA. That was the first time we met, and a couple of years later, we got the same management. Now, we cross each other’s paths quite often. The WORSHIP tour is one of the things that came out of having the same management. Sub Focus, Dimension, Culture Shock, and I also have the same kind of sounds and a similar ethos about music. It always made sense for us to work together. When we did that first one, drum & bass wasn’t drawing as big of crowds as it deserved. Our mission was to try to bring new, younger audiences into the genre to support the growth of the scene, so we chose a bunch of small venues across the continent. We wanted to sell them out and put on a really good show. We did sell everything out on that first tour. The venues weren’t huge, but it was nice to see. Then we did the second one, and it got bigger. Now, we did the third one, and it was even bigger. The comparison from this last one to the first time… It’s completely different. We’ve gone from 500 capacity to 4000 capacity. There’s a real buzz around drum & bass in the US, partly thanks to artists like Blanke, Ghost In Real Life, Savage, Reaper, Boxplot…, and I want to give a special shout-out to the ‘Carry The Fire’ tour by Justin Hawkes, Bensley, and Kumarion. It’s really exciting to see what those guys can pull off with an all-American lineup on home soil. How have you seen the American scene changing? Especially over the past maybe two years, it’s really bumped up a lot, and a big part of that is that a lot of the bigger DJs are starting to play drum & bass, even the big house DJs like Dom Dolla, Tiësto and even David Guetta have played drum & bass in their sets. The crowds are really starting to understand it now. I feel like they didn’t quite understand drum & bass for a long time, but now a younger audience is coming through, and maybe through the influence of Instagram and TikTok, they’re starting to understand the music. In the US, you now go to shows, which feels similar to when you do shows in Europe, Australia, New Zealand, or the UK. It’s all been really good and exciting lately to see the scene growing. Do you see that growing of the scene you speak of reflected in the music that’s coming out as well? You’re seeing it even in pop music now. You’re hearing drum & bass songs go to number 1. For example, ‘Strangers’ by Kenya Grace and Chase & Status have also been really successful lately. They even won the Brit award. It’s becoming mainstream again. It’s come in waves where it’s gone to the mainstream and dipped away and then gone to the mainstream and dipped away again. I think we’re at one of those peaks right now. You can see it all over the world. Globally, it’s grown, not just in America but everywhere. Speaking of going global, you toured Australia and New Zealand recently. How was that? It was amazing. That was my first Australia tour, and it almost felt like what New Zealand has felt like for the past five years. It’s starting to become a really good place for drum & bass, which is really exciting. As we all know, New Zealand has been good for D&B for a long time. I did a bunch of really good shows with Hybrid Minds and K Motionz. It’s always a pleasure to go down there in winter and get a bit of sunshine. My ideal life would be to go there every summer, so I get a bit of sun and then return to the Northern Hemisphere when it’s summer here and go around the Earth. No winter, that’s the goal. Any final thoughts? Like I said before, I’ve got a single coming out in April, and then I think there’s another one in June or July. I’m writing a lot of music at the moment, so I’m going to steadily release singles throughout the year quite regularly. It feels really exciting at the moment, and I’m really proud of the music I’m making, so I feel like the fans will enjoy it. These singles are going to be packaged as EPs later on as well. One last thing I hope to do this year is to do a London headline show, which will be fun. With all the other shows and festivals I’ve planned this year, it looks like a pretty busy one. I’m looking forward to all of it!

The venue cited the cost of living crisis and “changing lifestyle choices” for its closure Continue reading...

David Guetta presents: Jack Back & THEMBA – Give Me Something To Hold David Guetta dons his alter ego Jack Back and links up with Afro house pioneer THEMBA on ‘Give Me Something To Hold’ via Defected, joining the London label’s extra special 25th anniversary series ‘Together’. The single combines THEMBA‘s Afro-electronic rhythms work with Jack Back’s melodically engaging production, complete with arresting vocals that build tension in all the right places. Kygo ft. Zak Abel & Nile Rodgers – For Life When it comes to bringing out tracks back to life, very few come close to what Kygo has done recently. After releasing ‘Whatever’ and ‘Higher Love’, the tropical house magician links up with Zak Abel and Nile Rodgers to deliver a modern take on Modjo‘s ‘Lady’ and it certainly does not disappoint. DJ Snake & Peso Pluma – Teka Hot on the heels of performing this very single at Coachella, DJ Snake and Peso Pluma waste no time in bring ‘Teka’ to the masses. The collaboration seems DJ Snake turn Peso Pluma‘s Latin style into a tech house heater that would light up any dancefloor across the world. aariaa – Let You Down (Astro Eric Remix) With the original still picking up steam across streaming platforms, in steps Astro Eric to keep the momentum rocking with his remix of ‘Let You Down’. A electro house banger in its own right, Astro Eric takes it and injects it with even more energy and power, turning it into a drum & bass bomb for the ages. Dimitri Vegas & Like Mike, Regard, Natti Natasha, SASH! – To The Beat Speaking of reworks, Dimitri Vegas & Like Mike, Regard, Natti Natasha, and SASH! all link up to bring the euro-dance hit ‘Encore Une Fois’ back to life. Using the sultry vocals of Natti Natasha and combining them with the iconic melody created by SASH!, Dimitri Vegas & Like Mike and Regard lay the perfect bed of beats for this one to shine. Don Diablo – Beast Mode (Knock You Out) Mostly known for his future house hits, Don Diablo is no stranger to switching up his style to bring something fresh while also staying true to his signature style. That is perfectly on show for ‘Beast Mode (Knock You Out)’ as he takes a more electro-infused direction for this one while making sure we’ve still got that rhythm and groove that we’ve come to love from him. AXMO – Right Here Waiting Only 4 months into 2024 and already AXMO are giving us their 4th new single, showing no signs of slowing down. With their Happy Hardcore-inspired spin of the touching ballade by Richard Marx, AXMO have stirred up quite a frenzy already. A video of ‘Right Here Waiting’ has already been viewed almost 4 million times of Instagram and more than a million times on TikTok. Honorable mentions: Bhaskar, Dana Williams – Nobody’s Perfect Boris Brejcha – Level One (Album) BUNT. & GRAHAM – Maybe Dubdogz x Jude & Frank – ININNA TORA Firebeatz – Out Of Control Jax Jones x Zoe Wees – Never Be Lonely (Arcando Remix) Joel Corry x Pickle ft. Vula – Stay Together (Baby Baby) KAAZE – The Way Mark Bale x MOKABY – Music In Me Merow – GET UP R3hab ft. Jason Derulo – Animal REMAZE – Someone Else’s Love Stadiumx & Taylr Renee – Howl at the Moon (Stadiumx Rework) Vini Vici, Terra – Gyoza Will Sparks – Light Stream all these tracks and more in our New EDM Friday playlist – follow here.

Chris Avantgarde and Kevin de Vries worked together again on John Summit’s Experts Only for “Killa,” a powerful techno banger made for the rave. Chris Avantgarde is a multi-talented artist who was classically trained as a jazz pianist. He now lives in London. He has written and produced tracks for many major label artists, and had songs featured on hit shows from Netflix, HBO, and others. He also released his own music on well-known labels like Tale of Us’ Afterlife (three of which are collaborations with Anyma) and Adam Beyer’s famous Drumcode Records. Chris has also remixed “Before We Drown” from the latest record by the legendary band Depeche Mode and “Mwaki” by the rising Brazilian band Zerb, also with KdV. Kevin de Vries, another popular artist from Miami, joins Chris on the track. Kevin’s work has been released by top labels like Cocoon, Afterlife, Tomorrowland, and Drumcode. Both artists have put on great shows at big festivals and small clubs, like Miami Music Week and Ultra Music Festival. The sound of “Killa” is sure to be popular at festivals this summer, with its driving four-on-the-floor beat hard basslines and metallic whirs. Get ready for an explosion of sound and dancefloor passion that’s perfect for John Summit’s imprint. You can now get “Killa” on Experts Only. The post Chris Avantgarde & Kevin De Vries’ techno belter ‘Killa’ appeared first on The Groove Cartel.

The song that took over this year’s Miami Music Week? Adam Beyer, Layton Giordani, and Green Velvet’s collaborative rework of Sharam’s 2007 classic, ‘Party All The Time.’ Before its official release on Friday, April 5th, the track had already dominated at Miami Music Week, on top of existing support from heavyweights Armin van Buuren, John Summit, Fisher, and Oliver Heldens ahead of MMW. The track quickly earned its status as the track of this year’s Miami Music Week thanks to support from Vintage Culture, Mochakk, and more. Check out the remix below, out now via Armada Music and Drumcode. ‘Party All The Time’ first debuted back in 2006 at Miami’s Winter Music Conference before eventually reaching #8 in the UK Official Charts. Now, with this contemporary rendition, which pairs the edgy, thumping production of Adam Beyer and Layton Giordani with the unmistakable vocals of Green Velvet, Sharam’s hit is poised to dominate the festival circuit once again. Testament to the enduring appeal of ‘Party All The Time’ by original artist Eddie Murphy is evident in its various interpretations over the years, with artists such as Hannah Laing and Ultra Naté putting their own unique spins on the track. Each iteration breathes new life into the song, solidifying its status as an anthem for the ages. The rework transports listeners back to a mid-2000s nightclub, just in time for summer. The post Reimagining Of Sharam’s ‘Party All The Time’ Dominates At Miami Music Week appeared first on EDMTunes.

Featured Cover Photo Credit: Cocoricò Cocoricò is a legendary dance nightclub in the comune of Riccione, located in the northern Italian province of Rimini, and it will host the return of Italian dance music star Marco Carola. The producer is also the head of his own label, Music On, and for the first time in 11 years, he will host his famous ‘Music On’ event on Friday, June 1. The setting of Cocoricò is perfect for the return of a great artist such as Marco Carola, who has made a reputation as someone who has provided phenomenal set experiences around the world. The ‘Music On’ event will have four unique sets that will electrify fans from sunset to sunrise: Horizon, Piramide, Titilla, T-Room. Below this paragraph are some details of the upcoming June 1st event that will enlighten the skies of the Emilia-Romagna region. Also, click on this link to purchase tickets for the event as well. Cocoricò will host a memorable evening of fantastic music coming out of ‘Music On’ The Horizon stage of Cocoricò is the only stage at the event where the music will mainly play in the daytime. Starting from 7 p.m. local time to midnight, it will headline a B2B set between Carola himself and ANOTR, Franky Rizardo, and Ale de Tuglie. The other three stages start from midnight until closing. T-Room will host Mahony, Jean Pierre, and Frank Storm. Titilla will host Manda Moor, Da Vid, and Calvin Clarke. Finally, the main stage of the night, Piramide, will host another Carola B2B set, but with Jamie Jones. The other headliners of the Piramide stage are Chelina Manuhutu and another B2B set of Leon and Joey Daniel. June 1, 2024 will for sure be a date that many attendees, in particular fans of Marco Carola’s music, will remember as they dance the night away while enjoying the atmosphere of Riccione. Image Courtesy: CocoricòThe post Marco Carola Brings Back ‘Music On’ Event to Cocoricò appeared first on EDMTunes.

One of the world's most prestigious film festivals is set to premiere a documentary about one of Avicii. The organizers of the Tribeca Film Festival recently revealed the list of films set to be included this year, and while you can of course catch some artsy foreign films and thought-provoking dramas, this year's lineup has much to offer fans of electronic music. Set to make its world premiere is a new documentary from Henrik Burman, Avicii - I'm Tim. The film will feature never-before-heard interviews with David Guetta and Avicii's former collaborator, Chris Martin of Coldplay, according to Billboard. Accompanying the documentary's description are a number of photographs of a young Avicii, reinforcing the promise that it will explore the early life of the man who would ultimately become one of EDM's biggest stars before his life was tragically cut short by suicide. "Before there was Avicii, there was just Tim," the film's synopsis read. "For the first time through his own words, witness the journey of a shy but prodigious musical talent who would soon become one of the defining artists of his generation." This year's Tribeca Film Festival will take place June 5-16, 2024 in New York City.

“NEED ME” - WINKRising star WINK is spearheading the next wave of trap and bass music, with his debut on bitbird “NEED ME” making for a stunning display of his distinct sound. “Freedom (In Your Mind)” (Kiimi Remix) - TIBASKOTaking on TIBASKO’s recent his “Freedom (In Your Mind),” London-based trailblazer Kiimi expertly showcases their distinct approach to dance music, delivering an intoxicating remix. "I'll Find You/One Of Us” - TCHDWNBridging contemporary electronic music elements with the allure of classic house music, TCHDWN lands on Quality Goods Records with his latest, two-track EP I'll Find You/One Of Us, curating irresistible dancefloor energy on both. “Before Me” - Jasper TygnerFollowing his stunning Off Season EP, which was released late last year, rising dance music sensation Jasper Tygner has returned with his first single of 2024, juxtaposing ethereal synth work with tight grooves on “Before Me.” “Heartpiece” - helloworldBlending off-kilter pop with 8-bit instrumentation, helloworld just unveiled his latest single “Heartpiece,” delivering a heartfelt vocal performance over an ever-evolving instrumental. "landing/homesick” - LaxcityLaxcity’s first single of the year finds the trailblazing producer contemplating on the isolating effects of touring, as he brings together soothing melodies, organic drum sounds and nostalgic vocal samples on “landing/homesick.” “they can't hang” - wes millswes mills latest single “they can’t hang” finds the Orange County-based producer and songwriter continue expanding on his nostalgic house sound, combing vintage vocal samples with emotional piano melodies. “The Power” (kai.wav Remix) - MatomaViral sensation kai.wav has just taken on Matoma’s “The Power” with an official remix, fusing groovy synth work with irresistible energy. “Crystal Lights” - ZUSOBlending progressive house with breakbeat and drum & bass elements, rising Australian producer ZUSO has returned with his second year of 2024, an ethereal showcase of his sharp style. “San Francisco” - TATE SEDARA love letter to San Francisco and its vibrant music legacy, TATE SEDAR’s latest single is a stunning sonic journey, where delicate ambiance clash with electro-inspired drops. Underground Vibes | 094 Underground Vibes | 093 Underground Vibes | 092

In a strategic shift, Twitch CEO Dan Clancy revealed during a recent Q&A session that the platform is negotiating terms with music labels that would require DJ streamers to share a portion of their revenue with record labels, Engadget reports. The move is part of a broader effort to resolve ongoing copyright issues and prevent DMCA takedown notices that have been a persistent headache for streamers on the Twitch platform. According to Clancy's interview with TweakMusicTips, this new revenue-sharing arrangement would not only involve streamers but also see Twitch contributing financially to the labels. The proposal marks an effort on the part of the platform to stabilize the historically turbulent relationship between Twitch and the music industry, which has been fraught with copyright challenges. The discussion with the labels is a response to the different copyright challenges presented by livestreams versus pre-recorded content. Clancy highlighted the complexity of managing these rights in real-time broadcasts and suggested that DJs may need to self-mute their videos to avoid the possibility of infringement until a more robust system is in place. Twitch's proactive approach reflects its acknowledgment of the labels' growing demands for a more equitable share of the revenue generated from music content. Clancy’s openness about the ongoing negotiations suggests that Twitch is nearing a formal agreement, although he did not specify how the platform plans to monitor compliance or enforce the new rules once they are established.

It is Club Glow’s 25th anniversary. Back for their 3rd edition of Project Glow in Washington DC at RFK Festival Grounds with their biggest line up yet. The dance music festival will return on April 27 and 28 this year. The celebration of this huge milestone has Insomniac and Club Glow setting new standards to elevate the festival. Along with the two days of insane performances and B2Bs, also comes three preparties and four afterparties for you to enjoy! Friday April 26 It’s Murph + Support from Durfy, Nadia. 10PM at Soundcheck. Tickets here. Wax Motif + Friends [360° Set]. 10PM at Echostage. Tickets here. Tinlicker + Support from Ostaaf, Klaid. 10PMat Soundcheck. Tickets here. Saturday April 27 Illenium + Support from N3wport, Silas. 10PM at Echostage Tickets here. Deorro + Support from J.Park B2B 9B49. 10PM at Soundcheck Tickets here. Sunday April 28 Hugel + support from Papii Gavii. 10PM at Soundcheck. Tickets here. Zedd B2B Knock2. 10PM at Echostage. Tickets here. The post Check Out All of The Project Glow Official Pre and Afterparties! appeared first on EDMTunes.

NGHTMRE's dominant start to 2024 just keeps heating up. This time around, he's connected with Liquid Stranger and Mougleta for a high-powered collaboration, "Restless," arriving via Gud Vibrations. "Restless" is a festival anthem through and through, bringing out the very best of each artist and putting their most valuable skills on full display. Mougleta's shimmering vocals are the star of the show to start the tune before its warbling first drop takes over. The second drop is a welcome change of pace, surprising us with a much darker turn. With his latest campaign, NGHTMRE has been on an absolute tear. He kicked the year off with his incredible track alongside Pauline Herr and Jon Casey, "In Your Eyes," and followed with his hotly anticipated Juelz collaboration "Thrilla." With plenty of new music on the horizon, the bass music superstar is setting himself up for yet another big year. You can listen to "Restless" below and find it on streaming platforms here. FOLLOW NGHTMRE:Facebook: facebook.com/nghtmre X: x.com/NGHTMRE Instagram: instagram.com/nghtmre Spotify: spoti.fi/3fkyQ1C FOLLOW LIQUID STRANGER:Facebook: facebook.com/liquidstranger X: x.com/LiquidStranger Instagram: instagram.com/liquidstranger Spotify: spoti.fi/3cPNZtC FOLLOW MOUGLETA:Facebook: facebook.com/Mougleta Instagram: instagram.com/mougleta Spotify: spoti.fi/3CVsC6I

Rezz is preparing to take fans back to the early days of her career with a new look at one of her most prized singles, "Edge." Back in 2016, she was on her rapid ascent to orbit as she quickly glided to the upper echelon of the electronic music scene on the wings of her seminal EP, The Silence Is Deafening, which released on deadmau5's mau5trap imprint. "Edge" would instantly prove a fan-favorite and even become the focus of a viral TikTok trend years after its release. Now, eight years after the song's release, Rezz has revealed that a "2024 version" is on the way. Just days before the announcement, Rezz shared that she found the original project file and pondered the idea of giving it a fresh coat of paint. She also revealed that it will debut at her show at Phoenix Raceway in Avondale, Arizona on Saturday, April 20th, so fans in attendance should keep their eyes peeled. Check out her announcement below. FOLLOW REZZ:X: x.com/OfficialRezz Instagram: instagram.com/officialrezz Facebook: facebook.com/OfficialREZZ Spotify: spoti.fi/32DV4IY

Teaming up with electro-funk duo The Funk Hunters, The Sponges have released their third and most-anticipated track of the year, "I Like 2 Party." You know that feeling of being in the right place at the right time? This track embodies that sense of communal bliss. Combining elements of The Sponges signature take on disco with The Funk Hunters' old-school funk, "I Like 2 Party" can be best categorized as psychedelic disco funk. Out now via Westwood Recordings, this sensational collaborative effort rings true to its name by virtue of a surefire party starter. After kicking off with a persistent kick drum and complimentary synths, before long "I Like 2 Party" leads us on playful and anthemic journey. While this tandem of tastemakers have crossed paths time and time again, "I Like 2 Party" marks their debut release together. Take a listen below. The Sponges have been making waves as of late. This time last year, the dynamic duo dropped their biggest release to-date, a five-track EP titled Love. Death. Funk? And, since then, the Denver-based pair have been on an impressive run. Fans can catch The Sponges on their 2024 tour at the stops listed below. The Sponges 2024 tour schedule.c/o Press FOLLOW THE FUNK HUNTERS:Facebook: facebook.com/thefunkhunters/ X: x.com/thefunkhunters Instagram: instagram.com/thefunkhunters Spotify: spoti.fi/2FSOndl FOLLOW THE SPONGES:Facebook: facebook.com/thespongesmusic X: x.com/thespongesrback Instagram: instagram.com/thesponges Spotify: spoti.fi/3ll8PUr

Chart-topping tastemaker SG Lewis is returning to his UK electronic music roots, teaming up with Swedish producer DJ Seinfeld to deliver "Simple Times." Out now via his new club-centric imprint Forever Days, the new track begins with a melodic house flavor, paired with a captivating story: "These pages have been written / In different texts and dialects..." A powerful message is woven within the tune, ultimately reminding us all to stand for love. Together, Lewis and Sienfield echo this message by producing a swelling house track that viscerally melts away our worries in a euphoric dancefloor heater. "[DJ Seinfeld] is one of my favourite electronic music producers, and an artist with a truly unique sonic signature," Lewis said in a statement shared with EDM.com. "‘Simple Times’ was made in London together and has been a highlight in all my recent sets." Take a listen to "Simple Times" below. FOLLOW SG LEWIS:Instagram: instagram.com/sglewis X: x.com/sglewis_ Facebook: facebook.com/sglewismusic Spotify: spoti.fi/37OAhnd

A pairing we didn’t see coming but we appreciate! Knock2, fresh off his b2b with ISOxo at Coachella, and ready for festival season just announced that he’s going to be sharing the stage with one of the GOATs, Zedd. Both are scheduled to perform at Project Glow in Washington DC at the end of this month. However, while the two are performing on different days, they’ve decided to come together to play an exclusive Project Glow pass-holder after on Sunday, April 28th at Echostage. Knock2 says on Twitter, “his music has been such a big part of my life and musical journey. it’s my biggest honor to go b2b with one of my goats.” For the first time 𝐞𝐯𝐞𝐫, @Zedd & @Knock2Music are going B2B at their #ProjectGLOWFest Afterparty on Sun, 4/28 Exclusive @projectglowfest pass-holder presale begins on Thur, 4/18 @ 12pm ET. Get access at https://t.co/V6hn1xYJxj. General onsale is this Fri, 4/19 @ 10am ET pic.twitter.com/R0yKZPSMjb — projectglowfest (@projectglowfest) April 16, 2024 Tickets are on sale here! They’re in high demand so act fast. And if it sells out, be careful of scammers and third party sites. But, you know it’s going to be worth the hunt for the tickets to see this historic event! If you can’t make the afters, make sure to check each of them out and more at Project Glow! Check out more information here. The post Zedd & Knock2 Announce Surprise B2B for Project Glow Festival After Party appeared first on EDMTunes.

Tucked away in a studio in the heart of Berlin, GEST shares insights into the latest EP, ‘Superstructure’, released on Shogun Audio and the intricate web of influences that shape its sonic universe. Nestled amidst the lush greenery of the home setup, GEST opens up about the journey from Southampton’s streets to the vibrant underground scene of Berlin, finding solace and inspiration in the city’s energy. Beyond the confines of the studio, GEST emerges as a pillar of the underground music community, spearheading the club night ‘GEST Invites’ and championing the raw, unfiltered essence of drum and bass. Amidst the ever-shifting landscape of promotion and performance, GEST remains steadfastly committed to authenticity, navigating the digital age with a blend of innovation and resilience. As the conversation unfolds, GEST leaves us with a poignant reminder: behind every beat lies a hidden hustle, a testament to the unwavering dedication of artists navigating the turbulent seas of creativity and commerce. GEST’s releases have always drawn from a rich tapestry of influences ranging from classic tech-step to hypnotic techno beats. ‘Superstructure’ is no different, masterfully weaving together elements of acid, dubstep, and atmospheric melodies, creating a dynamic fusion that defies genre boundaries. From the tribal rhythms of techno to the soulful resonance of drum and bass, GEST’s music invites listeners on a transcendent journey through sound. How are you doing? Good thanks, just chilling in my studio. I’ve had the day to sit in here and do music stuff- which has been great. And I’m excited to finally get the EP out. It’s been a long time coming. Your studio looks gorgeous, and all the plants look great… I blocked out the windows with all the soundproofing. So really needed the plant to add some life. Is this your house or do you rent a studio space? This is in my place. I’m pretty lucky to be able to have a studio in here and be able to sleep next to my studio and get up to make tunes when I’m inspired. When I was living in London, I was renting a place in South Bermondsey at Atomic Studios- shout out to them. I really enjoyed my time there, I was there for about six or seven years but looking back on it now, I wouldn’t change what I’ve got now with the home setup. I’ve spoken to a lot of other artists that feel the same. I think having it in your house and not needing to make a journey and schedule days for being in the studio makes a big difference. It looks very comfortable… It is. I put a lot of time into this room. It’s basically my life. I pretty much never leave. Are you working in music full-time? Yeah in a manner of speaking. I guess I can say that I do music full-time but for about two or three days a week, I do University lecturing for sound design. I do that all from this studio remotely. It’s teaching at an academic level so it’s not always super creative, but it does keep me inspired and involved in music production the whole time even if that side of the work isn’t directly creative. I really love doing it, and it’s been cool to see results from students. I’ve been working with this University for about nine years now. So that’s what I do on the side of GEST. Is that what you’ve been up to recently, producing and teaching? That’s pretty much it really. Definitely spending the majority of my time doing that. Then there’s been this release, I’m gonna take a bit of time off because it’s a bit of a longer project than we’ve done before- six tracks. So it took a while to get things right and going back and forward and stuff. Let’s talk about the Superstructure EP. What was the inspiration behind the tracks? There are six tracks on this which is a bit bigger than some of the other GEST releases, so there has been a bit more room to experiment with this one. I’d say the classic tech-step era has always been one of the biggest influences within drum and bass for me. Cause 4 Concern, early Break, Fierce, Matrix and labels like Quarantine, for example, that’s a big influence on GEST in general. It’s maybe not the most popular sound at the moment, but I can’t stop myself drawing on that pretty often. But with GEST, It’s been about trying to maybe fuse that sound with more techno and acid vibes. There are quite a lot of influences from techno, too many to mention really, but there’s a hypnotic, tribal vibe with techno that I’m really into. I’m quite influenced by that classic Detroit techno-sounding stuff. There are a lot of artists to mention there, but a label called SK_eleven, and another one called Be As One. There’s also a 140 dubstep track on this EP, which definitely has been inspired by the resurgence of the deep dubstep vibes in the last few years. That’s been really cool to see and I wanted to explore GEST at 140 BPM, there’s an acid vibe going on there too. There’s a track with Javeon on a collab which has more of an atmospheric, melodic sort of feel. I think the production on that definitely has a bit of a Marcus Intalex kind of influence in there and that’s definitely been something that’s been fairly present in GEST tracks. I always hold a candle to Marcus Intalex and the whole Soul:r thing. There’s also almost a techno track in there called ‘Escalate.’ That one caused a bit of a stir when we released it, but I think it’s been mainly positive. I know a lot of people maybe don’t think that drum and bass should be arranged in that way. So there have maybe been a couple of people who think this sound is not for them, which is fair, but I’ve definitely been quite inspired hearing some of these jungle/techno tracks in the last few years. Like the classic ‘Disco Dodo’ by Lynx, a big one from back in the day, for me that’s always been just one of those rave classics that I’m always influenced by. Speaking of ‘Escalate’, you almost hear Berlin in that track… Let’s talk about the impact you think moving countries has had on your production… What can I say about this place? Really? I love it to death. I first came here about 12 years ago on the way back from Outlook Festival with a group of mates. We had a mad few days discovering the techno clubs and the underground culture that exists here. And now I’ve been living here for nearly four years. The energy here is just something a bit different – it can be a little bit pretentious at times but in general, I’ve got so much respect for the underground electronic music culture that exists here. It seems like electronic music is a bit more celebrated and valued here. It’s definitely a big influence for me on the music, I get inspired just walking around sometimes and being involved in the scene here going out to various different events. One cool thing has been that even though I’m halfway into my 30s – I’ve made quite a lot of new friends and connections here which has been great. I wasn’t really sure if that was going to happen when I moved out here, far too many people to mention in an interview, but a massive shout to all my mates and co-workers here that I’ve met who’ve made the whole thing quite enjoyable. Let’s talk about your artwork, there’s a strong brutalist architectural theme throughout your entire body of work. Why did you do that? Throughout the whole GEST project really there’s been an inspiration from brutalist architecture, these kinds of almost ugly, concrete structures that feel fairly threatening, but are actually maybe beautiful and interesting. I don’t think we’re unique in that respect. I’ve definitely seen a lot of underground D&B and techno artists drawing inspiration from this. Maybe it’s a natural link for a lot of producers, that sci-fi influence, when you see some of these structures and buildings it brings to mind dystopian vibes and the music has a link to that. Where do the pictures come from? Various places over the years. Harry took some on his own camera, but I’ve got to send a shout to Andy at Amy Of Few. He really conceptualised the artwork at the beginning of GEST. He was given an idea and a sort of mood board thing, but I think it’s probably fair to say he kind of set off the initial vibe. So… GEST invites, your club night in Berlin… That’s been something that I’ve been super proud to do for the last two and a half years now. It’s definitely tough times for anyone who’s a promoter right now in any country. Doing underground D&B or just underground music in general is hard, but it hasn’t been a chore. There’s been some points where it’s been a little stressful, but overall, I’m really thankful and enjoying doing it. It’s been amazing to be able to take this to a few techno clubs in Berlin that actually didn’t have drum and bass before as well as some well known spots. It’s probably worth mentioning numbers and turnout. D&B nights might not be as big as in some other places, we average about 200-300 people for the most part. But that’s enough for a party and the vibes are always on point. Most of the clubs in Berlin have a pretty strict no phones, no filming policy for everyone- both the people actually coming to the event and for the promoters and DJs. I know that may seem a bit pretentious at times but I actually do really enjoy the atmosphere it creates. I’m not gonna preach about it because I know it’s quite a divided discussion. And it can be a pain in the ass from a promoter’s point of view when you’re trying to actually show people how the events are and you don’t really have any footage from it. But I still think I’d rather that to be honest. Everyone that’s there is pretty locked in and people are dancing and it’s maybe quite a stupid thing to say, but I’ve had a couple of the artists actually come away from their sets and comment on the fact that everyone was dancing, perhaps doesn’t happen in some other places as much for whatever reason, but I’ve been pretty proud of that. So yeah, definitely big thanks to everyone who attended. It’s been a pleasure and I’m definitely looking to continue it for as long as I’m here. You’ve been a promoter for years running Release at Southampton’s Soul Cellar, among other events. How have you found the changing landscape of promotion? I’m not so old school with my promotion that I existed before social media. When I first started trying to put on my own events, it was still at that point when Facebook was a massive thing and it was a necessary tool. But it has definitely changed a lot. I remember when I was doing it back in my hometown- Southampton, from the age of about 18 or 19 years old and a lot of that was more like physical promotion. I used to go to nights handing out flyers in the rain to people coming out of the clubs. There’s still a physical promotion element here in Berlin: a culture of fly posting. It’s still huge here, which is interesting because I think that isn’t so true in a lot of places in the UK, but Bristol is maybe the exception to that rule. When you walk down most of the main streets in Bristol they’re just plastered in D&B posters everywhere. And there’s definitely still a physical promotion element here in Berlin too, which is cool. I’m quite involved in that and it gets me out of my studio, doing flyer and poster drops and stuff. But that’s a pretty small side of it, it’s very much around social media and content. It can be quite hard to keep on top of that. I’m pretty lucky that I’ve had quite a good team of people mainly at Shogun that have helped me to navigate that kind of stuff so I can focus more on the music. I’ve been able to pick up certain tips and apply that to running the nights but the landscape has massively changed, it’s not easy to do this stuff- all the algorithm crap. It’s not easy to kind of navigate that stuff and you don’t want to oversell it. It’s very easy for people to see when you’re just overselling things and constantly shoving it in their faces the whole time. There’s quite a fine line. There’s still talk over here about the big events versus the smaller events and how big events are necessary but they may be damaging the smaller events which we need to bring people through. People haven’t got a lot of money so they buy a ticket to one big event rather than going out every week. What do you think about this situation? And what do you think is the way forward? We have the same debate here as well. I do think that that’s something that’s omnipresent throughout global music culture currently. Not even just within electronic music, I’ve seen the debate about other styles of music as well. But within D&B it exists for sure and I think it’s quite hard to give a definitive answer. Berlin is maybe a bit more friendly towards smaller underground nights but there’s still a massive struggle here. It’s not easy for anyone. I know that a lot of the promoters and clubs are constantly losing money or not able to be a financial success. In the UK right now, it’s harder than ever and so many small venues have disappeared because it’s basically impossible for them to make it work for various reasons. It’s certainly not easy here, but I think there’s maybe a bit more scope for it, it does seem like there are still a few more underground nights going on. Which for me is probably still the most enjoyable and I’ve had some of my best nights in a small club with 150 people. What’s your touring schedule looking like at the moment? I recently played the Shogun Sessions event in London at Corsica Studios. It’s always a secret lineup until the day but that was Whiney, P Money and Charlie Tee, which was recorded and put out on YouTube. And that started off a run of gigs for really the next six months. Some of them are in Berlin or around Europe. There are a few festivals and I’m heading to Australia and New Zealand at the end of May into June. What about live music, you have the live clips on social media and you play the guitar don’t you? I’m not gonna big myself up here because I pick up the guitar once every few years these days but I did learn to play guitar from the age of 12 when I was still just getting into music. There is a GEST live show now being looked at, basically like a longer version of the clips that have been posted on social media. It’s definitely a long road to making it happen. I’m not going to say a definite time frame. But after posting up a few of those clips over the last couple of years, there’ve been a fair few people maybe just calling out for being able to see it live, and that’s spurred me on just to try it. The main hurdle with this is that the energy is definitely going to be quite different to a DJ set and one of the challenges with this is trying to work it out in a way that doesn’t alienate people too much, I guess because we’re all used to fairly kind of fast-paced DJ set sort of vibe. With a live thing that’s not really how it can work. There’ve been a lot of live D&B shows over the years but yeah with GEST and the deeper side of the scene, not so much has happened. So it’s a bit of an unknown territory. So for anyone who was asking about this- it’s in the works and it’s something that is gradually being looked at. One thing that not a lot of people will have seen is that I also made a side project for live performance techno last year, using the same setup that’s been in all the videos. It’s been pretty chilled. I did it in a way to train myself as to how I could actually do this for GEST. With techno, there’s a bit more of an existing structure for live sets. Also just because I’m very much inspired by the techno scene here in Berlin I wanted to try and be a part of it and give myself a side project to flick between D&B, and have something to keep me a bit inspired and coming back. It’s definitely still very early stages but there’s been a couple little gigs around. Oooh, so we have a techno alias from you? It’s called Machinegeist. This is the first time that I would have publicised it much. I just wanted to build this just slowly and not really hype too much. Follow Machinegeist You work a lot with Shogun… How’s that? It’s great. Definitely got to send a shout-out to everyone there. There’s a great team behind the label and I’m very lucky to be a part of this because it’s fair to say that the GEST sound is certainly more underground than the majority of the music that Shogun releases. They are very good at helping me to navigate what to do in terms of social media and presenting things. They’re great at putting plans in place for releases and just generally trying to make the best of every release. In terms of the music they’re not too pushy, they just let me do whatever I’m gonna do, there’s maybe certain tunes that they know wouldn’t be right for Shogun and that’s fair because obviously, they do have a strong presence and general image. I can only be thankful about working with Shogun, and just generally having people to help because it’s not easy right now. A lot of people I guess just get lost in the noise of social media and maybe it’s harder than ever for underground artists to actually get the music heard and promote themselves. I guess I will always look back to being like an 18-year-old vinyl buyer going out and buying all the early Shogun releases on White Label. I used to travel for quite a long time sometimes just to get to a record shop and maybe get a chance of getting some of the early Shogun releases. There is some forthcoming GEST music that I can’t talk too much about, but I’m at least going to say that there’s a GEST remix of a Classic Shogun tune from 2008. It’s not one of the more well-known Shogun tunes, but for me, it was one of my favourites. People talk about Shogun’s golden era- the days of Spectrasoul, Alix Perez, Icicle et al. It could be said that the imprint recreated this ‘Golden Era mark two,’ with yourself, GLXY, Pola & Bryson, Monrroe, Sustance… How does it feel to be in that position now? Just super thankful. I will always look back on that period in time. I had been into drum and bass for quite a bit before Shogun got to that level, but it was certainly a massive focal point for me being a 16/17/18-year-old vinyl DJ. Shogun was the gold standard at that time. It’s evolved and it’s morphed into different forms, but I’d like to hopefully think that I’m staying true to that sort of original Shogun vibe. I always think back to being that 18-year-old fanboy going out and buying vinyl and that’s definitely something that is still in my mind to this day. So the final question is, what should we be talking about in D&B that we’re not currently talking about? I touched upon it in the very beginning when you asked me about what I’m up to, but I think it’s very easy for people to see stuff on social media and for it to appear that it’s very easy to do all of this and that people are having big careers being underground D&B artists. Which can be true, but I guess from my side there is a big side hustle involved… I guess my point would be to not feel bad about it or to think that it’s a negative thing to have other areas of income or other things to pursue alongside music. There are so many other underground D&B artists that have multiple sources of income. We’re living in some of the bleakest economic times right now, wherever you’re at. It’s not easy to make this work. It’s healthy to talk about the fact that for a lot of people they need other ways to make money to keep being creative. I know there are a lot of D&B guys that do Patreon, which if I wasn’t doing University lecturing, I’m sure I’d be doing something like that as well. I think it’s quite important to speak about that, particularly, for some younger artists that may just be getting into this and they’ve grown up with social media and just being presented with this very positive side of things where it seems like everyone’s just smashing it the whole time. It’s maybe not quite as obvious that there is quite a lot of stuff behind the scenes that goes into sustaining some careers of underground artists right now. There’s no shame in that.

Today, Elements Music & Arts Festival, the premier immersive electronic festival of the Northeast, has announced its phase two additions ahead of its 2024 edition in Long Pond, Pennsylvania on August 9-11. Elements is the ultimate arena of exploration, where music, community, art, camping, and adventure coalesce in perfect unison. Best described as an escape unlike any other, the festival is co-created by those who embark on the journey, fostering a home for childlike wonder and a creative space for like-minded individuals. Lineup additions include standout back to backs from Late Checkout party starter Chris Lorenzo and Night Bass label head AC Slater as Fly With Us, plus seasoned house favorites Green Velvet B2B Patrick Topping. Fans will also be treated to two unique sets from bass behemoth Subtronics, live jam band stalwarts The Disco Biscuits, unifying dance figure The Blessed Madonna, high priestess of hard techno Sara Landry, enigmatic production mastermind G Jones, and live electronic duo Kasablanca. Additional highlights include in demand next generation risers like Odd Mob & OMNOM present HYPERBEAM, Hamdi, and Max Styler. Speaking on the new round of additions, Elements Co-Founder Timothy Monkiewicz says, “We tried to go out of the box and worked hard to bring fans some fresh house & techno artists as well as some rare b2b sets for phase two. We are excited to add your most requested Jam band and Pennsylvania royalty, The Disco Biscuits! This well-rounded lineup gives something for everyone and we can’t wait for you all to enjoy it.” These additions join an initial lineup that already featured some of the most electrifying names in dance music, from chart-topping stadium-filling superstar Illenium, to a Redux set from pioneering GRAMMY-nominated DJ and producer Kaskade, the darker shades of forward thinking producers Liquid Stranger and LSDREAM, and the head-splitting sounds of Excision. The depth continues with GRAMMY-nominated melodic bass pioneers Slander, a back to back from Black Book Records head Chris Lake and Hellbent Records boss Cloonee, hard hitting versatile trap producer TroyBoi, a back to back throwdown from Sullivan King and Kayzo, plus D&B favorites like Sub Focus and Dimension. Heavier leaning sonics will also be well represented by the likes of Claude VonStroke’s iconic Barclay Crenshaw project, multi-talented French artist and Odyzey Music label head CloZee, bass producer Of The Trees, and multi-faceted rapper and producer Wreckno. The four primary stages at Elements are aptly named to each represent one of the key elements that define not only the event’s experience, but the very fabric of the natural world it celebrates. Fire is the home for thrill-seekers who thrive off moments of spontaneous fun, while Earth presents a psychedelic paradise of neon trees, galactic mushrooms, and airborne jellyfish. Air offers a temple of melodies tucked deep in the forest, while the sunshine playground known as Water is where acrobats, pirates, and clowns are ever abounding and swimsuits are heavily encouraged. Festivalgoers can also explore a magical playground complete with Burning Man style art cars and rows of Vibe Villages, which are decorated theme camps created by guests. Elements will additionally showcase 3D video projection mapping, interactive performances, and large-scale art installations, plus a Health & Wellness lineup with yoga, aromatherapy, dance, comedy, sound baths, and multidisciplinary workshops. The yearly Art of Change program is a key facet of the festival’s community driven ethos, which was created to amplify marginalized voices. The 2023 edition focused on the LGBTQIA+ community while featuring workshops on Queer history, sexual orientation, and the essence of Drag, onwards to a Pride Parade. The festival’s Drag Brunch event donated funds from each drink sold to The Trevor Project, who provide crisis support for the community. More details and applications for The Art of Change program will be shared closer to the festival, while applications for Vibe Villages, Art & Visual Artists, Performers, and more are available now. Elements has grown rapidly into an immersive multi-day camping experience, along the way becoming a staple of the festival circuit. The move to Long Pond has aided in this growth, with Elements now hosted in the woodlands adjacent to the raceway. The venue is powered by an onsite solar farm, further assisting Elements in its long-term sustainability goals. Tier Three GA and VIP passes are currently on sale through the official Elements Festival website. Elements also offers a variety of options related to accommodations, which range from car camping to on-site glamping, nearby hotels, and preset RVs and tents for those seeking an elevated experience. Shuttle passes will also be available for those looking to avoid driving, which provide rides from a variety of major cities throughout the Northeast. Elements Music & Arts Festival 2024 – Phase Two Lineup AIMMIA Fly Fly With Us (AC Slater & Chris Lorenzo) G Jones Green Velvet B2B Patrick Topping Hamdi Kasablanca LYNY Max Styler NHII Night Tales ODD MOB & OMNOM: HYPERBEAM Player Dave Sara Landry Space Bacon Splintered Sunlight Subtronics (Performing Two Sets) The Blessed Madonna The Disco Biscuits The Illustrious Blacks Regional Acts BB808 Bendito Berger & Beezy Cuppa T DCal Eddie Propane isded B2B Nnämba Krook Lhor Oba & Flip Raudra Sky So Young Elements Music & Arts Festival 2024 – Phase One Lineup 5am Trio Ahadadream Austeria Azzecca Barclay Crenshaw Blanke: ÆON MODE BLOND:ISH Bob Moses (Club Set) Boogie T Boogie T.Rio Canabliss Chris Lake b2b Cloonee CloZee Cool Customer Desert Hearts Dimension Disco Lines (Sunset Set) Dr. Fresch Eli Fola (Hybrid Set) Excision Golden Pony Illenium INZO It’s murph Justin Martin Kaskade (Redux Sunset Set) Lee Reynolds Lespecial Lightcode Liquid Stranger LSDREAM Marbs Marvel Years Matroda (Sunset Set) Mikey Lion Of The Trees Porky Rome in Silver Saka Slander Slander Presents: Before Dawn Space Wizard Sub Focus Sullivan King b2b Kayzo SunSquabi Tape B The Floozies Township Rebellion TroyBoi TVBOO VNSSA b2b Nala Walker & Royce Wreckno Zingara Regional Acts 9B49 Dice Man Earth Signs Koopmusik Lady Harley Lauchness Max & Dana Milan Miller Papyon Ziata The Premier Immersive Electronic Festival of the Northeast Returns for 7th Edition August 9-11, 2024 in Long Pond, Pennsylvania Tickets On Sale Now www.elementsfest.us The post Elements Festival Adds Green Velvet B2B Patrick Topping, The Blessed Madonna, Sara Landry, Kasablanca, Max Styler + More To 2024 Lineup appeared first on Electic Mode.

IMS Ibiza, the annual thought-leadership platform at the intersection of culture, education, industry, and wellness in electronic music is set to spotlight and celebrate Amapiano, Afrobeats and the African dance music scene, uniting a curated selection of artists and industry leaders shaping the scene, plus presenting performances from DJ’s and producers from the genre making impact on the global electronic music stage. Born in South Africa and raised around the world, Amapiano is the dance genre that has reached global heights. The 15th edition of IMS Ibiza next month will explore the vibrant evolution of the genre, tracing its roots from the townships of South Africa to its meteoric rise to global popularity. Two-time Grammy-nominated Nigerian musician and DJ Sarz, the producer behind Beyoncé’s “Find Your Way Back”, Drake’s “One Dance” and collaborations with Skrillex and Skepta, will be interviewed by NTS radio’s Charisse C, the DJ, Artist and Abantu founder who stands at the vanguard of South African dance music. In Amplifying Amapiano: The Journey of a Genre from The Township to the Global Stage, presented by Ballantine’s True Music industry leaders and artists including Dare Balogun (Ballantine’s True Music Strategist; M&C Saatchi Sport & Entertainment, UK), Grace Ladoja (Music Executive/Company Founder, Metallic Inc/Homecoming, UK), Sarah Jane Nicholson (Managing Director/Founder, Paradise Worldwide/Africa Rising Music Conference, South Africa), Shanae Dennis (Agent, Wasserman Music, UK) and Tunde Adeniyi (Dankie Sounds, UK) will unpack the genre’s cultural influence and impact on the global electronic music industry. The discussion will be followed by a Ballantine’s True Music party, sponsored by Ballantine’s Scotch whisky with Charisse C and recent Ballantine’s True Music 10 London headliner, Sarz bringing the sounds of Amapiano to IMS Ibiza. Ballantine’s True Music has long celebrated South Africa’s vibrant music scene from Gqom to Deep House and Amapiano is no exception to this, having worked with icons including Focalistic, DBN Gogo, Uncle Waffles, Kabza de Small and many more. Ballantine’s True Music has championed, supported, and represented over 800 pioneering headliners and emerging artists, celebrating over 70 local communities from over 30 countries across six continents; representing local music culture on a global stage. As Ballantine’s marks its 10th Anniversary of True Music, Amapiano will be in the spotlight in 2024 once more. The celebration of African electronic music will continue at the seven-hour summit closing celebration IMS Dalt Vila, where IMS is excited to welcome for the first time two artists showcasing Amapiano and its fusion of deep house, jazz, kwaito and afrobeat elements. KILIMANJARO, hailing from South Africa, raised in Scotland, and now residing in London, will combine his background of Afro-centric rhythms and influences with the fast-paced energies of the European electronic scene. Also on the line-up is Osabuohien Osaretin, better known by his stage name Sarz, a two-time Grammy- nominated Nigerian producer, mixing engineer, musician, and DJ. The undisputed heavyweight producer of contemporary Afrobeats, his unique and pioneering production techniques have helped reshape Nigeria’s sound profile. Presented in partnership with AlphaTheta, the seven-hour unmissable musical event is held in the old town of Ibiza at the historic 2,500-year-old former fort, Dalt Vila, providing spectacular views of the Catedral de Eivissa with panoramic views of the Mediterranean Sea. In 2024 the site celebrates the 25th anniversary of its designation as a UNESCO World Heritage site, an award that recognises both its cultural and architectural value. https://www.internationalmusicsummit.com/ The post Ims Ibiza To Spotlight And Celebrate Amapiano And African Dance Music appeared first on Electic Mode.