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Amid the era of AI, when technology's rapid evolution often blurs the lines between enhancement and infringement, over 200 artists have banded together in an unprecedented plea for respect and responsibility. The Artist Rights Alliance has published a scathing open letter, titled "Stop Devaluing Music," to issue a timely rebuke of AI developers in the music industry. In a clarion call for action, the petition urges tech companies to pledge against releasing generative music tools and technologies that could diminish the human artistry of songwriters and producers. "Make no mistake, we believe that, when used responsibly, AI has enormous potential to advance human creativity," the letter asserts. This acknowledgment of artificial intelligence's potential underscores the artists' stance not as anti-innovation, but pro-accountability. Their grievance lies not with the technology itself but with the manner in which it's currently being deployed by big tech platforms and developers. The heart of the issue, per the petition, is the irresponsible use of AI that compromises artists' ability to protect their privacy and intellectual property. It's a predicament that stems from some of the world's largest companies taking liberties with AI model "training" based on existing music—without regard for the original creators. This practice not only undermines the intrinsic value of music, but also poses a threat to the livelihood of those who create it. "Unfortunately, some platforms and developers are employing AI to sabotage creativity and undermine artists, songwriters, musicians and rightsholders," the letter continues. "When used irresponsibly, AI poses enormous threats to our ability to protect our privacy, our identities, our music and our livelihoods." Among the high-profile producers throwing their weight behind the initiative are industry luminaries like Billie Eilish, Metro Boomin, FINNEAS, Hit-Boy and Chase & Status. Their participation, along with superstars the likes of Sam Smith, Kim Petras, J Balvin, Pearl Jam and more, amplifies the petition's message and highlights the widespread concern among artists of all walks about the future of music creation in the face of advancing AI. Read the full open letter here.

The eponymous lead single is available now via her Virtual Myth Recordings imprint Continue reading...

Album opener 'DIE4U' is already available: an homage to Prince's 'I Would Die 4 U' Continue reading...

Listen to the most flavour-packed tracks we discovered this week. Music makes the world go round. And in that regard, we’re constantly on the lookout for new, exciting tunes to share with our audience. We’ve found some that cause goosebumps, and make you open your eyes and get up from your chair to dance. So put on your best pair of headphones, or turn up your speakers, and enjoy this week’s New Music Friday. Here are our top picks for the best music we came across this week, in no particular order. xoxodubstep – DROP EM Genre: Dubstep We’re kicking off this week in full force. And what better way to embody full force than a proper Dubstep track? Well, here’s ‘DROP EM‘, the latest belter from underground artist xoxodubstep. Get your strobe lights ready — you’ll need them. From a tense Ambient intro, the song evolves into a festival Dubstep arrangement, and once it starts ascending, there’s no way to stop it. Spot the fake drop, and get ready to experience quite the release once it hits. This one makes you involuntarily raise the volume of your speakers, with all its unpredictable changes and unmeasurable power. Pretty Ghosts – 4am In Vegas Genre: Chillstep After the last track, hit ‘Play’, breathe in, close your eyes, fly away, and breathe out. You guys know very well we don’t usually share these laid-back tunes with you, but this one is simply too good to let go. Meet Pretty Ghosts‘ after-midnight tale, ‘4am In Vegas‘. Warm pianos? Here you are. Airy vocals? Have them your way. Great atmospheres and eternal reverbs? All yours. This is the perfect soundtrack for getting home after a night of dancing out in the highest of the ecstasies. Unwind, relax your muscles, and give this piece the benefit of the infinite loop. Mike Oasyss – Out Of Control Genre: Tech House One of the leading up-and-coming talents in the Tech House corner of Dance music is this guy right here. Mike Oasyss, a student of the famous Icon Collective, his tracks are known for combining Pop-flirting vocals with street-resembling Los Angeles Tech House instrumentals, to achieve quite the winning formula time and time again. ‘Out Of Control‘ is a case in point. With dirty percussion, octaved vocals, House stabs, and masterful tension which makes you move like a wave on the beach, the tune leaves a lasting impression. We at least had to play it over five times in a row to really soak in all the flavours. Flexfade – Concrete Eden Genre: Tech House All the way from Siegen, Germany, we welcome DJ and producer Flexfade. His style of production is described as the product of years of influences of Trance, House and Techno, as he developed and masterfully polished a unique Tech House path, one that includes subtle hints of those early sounds he used to love. A song with a story as its backbone, his latest, ‘Concrete Eden‘, tells the tale of a girl who once roamed the streets of a city that embodied both magic and grit, one named, you guessed it, Concrete Eden. The song is her point of view, narrating the utopia she knew turned into disappointment and nostalgia. Steve Angello – Rave ‘N’ Roll (Corey James Remix) Genre: Tech House, Big Room Fancy a rework, anyone? We sure do. Out today is prodigy Corey James‘ current-year take on a Steve Angello classic, ‘Rave ‘N’ Roll‘. Did the original make you want to dance your heart out? Sit tight and fasten your seatbelts: you’re about to live everything again. We’re glad to see the remix being released to the public, though, as previously, it made its way into the best festivals while played exclusively by Swedish House Mafia and label boss Angello himself. Having been around for close to two years already, the remix not only pays homage to the original’s vibrancy but also propels it into the realm of mainstage anthems, ensuring it will captivate festivals left, right and centre. https://open.spotify.com/track/1lsxzFdqOOloUfskIEwNxR} Jasper Junior – Pleasure Genre: Bass House Looking for a hard-hitting composition? We’ve got the work of Jasper Junior this week as well. A very young producer is behind one of the most promising European names to look out for in the near future, constantly proving his Bass House kingdom is a bit larger than we thought at first glance. ‘Pleasure‘ is a track that delivers precisely that: pleasure. It’s a sexy blend of dark Techno kicks, prominent hats, odd textures, and intense drops. Start learning this one by heart from now. Chances are, you’ll be hearing it at your local club very soon. Conrad Taylor & Hookline – Craving More Genre: Tech House The last entry on this week’s NMF is this, a powerful clash of two strong forces. Conrad Taylor, a tasty multi-genre banger provider and former New York politician, meets the unmatched power of Hookline to unveil ‘Craving More‘, a single capable of living up to the expectations presented by its title. Showcasing the best Tech House has to offer, ‘Craving More’ enchants and entrances listeners with mysterious vocals, cinematic tension and release games, detuned leads, and stadium-grade beats and percussion. Crowds would know, though, as it has been played by Dance leaders such as The Chainsmokers, Alesso, Jauz, Chris Lake, Dillon Francis, and others. Final Words Stay tuned, for more of our compilations every Friday — based on demand. And be sure to follow EDMTunes for all the latest news and reviews that revolve around our beloved Electronic Dance Music! The post EDMTunes New Music Friday – Week 14 appeared first on EDMTunes.

Inclement weather continues to hit major events across the US. This time, the Red Rocks Amphitheater is subject to hazard wind that forced the venue to cancel and reschedule this weekend’s shows April 6-7. Today’s Dom Dolla show remains unchanged. However, the two-day event faces the cancellation of the second show. Wind in Red Rocks The Red Rocks Amphitheater was forced to cancel tomorrow’s Dom Dolla and announced that refund information will be emailed to ticketholders. Moreover, Sunday’s Daybreaker event is set for next Sunday April 14th. Tickets will be valid for next weekend as well. Daybreaker is day party/wellness and yoga event that inspires community throughout the country. It’s saddening to see how many events are being postponed, cancelled, and altered due to weather. Nevertheless, we got to respect mother nature and give her the time she needs so that we can honor her on the dancefloor. More information on their website here. The post Red Rocks Falls Victim To Dangerous Winds For Upcoming Shows appeared first on EDMTunes.

Vintage Culture released his latest single, ‘Nothing Ever Changes‘, from his much-anticipated debut album, Promised Land. Following the success of ‘Weak‘, Vintage Culture’s latest track will help solidify his position in the electronic music scene. ‘Nothing Ever Changes’ features ethereal vocals from Magnus, a UK-based producer, singer, and songwriter. The track is a mesmerizing blend of rhythmic beats, ambient textures, and captivating melodies, showcasing Vintage Culture’s signature production style. In a recent statement, Vintage Culture expressed his excitement about the new single and pride in the collaborative process with Magnus (see below). “I remember hearing Magnus’ vocal for ‘Nothing Ever Changes’ for the first time,” Vintage Culture revealed. I was immediately drawn in by the melody and lyrics of the song. I’m very proud of ‘Nothing Ever Changes’ and believe it stands with my best work to date.” Ravers can experience ‘Nothing Ever Changes’ on all streaming platforms as Vintage Culture continues to build anticipation for the release of Promised Land. The post Vintage Culture Unveils New Single ‘Nothing Ever Changes’ from Debut Album appeared first on EDMTunes.

All the Afro-Tech-House bangers you needed, all in one conveniently sized package. In need of some extra crispy music? Say no more. Out today is a super tasty six-pack. Not beer, not abs, but music. Cuban-born, Miami-based DJ and producer Malóne brings the heat to the entire world today. He’s not only a Space Miami resident, a Beatport Afro House chart-topper and a 1001Tracklists’ Future of Dance artist, he’s also the founder of the WHYNOTUS record label. After ‘444’ and ‘Un Beso’, Malóne figured it was time to introduce some new faces to the label. And so, a Various Artists release came to mind. The idea would be to showcase new talent, and ultimately shape the future of Dance through underground artists with otherworldly potential. “One of the main reasons I started WHYNOTUS was to put out dope music from talented artists all over the world and showcase them at our live event series.“ -Maloné MIAMI GROOVE VA MIAMI GROOVE VA is the first-ever WHYNOTUS compilation, and also the VA concept debut on the label. Across six amazing tracks, you’ll get the premise of the title delivered right to your door. The compilation is just what it says: it’s tropical, and it’s groovy. You’ll notice straight away that this is a sound rooted in percussion, Afro House, and Tech House. But it’s none. Or rather, all of them together. It’s gigantic. Take that from me. A handful of artists wave hello to the imprint via this EP: Amal Nemer, Morpei, Damelo, Sounds Of Rituals, Pablo Alhach, Des & Del, DZR, and Sabrosura Boyz. And they all have a tale to tell in their tracks. WHYNOTUS — MIAMI GROOVE VA Tracklist Get It by Amal Nemer Tu Sabor by Sounds Of Rituals and Pablo Alhach BAPU by DZR and Sabrosura Boyz No Me Importa by Morpei Funky Work by Damelo That’s It by Des & Del Filled to the brim with an immense amount of groove, and the potential to revive an entire crowd, take any of these tracks and play it when you’re in the mood. Let me tell you, for all of you caffeineaholics out there, there’s a better energiser, and it’s this very compilation. This is one you’ll surely won’t want to miss. Feeling the MMW blues? This way, good sir. Listen to WHYNOTUS‘ MIAMI GROOVE VA below, by hitting the ‘Play’ button on your Spotify streamer, attached ahead. Also, check out the release on YouTube, and follow this link to support the release on your platform of choice. The post Malóne’s WHYNOTUS Unveils Debut Compilation, ‘MIAMI GROOVE VA’ appeared first on EDMTunes.

Erik Bjärngard, better known by his electrifying stage name Bossfight, has once again shaken the foundations of bass music with his latest release, ‘Decimate‘ via Monstercat. Bossfight is no stranger to the spotlight, with a resume boasting performances at illustrious festivals like Tomorrowland and Rampage, coupled with a discography that’s propelled him to millions of streams worldwide. His unique fusion of dubstep, metal, orchestral, drum and bass, and trance has cemented his status as a revolutionary force in the music scene. ‘Decimate‘ is a testament to his raw, unbridled energy, featuring a concoction of rattling basslines and a meticulously solid arrangement that transcends conventional electronic music paradigms. The Unstoppable Rise of Bossfight Since making his grand entrance on the Monstercat roster in late 2017, Bossfight, real name Erik Bjärngard, has been on an unstoppable ascent. His music, a rich tapestry of genre-blending soundscapes, has not only captivated global audiences but has also earned nods from industry titans such as Excision, SLANDER, and NGHTMRE. Beyond the music charts, Bossfight’s tracks have ventured into the world of video gaming, securing sync placements in titans like Fortnite and Rocket League, showcasing his versatility and broadening his reach beyond the confines of traditional music venues. This multifaceted approach has garnered him over 50 million streams across digital service platforms (DSPs) and significant placements on Spotify’s premier playlists, further solidifying his position as a beacon of innovation in the electronic music domain. Decimating Expectations ‘Decimate’ is not just another addition to Bossfight’s impressive catalog—it’s a declaration of his mastery over the craft. Released under the Monstercat banner, this track is a potent showcase of Bossfight’s unparalleled ability to merge intense basslines with cinematic flair, setting it miles apart from the vast ocean of bass music releases. It’s an immersive experience that underscores Bossfight’s attention to detail and technical prowess, making it an essential listen for aficionados of the genre. As Bossfight continues to redefine the contours of bass music, ‘Decimate‘ stands as a towering testament to his innovative spirit and sonic dexterity. In the ever-evolving landscape of electronic music, Bossfight’s ‘Decimate’ emerges as a colossal banger, reminding us why he remains at the forefront of the genre’s innovators. With each release, Bossfight not only pushes the boundaries of bass music but also reaffirms his deep-rooted connection to its vibrant pulse. Dive into the adrenaline-inducing world of ‘Decimate‘ and witness the sheer magnitude of Bossfight’s musical prowess. The post Bossfight Unleashes Bass Heavy Banger ‘Decimate’ on Monstercat appeared first on EDMTunes.

Electro-pop pioneers Empire of the Sun, the duo of Emperor Steele and Lord Littlemore, are back with a brand new single, ‘Changes.’ Marking a triumphant return after nearly eight years, ‘Changes’ signifies a new chapter brimming with the band’s signature ethereal soundscapes. The track pulsates with infectious melodies and driving beats, showcasing a sonic shift from their signature sounds while staying true to their beloved style. With its airy synths and brighter tones ‘Changes’ is the gentle invitation to their lush soundscape that they’ve masterfully crafted. “Changes represents the shifting sands of time, empires rise and fall but the sun shall shine on. Come once more into the world we’ve created, delve deeper within and be rewarded with its ever-expanding story, each and every one is invited to explore the new era.” – Lord Littlemore “Changes was a breakthrough track for us. It felt like the moment of clarity when it became evident we were in the new era, our time of rebirth, the next chapter of Empire.” – Emperor Steele The track comes with an accompanying music video. Filmed amidst the breath-taking landscapes of Thailand, Empire of the Sun and Michael Maxxis invite audiences to embark on a visually stunning, cinematic odyssey, one that will captivate and enthrall viewers with its otherworldly allure. The post Empire of the Sun Returns With First Single in 8 Years ‘Changes’ appeared first on EDMTunes.

Tomorrowland Brasil will officially return in 2024. The event will take place at Itu, São Paulo from October 11th-13th. While no further information has been released at this time, future attendees can rest easy knowing the festival is officially in the works. After two amazing festival editions in 2015 and 2016, Tomorrowland Brasil took a several-year hiatus before making its grand return October 12-14, 2023. The astonishing festival area of Parque Maeda in Itu, São Paulo, was the perfect backdrop for a long-awaited reunion. The festival revolved around ‘The Reflection of Love,’ symbolizing the unity and positive energy Tomorrowland stands for with the whole world coming together as one. People of Tomorrow from all corners of the planet enjoyed a magical three-day gathering with a collection of the best electronic artists. Last year’s Tomorrowland Brasil lineup featured artists like ACRAZE, Alok, Afrojack, Don Diablo, Lost Frequencies, Martin Garrix, Sebastian Ingrosso, Steve Aoki, Sunnery James, Tiesto, and more. We can only hope this year’s lineup is as drool-worthy. According to Tomorrowland’s socials, more info is coming next week. So stay tuned for more details regarding the lineup, ticket sales, and more. In the meantime, head on over to the festival website here to reserve your tickets and check out the official 2023 after movie here. The post Tomorrowland Brasil Will Return This October 11th-13th appeared first on EDMTunes.

Photo Credit- Khali Ackford ‘We live in a world where urgency culture can be so toxic. I hope that my journey inspires other artists to take their time.’ – Spectral Nowadays, you are an anomaly if you are taking your time. Drop culture, quick-hit videos on the gram and a saturated market have driven artists and labels to release more frequently than ever before. The fear of being drowned out is rife, and if you’re not releasing every few months (at least), there’s a risk you’ll be left behind… or so they say. Spectral, however, sees things quite differently. Three years after her stint as one of the first ever EQ50 mentees, Spectral, a producer and DJ from Bristol, has just dropped her debut EP on Critical Music. After being paired with Critical for the mentorship, the relationship between the label and Spectral soon began to flourish. The EP is part of Critical Music’s ‘Binary’ series, which has given some of D&B’s most promising new artists a platform to showcase their skills and future potential. For its 27th instalment, Spectral showcases a tantalisingly dark 4 track EP. We needed to know more so we pulled her for a good ole natter, and her low-down on the project. Spectral – you just had your debut EP out on Critical Music, as part of their Binary series. It sounds wicked! Thank you so much! It’s very surreal to be honest. When you’ve worked on a project for so long, you’re so close to it. It’s been such a journey, lots of emotions. Lots of highs and lows. After this long time I’m finally ready to let it go. It’s like my little baby! Talk us through the curation of the EP and the tracks featured. The Binary series is for new producers coming up on the label. Kasra suggested that I should start to work on it during my EQ50 mentorship in 2021, which is where my journey as an artist really began. At that time, I was relatively new to electronic music production and didn’t have a huge back catalogue of tunes ready to go, so it was a very daunting project, to say the least. It’s been a journey finding my sound and growing into the producer that I want to be, all whilst working towards a career defining goal like the Binary series, so I wanted to take my time. The project needed to confidently hold its own alongside the rest of the roster, which is full of giants and the best of the best, in my opinion. Part of the curation was just feeling the inspiration that came with performing on the same lineups as so many of my idols over the last few years. I remember having 4 tracks at the start of 2022 and not wanting to play them or push them as much as I wanted to play and push other people’s tracks, so I knew I had to scrap most of those and keep going! Did any of those original tracks make the cut? Only one out of four of the tracks ‘Submerge’ is an original, the other three were written in a huge creative explosion at the end of 2022, so the last year has solely been about the mixdown side of things, which I’d be lying if I said there weren’t times that I thought the process was actually going to kill me. I had people telling me that if I wanted help, I could get help, and that lots of artists have tunes mixed down for them, but I didn’t want to do that. No disrespect to anyone that does, but on a personal level I would not feel authentic if I’d let that happen. I knew that I could do it if I kept working, and Kasra never put any deadlines on me so there was never any external pressure. I’m proud of the final four tracks, there is a lot of variety in there which is important to me. When I am DJing I will almost always start with some 140 and then work my way up through 160 before getting into the drum & bass. I try to cover a lot of ground sonically. Although this EP is just drum & bass, I still needed it to feel like a journey, in the same way my sets do. My favourite track is the last one, ‘Ikigai’. The name is a Japanese word and actually translates to ‘reason for being’ which defines all of the emotion poured into the project. So much consideration and thought went into this project – it’s no surprise you were emotional letting it go! I wanted the project to be right. My journey as an artist has changed a lot since I joined EQ50. Back in 2020 when I applied for EQ50, at that point, I was new to everything and hadn’t even done that many DJ gigs. I was very much deep, dark, minimal drum & bass. That was what I wanted to do and that was who I was at the time. As the years followed, I realised that as a person who loves electronic dance music, that’s not all that I’m about. I realised that you don’t have to put yourself into a box, you can go on stage and play loads of different genres and people love that. I needed to feel proud of it and I needed to feel excited about it. It’s been an absolute labour of love and as I said, it’s taken 3 years to come into fruition so it’s a really big deal for me. How has your relationship with the Critical progressed since the EQ50 mentorship and how have they helped with the release? When I applied for EQ50, you couldn’t select the label that you wanted to work with. It was just an application form where you would answer questions about yourself as an artist and why you wanted to do the mentorship. Critical heard the tune that I’d submitted and wanted to work with me, which was totally surreal as they would’ve been the label I wanted to work with if I got to choose. Once I was doing the mentorship, I wasn’t expecting Kasra to suggest I do an EP, as that wasn’t part of the project, so it was a big surprise. I thought that when the mentorship was over that that would be it, I certainly didn’t anticipate becoming one of the new core artists. I guess my passion and hunger shone through as I am part of the family now, which is a dream come true! They’ve been very nurturing with the release, never pushing any deadlines on me. It was very much when it’s ready, it’s ready. Kasra told me: ‘You don’t make good music when you’re stressed’ and he’s right, you don’t! I’m just so glad to have not had that pressure. It enabled me to have space to step into the sound I want and to go at my own pace. You can’t rush these things, I would rather take the time that I did to release something of high quality. Looking back at the programme itself (EQ50), in what other ways did it help you? It gave me a lot of confidence. I think when you’re picked for something like this, it forces you to change your perspective. You have to accept that you are good enough for the opportunity. Thinking you’re not worthy will get you nowhere as a creative. It’s a really special programme, run by Sweetpea, Mantra and DJ Flight who are all so powerful and inspiring. As a young woman aspiring for a career in a male dominated industry, it’s really important to have these successful female role models around you. That in itself becomes a powerful driving force for your own success. What have been some of the music related challenges that you’ve faced since that time? I think the main challenge for me has been balancing working on all the necessary practical elements of production whilst trying to step into my sound and letting the music write itself. I have a big musical background. I’ve been playing classical piano since I was 5 years old, then I started singing and songwriting, playing the guitar. I went on to study popular music at Falmouth University when I was 18 so composition and musicality has never been a challenge for me, it’s more that there is so much technicality that needs to be learnt when it comes to electronic music. You need a lot of patience and you have to train your ears, which can only come in time. It’s not something you can rush. Do you think in the future you will want to do something with the songwriting again? People ask me this a lot. I really don’t know. For some reason, I see them as totally separate artforms which I guess is silly because I know a lot of producers are looking for vocalists to work with and if I am a vocalist myself, why wouldn’t I use that within my own productions? To be honest, my songwriting, at that point in my life, was very much an outlet for my own feelings and in a way, it almost depended on me being in more of a sad state of mind. Mental health is something that I’ve struggled with on and off throughout my life, but quite significantly when I was a teenager. As I got older, I started raving then got some decks for a bit of fun and realised that I really loved DJing. I could pour that same passion for music into it, but it actually relies on me being happy, whereas songwriting was all about being sad and getting that out into the lyrics. Unfortunately I feel I had to put a pause on my singing and songwriting in order to be the happiest version of myself as I had a bit of a strange relationship with it. My tracks ‘Crazy’ and ‘Ikigai’ don’t have my own lyrics in them but on a personal level, I was still able to pour emotion into them, in a healthier way through the chords and melodies. I’m not having to transport myself back to this place where I’m writing lyrics about a particular thing, it’s more about the raw feelings that go into the track rather than words. What advice would you give to people who were in your position a few years back but perhaps don’t currently have a mentorship or opportunity like EQ50? A lot of people may laugh when I say this because if you don’t live in this way, it might sound a bit ridiculous but honestly, law of attraction is everything. I believe that the universe responds to our feelings so if you’re aiming for a career in this industry, obviously you need to work hard, but if you’re telling yourself and others that you’re not getting anywhere or it’s not happening fast enough then you’re blocking yourself energetically. Whereas if you’re consistently cultivating gratitude, in my opinion, you become a magnet for everything you want to achieve. I genuinely believe the reason why I’ve gotten this far and played so many of my dream gigs is because I’m using the law of attraction and having an abundance mindset. Success welcomes success. Try and feel genuinely excited for the people that are already doing what you want to do and it’ll come back in your favour. To reiterate, you still need the skills though! Future plans for Spectral? Keep writing more music, keep playing more shows! I really want to get to a point where I can do this full time without working alongside. This summer incoming is my third professional summer having bookings and doing festivals, but I still have a day job so I’m aspiring to be doing music full time within the next few years. If anyone knows my sets, they’ll also know that dubstep is a core part of my musical identity. I have been working on writing some, which will hopefully see the light of day at some point. My sound encompasses a variety of different speeds and flavours of bass music so I guess I’ll say you can expect to see a lot of different sounds within my production too, this is really just the start.

In the midst of a breakout year, Arcando has unveiled his latest single, a gritty drum & bass track called "Don’t Tell Me." The red-hot producer is buzzing off the success of his official remix of "Jungle," a global hit by the The Chainsmokers and Alok featuring Mae Stephens. That track is gaining steam as a festival favorite, especially after Martin Garrix rinsed it during his recent headlining Ultra set in Miami. "Don’t Tell Me" expertly showcases the heavier side of Arcando’s production talents, leading with an infectious vocal sample and atmospheric pads before an explosive drop highlighted by frenetic synth stabs. Catching listeners by surprise, the second drop switches to a half-time pattern before transitioning back to drum & bass for an anthemic coda. Take a listen to "Don’t Tell Me" below and find the new track on streaming platforms here. FOLLOW ARCANDO:Facebook: facebook.com/arcandomusic X: x.com/arcandomusic Instagram: instagram.com/arcandomusic Spotify: spoti.fi/3LSdCIz

Enjoy a beautiful Trance track to play through the entirety of your weekend. Friday everyone! Congratulations, you’ve fought and are now looking at Friday night, Saturday, Sunday, and resting. We’d like to do our part in that regard and pick music for your entertainment, perhaps to unwind, and some others, like the track we’re about to show you, to close your eyes and let the melodies carry you away. Meet BiXX. He’s a DJ, producer, mentor and entrepreneur from Alabama, and resonates with all things Trance. He first discovered the world of Dance while spinning at his university, and slowly became more and more hooked to the genre. It was when he encountered Trance, though, that he found the passion that would be a part of his story ever since. Today, he’s released on labels like Future Sound Of Egypt, Nocturnal Knights, and Naz Ritzan Music among many others, always showcasing a fine, polished rendition of Uplifting Trance built to lift the spirits and connect with the innermost version of oneself. ‘Alignment’ This time, BiXX is joined by Belfast-based Trance producer Christopher Corrigan on a heartwarming single, ‘Alignment‘. The track perfectly embodies the concept of Uplifting Trance, carrying all core elements to your ears, from stomping kicks, to beautiful melodies, to a break that gives room to ascend, eyes closed, and maybe even let out a tear or two. About the track, BiXX recalls, “Christopher and I have been admiring each other’s work for the last three years“. He then goes on to say: “We discovered that we have much in common, such as music style, family values, and a strong work ethic. Thus, the foundation of a track named ‘Alignment’.” -BiXX. Listen to BiXX & Christopher Corrigan‘s ‘Alignment‘ below, by hitting the ‘Play’ button on your Spotify streamer, attached ahead. Also, check out the song on YouTube, and follow this link to support the release on your platform of choice. The post BiXX Joins Christopher Corrigan On Uplifting Trance Gem ‘Alignment’ appeared first on EDMTunes.

Ten years ago, Hardwell, then recognized as the number 1 DJ in the world, celebrated a milestone with his label Revealed Recordings by releasing ‘Everybody Is In The Place’ as its hundredth issue. This track not only underscored Hardwell‘s mastery in big room productions but also paid homage to the electronic music pioneers, The Prodigy, by sampling their 1991 classic ‘Everybody In The Place’. Released in 2014, this track combined Hardwell’s signature high-energy style with nostalgic elements, making it an instant favorite among fans. ‘Everybody Is In The Place’ showcased Hardwell‘s skill in blending bone-shuddering basslines with euphoric piano melodies, a recipe that resonated with his global audience. The release held a special place in Hardwell‘s performances, being the opening track for his ‘I AM Hardwell’ show, which he had been touring for the past year. The anticipation and excitement among fans were evident, especially following the success of his previous release ‘Dare You’, which had made significant chart impact. At the time of ‘Everybody Is In The Place’ release, Hardwell was at the pinnacle of his career, gearing up for headline performances at Ultra Music Festival 2014 and a sold-out Revealed Recordings party at Mansion. This track exemplified his ability to create music that connected with audiences on a global scale, from Miami to Ibiza, reinforcing his status as a leading figure in the EDM scene. Robbert van de Corput, known professionally as Hardwell, began his journey in DJing at the age of 13, drawing inspiration from the dance parties he saw on MTV. His early start led him to a career marked by experimentation in remixing and producing his music, shaping the EDM explosion of 2012-2013. ‘Everybody Is In The Place’ remains a testament to Hardwell‘s talent and his impact on the electronic dance music world, showcasing his ability to blend nostalgia with contemporary sounds in a way that captures the essence of the genre.

A decade ago, Deorro, an emerging name in the house and EDM scene, released ‘Five Hours’, a track that showcased his versatility as a producer and firmly established him in the electronic music world. Erick Orrosquiesta, known professionally as Deorro (and formerly as TON!C), crafted this single with a distinct approach that differed from his typical high-energy Melbourne bounce style. Released in 2014 on PRMD Music, ‘Five Hours’ became a standout track for its melodic ingenuity and unique production style. Hailing from Los Angeles, Deorro began his music career as a teenager, gaining a following through his SoundCloud page and extensive touring. His early twenties saw him releasing a series of successful tracks on labels like Dim Mak and Mad Decent, including ‘Dechorro’ and ‘Freak’. However, ‘Five Hours’ marked a pivotal moment in his career, reaching the top ten in countries like France and Belgium and resonating with a broad international audience. ‘Five Hours’ is characterized by its captivating melodies and a structure that highlights Deorro‘s creativity and production skills. The track’s layout, featuring a gradual buildup and a hypnotic rhythm, created a unique listening experience that stood out in the electronic music scene. This release not only demonstrated Deorro‘s ability to evolve and experiment with different styles but also solidified his reputation as a talented and innovative producer. A decade later, ‘Five Hours’ remains a significant and beloved track in Deorro‘s discography. It serves as a reminder of his artistic range and his contribution to the diversity of electronic dance music. The track’s success is a testament to Deorro‘s skill as a producer and his ability to craft music that transcends the conventional boundaries of EDM genres.

In tried-and-true Cercle fashion, dance music and breathtaking global destinations are once again colliding to offer fans experiences they'll never forget. Adventure-seeking fans of electronic dance music can now book once-in-a-lifetime trips to locales across the world after the renowned event brand announced a new branded travel concept, Cercle Moment. "Cercle Moment offers a chance for those seeking extraordinary experiences to enjoy the luxury of an all-inclusive journey, tailored to create exceptional moments," Marcelo Velit, Cercle Moment's Program Curator and Project Leader, told EDM.com in an emailed statement. "The heart of each journey is a musical narrative featuring artists from our ecosystem, making each moment feel timeless and intimately exclusive due to our limited group sizes. We aim to provide journeys found nowhere else, sparking curiosity in those eager to explore experiences that touch the edge of possibility. We strive to be the kind of trip you've dreamed of, the kind that only Cercle, with its unique experience crafting, can offer." View the original article to see embedded media. Revered for its rare live events that place DJs in jaw-dropping settings, Cercle was honored in EDM.com's "Best of 2020: Industry Leaders" list. The brand has organized performances at Egypt's legendary Great Pyramids of Giza and in the skies of Cappadocia, Turkey, among other locales. "Last year, we introduced Cercle Moment with a single aspiration: to offer our community unique experiences, blending discovery, connections and, of course, music," added Lona Di Ruscio, Cercle Moment's Marketing and Communications Manager. "One thing guided us through the construction of this new concept: the opportunity to travel the Cercle way, living intimate journeys punctuated with exceptional activities and carefully curated musical events. Following our adventures in Egypt, Andalusia and the Swiss Alps last year, we are delighted to unveil the destinations for 2024." Fly Over the City of LightsHead to Paris for a five-day journey and learn how to fly a plane with a sightseeing experience onboard a two-seater above the Vallée de la Chevreuse. You'll also attend the Cercle Festival, stay at Le Meurice, Parisian Palace and party at the Eiffel Tower with exclusive DJ sets by Mochakk and Pedro Winte. Plus, cruise along the Seine with an onboard yacht performance by Alex Wann b2b Notre Dame. This experience has already sold out. French Riviera ReverieThis Cercle Moment lands in Côte d'Azur, France. A surprise guest will perform at an intimate party on Degaby Island, with jaw-dropping 360° views of the stunning Mediterranean Sea. Take in a wine tasting at the famous Château La Coste, ride a catamaran in Provence and enjoy five-star luxury at the Hotel Dieu Intercontinental. A special, secret itinerary featuring world-renowned artists is also part of this experience, which you can book here. Cappadocia's LegacyDiscover Cappadocia while soaring over Anatolia in a Turkish hot-air balloon as Cercle returns to the same location as their stunning Ben Bohmer hot-air balloon set. Tour the Kings Valley site with Turkish dancers and local music, gallop into Cappadocia on horseback and drive through the thrilling hills of Anatolia. This experience includes lodging at the lavish Aza Cave Suites, with gorgeous views of the Pigeon Valley and Uchisar Castle. Plus, throughout the trip, enjoy traditional food celebrating the flavors of each region. Explore this moment and plan your experience here. O Ritmo do RioLast but certainly not least, Cercle Moment is offering a once-in-a-lifetime adventure along the Costa Verde in Brazil. Soak up views of the Rio de Janeiro on a yacht with exclusive musical performances onboard. You'll also see Rio from the sky during a helicopter tour, or opt for a paragliding experience. On the islands of Angra dos Reis, enjoy special electronic sets, snorkeling and breathtaking tropical views. In Rio de Janeiro and Angra dos Reis, you'll stay at luxury five-star hotels and take in intimate DJ sets featuring the world's biggest electronic music artists in dreamlike locations along the Costa Verde. Learn more and book your moment here. The full music lineups for each destination have not yet been revealed at the time of this writing. You can learn more about the 2024 Cercle Moment series here. FOLLOW CERCLE:Website: cercle.io Facebook: facebook.com/cerclemusic X: x.com/CercleMusic Instagram: instagram.com/cerclemusic YouTube: youtube.com/c/Cercle FOLLOW CERCLE MOMENT:Website: moment.cercle.io Instagram: instagram.com/cerclemoment

Fifteen years ago, Calvin Harris released ‘I’m Not Alone’, a track that marked a significant shift in his musical style and cemented his status as a versatile and influential figure in electronic dance music. Released in 2009, this single signified a departure from the funkier, more disco-oriented sound of his debut album, showcasing a more electronic and dance-focused direction. ‘I’m Not Alone’ combined pulsating beats with emotive melodies, creating a sound that was both uplifting and melancholic. The track’s success was immediate, resonating with both club-goers and mainstream audiences, and it played a pivotal role in shaping the sound of electronic music in the late 2000s. Its blend of dance rhythms with a more introspective tone showcased Calvin Harris‘ ability to create music that was not only catchy but also rich in emotional depth. This release was a turning point in Calvin Harris‘ career, demonstrating his evolution as an artist and his willingness to explore new sonic territories. ‘I’m Not Alone’ was not just a commercial success; it was a statement of Calvin Harris‘ growing influence in the music industry, reflecting his skill as a producer and his knack for creating trendsetting music. Today, ‘I’m Not Alone’ remains a beloved classic in Calvin Harris‘ discography, a reminder of his talent for crafting songs that transcend the boundaries of electronic dance music. Its enduring popularity is a testament to its impact and Calvin Harris‘ continued relevance in the ever-changing landscape of music.

It’s now two weeks since Ultra Day 1, and we have finally regained enough brain cells to process what happened during MMW24. We took some time to think over all the events of the week beyond just Ultra to distill some of the biggest winners and losers from Miami Music Week 2024. Read on for the full lowdown. Winner: Mother Nature Music Week 2024 was an unexpected reminder that Mother Nature is undefeated in the universe. The best-made plans can go to s**t when storms come through, especially when it comes to music festivals. During EDM’s Golden Era festivals being rained out was somewhat common. EDC Orlando’s debut edition had to stop for quite a while during a thunderstorm. Ultra 2014 is memorable for Above & Beyond’s equipment getting destroyed by the downpour and they were forced to DJ on backup equipment facing away from the crowd. Of course, we all know the story of TomorrowWorld, where rain and mud literally destroyed a festival and bankrupted a publicly traded company. It was common for Ultra to shut down a stage or two for a bit due to pouring rain. That’s how many people discovered Resistance for the first time – escaping the rain. Then somewhere around 2018 we had several glorious years of perfect weather during Music Week. It did not rain at all from 2018 through 2023. Then Tomorrowland Brazil 2023 got flooded out on Day 1 and had to cancel Day 2 to clean up the muddy mess. Now Ultra and Music Week 2024 had the same experience. Are we about to see a few more years with rain in the Music Week forecast? We hope not, but you never know. The good news is that everybody powered through and salvaged the weekend anyway. Loser: Everybody’s Shoes on Friday As the rain poured down on Friday, people were prepared (for the most part). They had ponchos so the rain wasn’t cramping their style. The thing is, nobody was prepared for so much rain. Not many people came to Ultra in boots. As the rain got worse on Friday, people were desperately trying to hopscotch their way around Ultra or Factory Town to avoid the huge puddles of water and/or mud. For probably 90% of people, there came a moment where all of their efforts were for naught, and they had no choice but to submerge their entire foot and shoe in the water. For some, this moment happened twice (once at Ultra, and another later that night at Factory Town). The funny thing about it is that once you finally embraced the s**t and let your shoes get soaked, you were finally free of all inhibitions. The people who got the most soaked on Friday night were probably having the most fun. It’s an absolute fact that everybody at Factory Town on Friday night had to soak their sneakers, and something about that just released the feral energy inside everyone there. Friday night at Factory Town was probably the wildest event of the entire Music Week. Winner: Factory Town Factory Town was not only firing on all cylinders during MMW24, it was firing on extra cylinders we didn’t even know it had. It was slammed from Wednesday to Sunday, featuring every type of house or techno you could imagine. Factory Town had about as many stages as Ultra, which is crazy when you think about it. It was an entire five-day multi-stage music festival of madness. Without a doubt the best aspect of Factory Town this year was the rarely utilized Warehouse Stage. Who knew that we had our own Drumsheds right in Hialeah?! It’s dark, it’s hot, it can get a bit cramped, it’s industrial, and it’s glorious. Besides that, the Park Stage was in full swing as well – although it wasn’t covered enough to shield the rain on Friday night. That gives Factory Town three mainstages with different qualities. Pretty awesome. Factory Town gained even more appreciation in comparison with other venues in town with limited operating hours and crazy traffic snarls, which brings us to……. Loser: Afterlife Traffic We were so hyped for Afterlife to come to Miami Marine Stadium. It would feature the most epic production with the most gorgeous backdrop of the skyline and the bay. It had a massive crowd capacity so there was room for everybody to take it all in. Yet, Virginia Key once again became a bit of a quagmire, as Ultra learned in 2019. It works for boutique festivals that run from noon to 2am, but when it’s just 6PM-2AM and even the first opener is stellar, you’re stuck with a rush of people all at once – which means a rush of traffic. Unfortunately, the lessons Ultra learned over three days in 2019 were not passed on to this team and many of the same issues returned. The traffic was simply insane because there was one road in and out. It took about an hour to get from Brickell to the venue, and this trip normally takes about 10 minutes. It was bumper to bumper the entire way there and cars were driving on the shoulder to make it. As it turns out, rideshare vehicles were causing many of issues because they were stopping in arbitrary places and causing unnecessary traffic hold-ups. The traffic on the way out was even worse than on the way in. If you parked in the cheapest lot it probably took over an hour just to get out of the parking lot (and that’s if you got to your car before the show even ended). The team made some traffic management changes for day 2 which reportedly helped a lot. If the organizers incorporate the lessons learned and try again with more shuttle options perhaps it could work – but we wouldn’t be surprised to see Afterlife go back to Factory Town or maybe Island Gardens in the future. Losers: Resident Karen Organizations The main reason Afterlife (and probably any other large event) will not return to Miami Marine Stadium is the local Karens Alliance (or whatever they call themselves). Resident organizations and their condo commandos were ready and waiting to complain about anything and everything relating to music events during Music Week. Residents in Key Biscayne and Brickell started complaining when the Afterlife team was merely testing the lasers and lights in the days before the show. We can’t deny that they had some reason to complain with the traffic situation, but they had to take it to the next level of complaining that they couldn’t sleep because of the occasional errant laser and some faint bass they believed they heard. The Key Biscayne Karens swiftly kicked Ultra out in 2019 and we can be sure they will do whatever they can to block another big event from happening there again. Even the Miami Boat Show gave up on that space. The local Karens weren’t just complaining about Afterlife. The Downtown Karen Alliance was simply outraged that Ultra and its attendees could be granted an extra hour on Saturday night and and extra 30 minutes on Sunday night. Considering that Ultra lost about three hours on Friday night and untold amounts of money cleaning and preparing the site on Saturday morning, an extra 90 minutes seems like the least the City of Miami could do. Luckily for us, Miami felt the same way and granted the extension for this once-in-a-generation occurrence. The latest extension occurred on Saturday night when Ultra was allowed to run until 1 am, which is the most convenient night for such a thing to happen. The extra 30 minutes on Sunday allowed Ultra to run until 1030PM – not exactly late by any stretch. In the days after they were all over the press threatening to take action. The best action would be for all of these people to get a life. The local Karen organizations are, without a doubt, the biggest losers of Miami Music Week 2024. Winner: Strawberry Moon The MMW pool party landscape has seen a lot of negative change over the last few years. Many of our favorite pools, like The Delano, were closed down, sold, and are undergoing renovation. The worst part? When the incredible renovations are completed, there is little to no chance we’ll see a pool party there ever again. That’s why it was so refreshing to add a new South Beach pool to the mix in 2024. Strawberry Moon opened some years ago, but it quickly got into a spat with the Miami Beach government over sound ordinances. After a few big pool shows around its grand opening, it was forced to tone things down for a while. We’re not sure what changes occurred to allow Strawberry Moon to live up to its full potential, but we hope the changes are here to stay. It has a great layout and hosted some awesome events this year, such as the STMPD Pool Party. Loser: Pool Parties on Friday Ultra wasn’t the only one who got screwed by mother nature on Friday. A whole host of pool parties were set to occur that day, and most of them had to cancel. There’s just no way around it, and it was a major bummer for all involved. Luckily things turned around later on Saturday and were beautiful on Sunday. Winner: Adam Beyer Adam Beyer went from having an 8PM set on Ultra Friday to closing the megastructure on Sunday. The Drumcode maestro was about 30 minutes into his set on Friday when everything shut down, and he hadn’t even gotten to play PATT yet! Needless to say, this could not stand. Eric Prydz stepped aside to offer his closing slot to his B2B buddy who closed it down on Sunday in epic fashion. All told, Adam Beyer got to play 1 and a half sets at Ultra and he got to play his own set during Drumcode Friday in addition to his b2b with Layton Giordani. Plus, Beyer’s monstrous PATT remix got played by practically every DJ that week anyway. Loser: Chris Lake & FISHER Under Construction While some DJs got to play extra sets, the highly anticipated Chris Lake & FISHER Under Construction show couldn’t be rescheduled this year. The pair shared their intentions to play Ultra’s 25th Anniversary in 2025, but we’ll have to wait until the Fall to see if that comes to fruition. Alright, it’s the morning after the night before and we’ve woken up completely disheartened. We’d both worked for months in preparation for this show and were so excited about having the responsibility to close the main stage on the Friday. As two guys who love, love, LOVE… — Chris Lake (@chrislake) March 23, 2024 Loser & Winner: Bayfront Park Our dearly beloved Bayfront Park definitely lost this year. That torrential downpour on Friday turned it into a giant mud pit that was strung back together with mulch and plastic cladding so people could still walk around and enjoy the festival without swimming in mud. Between the rain, the mud, and the usual craziness of Ultra, Bayfront Park is looking ROUGH right now. Luckily for Bayfront Park, and Miami, Ultra is responsible for a total cleanup of the park and will have it looking brand-spanking new before too long. So why is it that Bayfront Park is also a winner? Well, Bayfront Park is still one of the most iconic festival venues in the world, but that’s not all. By the time Ultra returns for its 25th Anniversary in 2025, the long-dormant Bayfront Park fountain will be revitalized and functioning once again! The fountain will incorporate smart lights and water displays that you can bet will be incorporated into Ultra’s production. The mainstage views in 2025 will be more gorgeous than ever before. The post Winners and Losers of Miami Music Week 2024 appeared first on EDMTunes.

Brazilian dynamo Vintage Culture is back with the latest single from his highly anticipated debut album “Promised Land” – “Nothing Ever Changes.” Following closely behind “Weak,” this release single features the ethereal vocals of UK-based producer, singer, and songwriter Magnus and results in intoxicating experience. The track kicks off with a rhythmic foundation propelled by ambient drum patterns, gradually introducing Magnus’ captivating vocals that seamlessly blend into the evolving soundscape. Vintage Culture skillfully intensifies the pulsating production, leading listeners to a climactic moment highlighted by a resonant bassline. “I remember hearing Magnus’ vocal for ‘Nothing Ever Changes’ for the first time. I was minutes away from taking the stage with Swedish House Mafia in Paris. Magnus was midway through the vocal and lyrics in Amsterdam. I was immediately drawn in by the melody and lyrics of the song. I sent over notes regarding the direction, mood, and atmosphere we should create, then ran to the stage of Accor Arena to start my show. I’m very proud of ‘Nothing Ever Changes’ and believe it stands with my best work to date.” – Vintage Culture Reflecting on the inspiration and musical direction for “Nothing Ever Changes,” Magnus stated, “I wanted my first collaboration with Vintage Culture to have an emotional impact through the songwriting and production, plus a melody that would connect with fans around the world through Lukas’ massive shows. I began the demo in Amsterdam and finished it a few weeks later in Berlin. The song really came to life when Vintage Culture began its production. ‘Nothing Ever Changes’ reflects how I was feeling during a challenging time. We all go through these stages in life. The trick is to not allow it to consume you, but to harness these feelings and keep striving for improvement.” Listen below! This article was first published on Your EDM. Source: Vintage Culture & Magnus Drop Intoxicating Single “Nothing Ever Changes”

The elusive Deathpact is back with a new single, "NEMESIS," a genre-defying journey for those who crave sonic brutality. With all the signature hallmarks of a dark and doomy Deathpact record, it's the phantom electronic music outfit's first release of 2024. "NEMESIS" slithers in with distorted bass underneath tortured howls, its tense, eerie production a premonition luring us to the edge of a cliff. Those distress signals are then swallowed into the song's drop, a low-end leviathan with bass so thick it could worry a cardiologist. As "NEMESIS" progresses, its drum breaks become more frenzied. Deathpact eventually uncorks a vicious drum & bass sequence, a masterclass in versatility that brings the track home with unfiltered energy. Check out the track below. In other Deathpact news, the mysterious collective recently announced a high-profile headlining performance in Denver, where ticket-holders can partake in a branded VIP experience, "Eternity Research Group." Fans who complete an hourlong interview and "training session" will win merch and gain access to an exclusive VIP viewing area at the show, which is scheduled for June 22nd at the famed Mission Ballroom. For a deep dive into the intricate, arcane world of the anonymous artist collective, read our in-depth feature. You can find "NEMESIS" on streaming platforms here. Follow Deathpact:Facebook: facebook.com/Deathpact X: x.com/deathpact Instagram: instagram.com/deathpact Spotify: spoti.fi/30C9Q1Z

Since the launch of his own label and event series, WHYNOTUS, the acclaimed DJ-producer Malóne has been consistently dropping mesmerizing tunes in the Tech and Afro House space. Today, WHYNOTUS has released its inaugural compilation, titled ‘MIAMI GROOVE VA’, featuring six culturally-infused house tracks. Kicking off the collaborative endeavor is “Get It,” an entrancing single heavy on percussion, crafted by Amal Nemer. Enhanced with exotic vocals, this track sets the tone for the groove-filled journey ahead. Nemer’s ability to instantly hook your mind with her hypnotic grooves is a testament to her talent, making it a perfect addition to this compilation. “‘Get It’ is a track that makes you bounce up and down. It has crazy vocals and melodies that make you feel everything. Just when you think the drop is coming, the track makes you wait a little bit more. I love the effect this has on the dance floor.” – Amal Nemer MIAMI GROOVE VA also features contributions from Morpei, Damelo, Sounds Of Rituals, Pablo Alhach, Des & Del, DZR, and Sabrosura Boyz. What distinguishes this compilation is its ability to bring together artists from diverse ethnicities and regions. ‘MIAMI GROOVE VA’ embodies a fusion of sounds from Venezuela, Nicaragua, Mexico, Guatemala, Bolivia, Cuba, Israel, USA, and beyond, reflecting the rich musical heritage of each participating nation. Check it out below! This article was first published on Your EDM. Source: Malóne’s WHYNOTUS Label Debuts Afro House Compilation ‘MIAMI GROOVE VA’ Ft. Amal Nemer, Damelo, Del & Del + more

Snirco and Millero have joined forces to unleash the incredibly powerful, ‘Sweet Moment‘ on CAMELPHAT’s When Stars Align imprint. This anthem in the making, complete with a remix from CAMELPHAT themselves, has already been a huge highlight in CAMELPHAT’s sets throughout their recent U.S. Spiritual Milk tour. Snirco’s sound is filled with psychedelic sounds and unique grooves, drawing inspiration from a diverse range of influences, including psy-trance, house, and jazz. With a reputation for delivering unforgettable all-night sets and pushing the boundaries of electronic music, Snirco has garnered support from top DJs around the globe, including Solomun, Damian Lazarus, and CAMELPHAT. Meanwhile, Millero is an electronic project by Israeli DJ/producer Roy Miller. Millero brings passion to the dance floor with groovy bass lines, catchy vocals and energetic drums. Millero is one of the most promising names in the industry with releases on Renaissance Records, Monaberry, Maccabi House, and Engrave Ltd. His latest releases were supported by Solomun, CAMELPHAT, Ame, Damian Lazarus, Hernan Cattaneo, Massano, and more. Featuring a cool, slick groove, iconic synth riffs, and a delectable entrancing vocal, ‘Sweet Moment’ transports listeners to another level. The track has already made waves on CAMELPHAT’s recent U.S. tour, prompting the duo to step in and deliver an edit that takes the original to new heights. With an incessant groove and peak-time energy, CAMELPHAT’s edit is set to elevate ‘Sweet Moment’ to dance floor anthem status. The post Snirco & Millero Collab On The Powerful ‘Sweet Moment’ appeared first on EDMTunes.

Ahead of its highly anticipated release this Friday (April 5), the collaborative reimagining of Sharam’s 2007 classic ‘Party All The Time’ by Adam Beyer, Layton Giordani, and Green Velvet has already dazzled at Miami Music Week, closing out their sets throughout the week with the certified party anthem. On top of existing support from heavyweights including Armin van Buuren, John Summit, FISHER and Oliver Heldens ahead of Miami, the track has firmly earned its status as the track of this year’s Miami Music Week thanks to support from Vintage Culture, Mochakk, and more. Debuting at Miami’s Winter Music Conference back in 2006 and spending months building in the clubs and across airwaves to eventually peak at #8 in the UK Official Charts, Sharam’s hit has already been a beloved staple at Miami Music Week. Now, this contemporary rendition, which pairs the edgy, thumping production of Adam Beyer and Layton Giordani with the unmistakable vocals of Green Velvet, is poised to dominate the festival circuit following the hype in Miami.  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 remix of Sharam’s classic is available right now via Armada Music and Drumcode. Stay tuned for more news! The post Sharam – PATT (Party All The Time) [Adam Beyer, Layton Giordani & Green Velvet Remix] appeared first on EDMTunes.

Talented DJ and music Producer Cammora strikes back with another hard-hitting release ‘Get Rid Of That,’ teaming up once more with Lazarusman, the Producer is ready to unveil his new sonic explorations, displayed in this new Melodic House & Techno release via his new imprint Collective Mob. Having collaborated with Lazarusman on their previous release ‘Peace’ alongside Gregorio, released via Sirup Music, Cammora joins forces with the prominent writer, poet and DJ Lazarusman to bring this new track that’s both motivating and entrancing. With releases reaching top charts across leading platforms, and with a great number of accolades behind his name, Cammora is clearly a name that’ll continue to grow in the Electronic Dance music world, as every release showcases his skills and innate talent for music production; ‘Get Rid Of That’ is an example of this, proposing an inspirational message packed with a powerful sound that displays Cammora’s new sound direction. ‘Get Rid Of That’ offers an immersive sonic journey, alongside a lively beat and uplifting pads and synth lines that carry the energy of the track. As the dynamic spoken vocals provided by Lazarusman guide the listening experience, the powerful low-end and the captivating synths release the track to a new level of energy. An introspective listen, the rhythmic and stimulating sonic elements paint different colors in the soundscape, as the vocal adds a layer of intensity and resolution, the track drops another hit through the powerful beat and its all-encompassing pads. A must-listen for lovers of the Melodic House & Techno genre, this track promises to be as uplifting as it is commanding, providing the perfect balance to allow listeners to lose themselves in the listening experience, and enjoy the unmissable journey. Make sure to follow Cammora to remain updated on his latest releases, projects and live show dates, as he promises to take this new sonic path to new grounds with the fresh productions he’s preparing. ‘Get Rid Of That’ is out now and available on all major online stores and leading streaming platforms. Listen to ‘Get Rid Of That’ Now: Beatport Cammora Online  Soundcloud | Instagram | Spotify  Lazarusman Online  Beatport | Instagram Collective Mob Online  Beatport The post Cammora and Lazarusman Return with Another Must-Listen Production with ‘Get Rid Of That’ appeared first on EDMTunes.

Slushii keeps the hits coming in 2024. His new track ‘If You Love Me Now,’ is out now via his new label SONICDream. The track is a return to the energetic happy hardcore sound that has built up his loyal following throughout the years. A beautiful piano melody, angelic vocals, bright synths, and upbeat percussion make this a mood boosting feel good track. If You Love Me” is vintage Slushii music. I started my label SONICDream specifically for this purpose: to have an outlet for my original productions and releases that make me.. me. This one is not only for those who have loved and supported me no matter what.. But also for me. To be able to make music that makes me feel like myself.” – Slushii 2024 has been a spearheading year for Slushii. SONICDream fulfills a lifelong dream, offering a creative outlet after exploring commercial music and hip-hop for the past two years. Last year’s viral lofi hit ‘Past Lives’ under his sapientdream alias proved his artistic range. He’s also been busy with remixes for Logic and Aviella, alongside several “Past Lives” reworks. ‘His latest track ‘If You Love Me Now’ marks his return to his signature sound that his fans adore, and is just the beginning for the year. The post Slushii Returns to Happy Hardcore Roots With ‘If You Love Me Now’ appeared first on EDMTunes.