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The electronic music community is constantly evolving with new sounds inspired by the scene of yesteryear. EDM.com's weekly Fresh Picks series discovers new music and unearths influential tracks that help define the underground dance scene. You can find the below tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here. EDM.com Fresh PicksFlume, JPEGMAFIA - The Ocean Is FakeMura Masa - Whenever I WantAll Saints, Tourist - Pure ShoresJaxon Wild - My MindAleksandir - I Used To DreamKllo - Still HereRommii - all I ever wantedDiscrete, Rory Hope - Deeper Than The Water33 Below, Chrystel - HOLD TIGHTjamesjamesjames, snctm. - homesoon.Vraell - watercolour blush

Leylines (Remaster 2025) – 24bit by AES DANA Originally released in 2009, “Leylines” quickly became a pivotal work in Villuis’s career. What few people knew at the time is that the album was composed in its entirety twice: after a catastrophic disk crash destroyed the original version and one year of work, Villuis entered a period of deep introspection before starting over. This shock led not only to emotional reckoning but also to a complete reinvention of his creative process. Leylines became the foundation for a new compositional language, one built on a fresh sonic palette, renewed patterns, and a more sculptural approach to sound. The final result was more distilled, more intentional, and marked a turning point in his musical trajectory. Upon release, the album reached #1 on the iTunes USA Electronic Music charts, establishing itself as a landmark within the genre. Inspired by the concept of “leylines”, invisible energy paths believed to link sacred and geomagnetic sites, the album explores the subtle connections between musical genres, emotional states, and the living world. Sculpted from field recordings, analog synthesis, and digitally processed textures, Leylines is a deeply immersive and granular journey. This reedited and remastered edition brings greater spatial clarity and depth, revealing new layers of nuance and sonic interplay The post AES Dana’s Leylines is being reissued in a newly reedited and remastered version appeared first on Decoded Magazine.

Harmonia by Trikk With ‘Harmonia’, Trikk takes us on a rich, multi-faceted trip of club music. Spread across five singles, the project explores a wide spectrum of styles, tempos, and textures—all while staying rooted in the heart of the dance floor. ‘Sagrado’ marks the peak of the project, with Trikk once again on quality control. It hits the heart and essence of the project—club music to the core. The track begins with a tight framework of kick drum, claps, and a bubbling bassline, a welcoming foundation for the elements that follow. Gradually, it opens up into a wide musical sunrise, as Trikk demonstrates his sure instinct once more, balancing warmth with his distinctive style. The project took off with ‘Rigor’, a peak-time statement that paired massive, tactile sound design with surprising moments of piano serenity, setting the stage for both bold and nuanced. ‘Luxo’ followed, weaving together industrial grit and organic warmth, further expanding Trikk’s musical language. With ‘Fortuna’, the project stepped into the glow of summer, as Trikk joined forces with Kenyan vocalist Sofiya Nzau. The latest single ‘Raiva’ unites two worlds, blending Trikk’s rhythmic, new-wave-infused sound with MEUTE’s commanding brass power. Harmonia is a carefully woven narrative of rhythm, design, and identity—an artistic statement built to move. Trikk – Harmonia is out now via Innervisions: https://lnk.to/Trikk_Harmonia The post Trikk releases “Harmonia” Double EP on Innervisions appeared first on Decoded Magazine.

Photo Credit: Manifest Too Lost has partnered with Manifest Financial to revolutionize financial management for independent artists and digital creators. This collaboration addresses pain points in the music industry–including fragmented payments, delayed royalties, and the lack of banking solutions tailored for artists’ unpredictable income streams. The following is in collaboration with Too Lost, a proud partner of Digital Music News. Manifest’s platform integrates directly with Too Lost, offering artists the ability to track royalties, merchandise sales, and collaboration payouts in one place—reducing administrative burdens. It also helps ensure faster payments for artists by mitigating traditional banking delays through the use of direct deposits and automated peer-to-peer transfers. Additional features, like expense categorization and the ‘Save for Taxes’ tool, empower artists to stay organized and financially prepared without disrupting their creative workflow. The launch of Manifest Financial comes as the creator economy continues to experience rapid growth, as experts predict this market will reach $500 billion by 2027. Yet, despite creators becoming more mainstream, traditional financial services in the United States have lagged behind in adapting to key needs in the industry. Manifest Financial, co-founded by Michael Cavallaro and Manny Alvarez, was built to address these challenges. “After spending over two decades in banking across multiple industries, it was clear there was a gap in the market for creators needing the right financial tools,” Cavallaro told Digital Music News. “Creators face unique challenges that don’t fit conventional banking categories. That’s why we built Manifest Financial, to bridge this gap and provide the tailored financial services that the creator economy desperately needs.” The partnership with Too Lost is already bringing financial clarity for artists. From payments to managers to managing merchandise profits, money in the music industry moves unpredictably. This partnership allows musicians to efficiently track diverse income streams and automate payments to collaborators, all while managing their finances in one place. “At Too Lost, we’re committed to empowering independent artists with the tools they need to succeed,” shares Too Lost CEO & Co-Founder Gregory Hirschhorn. “Partnering with Manifest aligns perfectly with that mission—giving creators seamless access to smarter business banking solutions, faster payments, and financial tools designed for their careers. This collaboration is about providing artists with the financial freedom to focus on what they do best—creating inspiring music to move their community.” Don’t Take Our Word For It—Artist Testimonials “As an artist and manager, I’m always juggling a million things—finances are the biggest,” shares Dylan Reese, an artist using Manifest. “To me, most banks don’t get how artists really move, but Manifest is totally different. Manifest feels like it’s for the artist, and it’s built for the way we move—income coming from multiple places, the need to reinvest in my craft, making sure the money side of things actually supports my creative ideas. It’s so important to have a business banking solution that understands both my hustle and my vision.” “I met with the Manifest team during SXSW and I use this app on the daily,” Hannah Cottrell tells Digital Music News. “Manifest helps me stay organized—when as music artists may know—royalties can come in from a lot of different places. With Manifest, they add up in one place, an easy to use app so I can grocery shop, pay bills, etc. Learning how to manage yourself is an asset and a necessity. Manifest helps with that.” Grammy-nominated producer and singer-songwriter Hannah Cottrell is Too Lost’s ‘Artist of the Week.’ Starting her solo project Saint Sinner in 2017, Hannah has amassed over 100 million streams. She’s collaborated with artists including Tycho, The Human Experience, Dimond Saints, ATYYA, and more. Her latest single,”Pure Honey” debuted on April 11, 2025. The four-minute electronic music track adds to her growing discography, which features a mix of electronic and acoustic-driven singles. Curious how easy it can be to manage multiple income streams? Try the Manifest app—available on both iOS and Android. Manifest works for anyone with diverse income sources–not just musicians. Hannah also uses the app to manage direct deposit from her work as a chef, too. The platform is designed to meet creators where they are, across art, hustle, and everything in between. View the full article

British producer Danny L Harle is shining a light on what he considers an “undervalued” skill among musicians today: taking the time to listen and reflect on one’s own music. Harle, who co-produced Dua Lipa’s 2024 hit album Radical Optimism and worked with the likes of Charli XCX and Caroline Polachek, is currently lending his expertise to the Amex Unsigned initiative — a mentorship program offering six unsigned artists the chance to work with him at London’s iconic Metropolis Studios. In a new interview with MusicRadar, the producer opens up about the creative mindset he hopes to pass on to young talents and why mentoring matters to him on a personal level. READ MORE: “Everybody thinks that it gives them a professional edge… however, you are somehow a villain if you use it”: New study reveals widespread use of AI among music producers, though most “do not want to publicly talk about it” “I’m very reluctant to get involved with these sorts of processes unless I feel like I can actually contribute something that’s of worth,” Harle explains, “but this exact form of mentoring is a process that I’ve personally benefited from in my past.” “It’s so helpful to take the time to listen to your own work in a studio and reflect back on your entire project — that’s an undervalued thing,” he adds. “There’s a disposable attitude to making music that’s prevalent these days, whereas I think that for young people, there needs to be a sense of respect to one’s own development that should be projected by older people as well.” According to Harle, artistic growth rarely happens in isolation. Creative breakthroughs don’t just come from long hours alone, he argues, but from sharing, dialogue, and accountability. “It’s very hard to do that on your own, just to sit down and listen to everything you’ve done. You almost need the discipline of someone else in the room to properly do that. Listening in the room with someone else, you know what’s wrong with the music, if there’s something wrong. You know if it’s really good almost before you’ve played it.” Sometimes, he says, it’s less about feedback and more about giving encouragement when it matters most. “When you’re making your own thing, sometimes it’s quite a lonely process, and it can be really helpful for someone to just listen to what you’re making and be like, ‘this is really good’,” Harle says. “When someone’s making amazing stuff, it can be really valuable to just tell them: ‘Just keep doing that — you’re doing your thing, that’s all one can do.’” Still, the producer acknowledges that honesty is just as crucial, particularly when it comes to keeping artists from becoming complacent. “Sadly, it can be really useful to hear someone tell you that you can do better,” he says. “I wouldn’t just say that to anyone; I’d make sure that they’re somebody who’s in a position to take it, or somebody that knows me well enough. But that’s an important thing for some people to hear as well, because some people that achieve a certain level of success can start to rest on their laurels.” “They need someone to come in the studio and say, ‘you could be pushing a bit harder here’. That’s what me and my friends are like, we push each other in a really good way.” Learn more about the Amex Unsigned initiative at American Express. The post “There’s a disposable attitude to making music that’s prevalent these days”: Producer Danny L Harle says musicians must take time to reflect on their work appeared first on MusicTech. View the full article

Tomorrow evening, the shores of Ibiza will host a gathering unlike any other. In a rare and powerful performance, Michael Bibi is set to headline a surprise event at Beachouse Ibiza, with one purpose at its core: to give back. On Wednesday, May 7, from 6:30 PM to 11:30 PM, Beachouse will open its doors for a special charity evening in support of APAAC (Asociación Pitiusa de Ayuda a Afectados de Cáncer) – a local non-profit providing essential care to cancer patients and their families across Ibiza and Formentera. Entry is by donation – 25 euros per person at the door – with part of the proceeds contributing to the support of APAAC’s mission on the island. This moment carries deep personal meaning. Following his own experience with cancer, Michael Bibi continues to stand in solidarity with those still facing the illness. His presence is a tribute to resilience, community, and the transformative power of music. APAAC remains a vital resource, offering therapeutic, emotional, and practical assistance to those navigating the complexities of diagnosis, treatment, and recovery. As their work expands, so too does the need for collective support. This is a moment of unity – an evening to gather, to give, and to be with intention. The post Michael Bibi joins forces with Beachouse for an evening of music and meaning in support of the APAAC Association appeared first on Electric Mode.

UNTOLD Festival celebrates 10 years of magic, music, love, friendship and diversity this summer. Romania’s gem festival, one of the biggest in the world, will open its gates in the beautiful city of Cluj-Napoca from August 7 to 10 for hundreds of thousands of people worldwide. 200 local and international artists will create magic on seven stages and multiple music spots. New acts such as Ben Böhmer, Jan Blomqvist, Röyksopp, Wilkinson, Green Velvet, Pachanga Boys, Sébastien Léger, and more are added to the lineup of the secondary stages. Previously announced superstar DJS and producers for the mainstage are Anyma, Armin van Buuren, Martin Garrix with an UNTOLD Special Set, FISHER, Tiësto Extended Set, Alok, Don Diablo Extended Set, Steve Angello, Hugel, and the live acts Post Malone, Metro Boomin, Becky Hill and Rag’N’Bone Man. The Galaxy stage, the only indoor stage and UNTOLD‘s house and techno home, will host Adriatique, Black Coffee, Dom Dolla, Green Velvet, Marco Carola, Sara Bluma, Nusha, Mahony, and the ro-minimal tech creators A:RPIA:R, Arapu, Cezar, Priku, Sit, and more. New names will be announced in the coming weeks. Fans who love house music and its subgenres such as deep house, melodic house, tech house, afro house, chill house, and ambiental have their perfect place at UNTOLD. Ben Böhmer, Jan Blomqvist, Sébastien Léger, Marten Lou, Bob Moses, Parra for Cuva, Pachanga Boys, Paax, and Rampue are among the artists of Daydreaming, the beautiful, colored stage in Central Park. Afro house, new disco, house and tech are the main sounds of the Time stage that welcomes Aaron Sevilla b2b Peppe Citarella, Eran Hersh b2b Andrew Dum, HVMZA, Goldcher, and more. Recognised for his sound signature on Melodic and Afro House, Andrew Dum claimed #2nd in the global Afro Melodic charts [Hypeddit]. His music gained the support of high-profile DJs and producers such as Rüfüs Du Sol, Armin Van Buuren, Martin Garrix, Pete Tong, Chocolate Puma, Blasterjaxx, Eran Hersh, Nicholas Sasson, and more, and it’s placed in worldwide top charts. Andrew Dum showcases his innovative musical approach and adaptability on the global stage with viral hits like “Les Djinns”, “Glamorous” feat. Eran Hersh, “Cruel Summer,” “Paradise,” and “Valle de L’Armes” feat. Chocolate Puma, which gained 70 M+ streams. Goldcher is a French DJ and producer, renowned for his talent in fusing Afro House and Melodic House. In record time, he made a name for himself on the international scene with his remixes, which went viral on SoundCloud. With Irina Rimes, one of Moldavia’s greatest songwriters, Goldcher embraces the culture and folklore of Eastern Europe. His “Dudadu Flip” was remixed by Tiësto and Steve Aoki and received global recognition. The full lineup for the 10th anniversary of UNTOLD Festival will be revealed soon. Fans will feel the pure magic of artists and enjoy lots of activities such as a flying simulator, VR games, boats on the lake in Central Park, a Fashion Village with over 30 Romanian Designers, a permanent tattoo studio, and a Food Festival with more than 40 vendors offering a diversity of tastes from Romanian Cuisine to Asian, Hungarian, Italian, Indian, and more, including food for veggies. Over 60,000 people secured their passes for the celebration of UNTOLD. Tickets are available on untold.com, including backstage tours to visit the festival. Fans who want to explore UNTOLD from a new perspective can choose from two types of tours: the Discovery Tour, a captivating 60-minute journey behind the scenes of the festival, and the Insider Tour, an extended 100-minute experience offering visitors the chance to discover special areas of the festival grounds. The magical realm of UNTOLD will open from August 7 to 10, from 4 PM to 7 AM each morning, in the heart of Transylvania, in the beautiful city of Cluj-Napoca, Romania. The post UNTOLD Festival welcomes Dom Dolla, Ben Böhmer, Röyksopp, Green Velvet, Wilkinson, and more, to its 10th Anniversary appeared first on EDMNOMAD. View the full article

Jurango · Jurango @ Tresor Meets Surgeon – 23032024 This week we head to Tresor with a LIVE recorded mix from the UKs Jurango Over the past few years, Jurango has experienced a steady rise, garnering appreciation and recognition through his releases on acclaimed labels (Livity Sound, re:lax, Rhythm Section), and milestone shows. With performances at esteemed venues across the UK, Europe, and the US, Jurango has established a dynamic and versatile presence at clubs and festivals. Throughout 2024, he has continued to break new ground in the UK and internationally with key performances and debuts at festivals and venues such as Field Manoeuvres, Freerotation, Glastonbury, Human Club/Razzmatazz, THEØFFICE, Open Ground, Tresor and more. He is known for his regular b2b performances with UK techno legend Surgeon, having joined him at his residencies at Tresor and The Hare & Hounds, Freerotation festival, and a notable b2b set at De School during ADE. Jurango’s recent EPs – Isle of Crass (re:lax) and An Amorphous Mass (Livity Sound) – have amassed widespread support, drawing attention from influential figures like Laksa, re:ni, Tom Ravenscroft, aya, Florentino, Oblig, Darwin, and MJK, alongside features in DJMag, The Quietus, and Bandcamp Daily. His 2023 hit Junglizer (Rhythm Section) received strong international approval, with prominent support from figures such as Hessle Audio, Batu, NIKS, Identified Patient, Helena Star, Leon Vynehall, Carista, and Surgeon. Jurango has showcased his talent through podcasts and mixes for Bleep, Boiler Room, Crack Magazine, Ilian Tape, Keep Hush, Kiosk Radio, The Lot Radio, NTS Radio, and Rinse FM. He also holds a monthly residency on SWU FM. Taken from his substack – “The first ‘first’! On 23rd March I opened Tresor for the first time as part of their collaboration event with Surgeon. Tony was upstairs in Globus playing with Jesse Doris all night, I think they clocked out at about 7.5 hours in the end. I played 2300 – 0300, warming up for Sorcery’s live set, DJ Pete and Liza Aikin. I was cutting it fairly short as I arrived in Berlin, and went straight to Tresor for a quick soundcheck which was probably more useful for my own composure than it was to see if the sound system was working (it was). This was the first time playing a 4 hour solo set and in truth, I’d had some anxieties about the whole thing in the weeks leading up to it. Luckily I settled into it fairly quickly and I’d say this is largely down to the staff, crowd, sound system and atmosphere. I’m not sure how often people are subjected to techno (ish) sounds at 90/100bpm at Tresor but I thought that would be a good place to start while the room filled up and it seemed like people were into it. I did notice 1 patron bang their firsts next to the cage in a ‘four-to-the-floor’ type pattern at one point though. I remember thinking ‘yeah don’t worry we’ll get there’ haha Fortunately the 4 hours flew by, and I finished pretty happy with how I played. Ran lots of my favourite bits and ultimately enjoyed operating within the parameters of a space like that. Highlights included Alex Coulton – Bounce, Terrain – Choices, anything from this label, and this new one on Blueprint. I’m really pleased to have a recording of the full 4-hour set, which is up on my soundcloud now, tracklist below. Primal Code – Electric Sheep Pianeti Sintetici – Polimorfo Tammo Hesselink – Choice of Onto Beatrice M – Wick (Maquis Son Sistèm Remix) Pianeti Sintetici – Satellite Tammo Hesselink – Work Work Work A Strange Wedding – El Cartel Del Sangria Machart – Davardage Pianeti Sintetici – Ciclo Van Bonn & Luis Baltes – Temptation (Mathimidori Remix) natural/electronic.system – Scirocco ALPI – Continuo Forest On Stasys – Alumen natural/electronic.system – Rituale Tammo Hesselink – Haven’t Read Alex Coulton – Bounce Alessandro Adriani – He Who Harnesses The Souls Basic Bastard – Rise (Detroit Dub) Rhuader & Paul St. Hilaire – Bandage Grad_U – Energy Flow Gaetano Parisio – Quake (Alexander Kowalski Remix) Shoal – 108 Dewemer – Floor Defence Michael Burkat – Little While Vince Watson – Interference DJ JM – Abnormal Ben Sims – Bring The Walls Down 2014 Peter Van Hoesen – Extraction Force Audio Units – Isobaric Equation The Source Experience – Subar Forest On Stasys – Expedition Vanoni – Oshin Shoal – Irama Tammo Hesselink – Nut Wandel Terrain – Choices Shoal – Gerakan Peter Van Hoesen – Challenger Al Wootton – Temple Ball Djoser – Duster Deetron / Soulmate – Path Al Wootton – Rope Walk Exium – Expired British Murder Boys – Don’t Give Way To Fear (Part 1) Olga+Jozef – Untitled1 LOUIS L.P – X-Code Yant – Conquering R-010 – Aer Yant – Linguism Umberto Carmignani – Ride Attack V2 Samuel L. Session – Chanting Bryan Zentz – Everglade Dustin Zahn – Temporary Vandalism Border One – Optical Void Altinbas – Presence Dustin Zahn – Rotator Gunjack – From Within Umberto Carmignani – Model-75 Altinbas – Spoken Word Kashpitzky – The Run To Atonal DAVE N.A – So What Thanks again to Tony and Tresor for the experience and huge appreciation to the dancers and staff on the night that made me feel so welcome. Hope to be back soon.” The post Mix of the Week – Jurango appeared first on Decoded Magazine.

Grammy-winning live electronic trio RÜFÜS DU SOL unveil their anticipated Inhale / Exhale Remixed, a 15-track curation of global club reworks drawn from their latest studio album Inhale / Exhale. Out now via Rose Avenue/Reprise Records, the remix album celebrates the band’s deep connection to the dancefloor and their role as torchbearers within modern electronic music. Released in October 2024, Inhale / Exhale marked a creative milestone for RÜFÜS DU SOL. The album expanded the trio’s signature sound with an expansive emotional palette and a renewed focus on rhythm and texture. It debuted on the Billboard 200 and earned their first #1 on U.S. dance radio with ‘Music is Better’, leading to both critical acclaim and commercial momentum. Its success paved the way for their Inhale / Exhale World Tour, the best-selling solo electronic tour in history, which marks a landmark for both the band and the genre. Inhale / Exhale Remixed extends that vision, offering a fresh interpretation of the original through the hands of some of the scene’s most compelling artists. The full remix collection sees the band invite a handpicked global lineup of friends, peers, and underground titans to reimagine Inhale / Exhale through a late-night lens. The remix album’s contributors include Turkish-Italian underground favourite Carlita, Haitian house producer Francis Mercier, adventurous Peruvian selector Sofia Kourtesis, Swiss club mainstay Andrea Oliva, German deep house artist Emanuel Satie, melodic craftsman Enamour, Afro-tech innovator Nitefreak, Belgian groove specialist Maxi Meraki, worldwide dancefloor fixture Kaz James, rising German talent Fahlberg, genre-blurring producer Moeaike, Spanish dancefloor architect Arodes, Moroccan electronic explorer Rockin Moraccin, and Turkish-American sonic sculptor SAMM, alongside Swiss duo Adriatique’s previously-released ‘In The Moment’ remix. The North American leg of the Inhale / Exhale World Tour kicked off last weekend with a trio of sold out shows in Texas. The tour will continue into the summer for a nearly sold out run with stops in Los Angeles, San Francisco, Miami, and Toronto, along with festival appearances at Lollapalooza and Up In The Sky. Stream Inhale / Exhale Remixed available now on all platforms. Inhale / Exhale Remixed Tracklist 1. Inhale (Carlita Remix) 2. Lately (Enamour Remix) 3. Breathe (Andrea Oliva Remix) 4. Music is Better (Maxi Meraki Remix) 5. Levitating (Francis Mercier Remix) 6. Break My Love (Kaz James Remix) 7. In The Moment (Adriatique Remix) 8. New York (Fahlberg Remix) 9. The Life (Emanuel Satie Remix) 10. Pressure (Moeaike Remix) 11. Fire / Desire (Nitefreak Remix) 12. Edge of the Earth (Arodes Remix) 13. Standing at the Gates (Sofia Kourtesis Remix) 14. Belong (Rockin Moraccin Remix) 15. Exhale (SAMM Remix) The post RÜFÜS DU SOL unveil their Inhale / Exhale Remixed album appeared first on Decoded Magazine.

Photo Credit: Beyoncé by Billy Briggs / CC by 2.0 Beyoncé was sent a cease-and-desist letter from James Dolan’s lawyers over a video at her new show depicting her picking up the Las Vegas Sphere. Madison Square Garden and Las Vegas Sphere boss James Dolan is not interested in sharing his toys. That was made clear when his lawyers hit Beyoncé’s Parkwood Entertainment with a cease-and-desist letter over a video shown at her Cowboy Carter concert. The video depicts a giant Beyoncé striding through the Las Vegas skyline before leaning over and picking up the Sphere. According to the letter, penned by Kathleen McCarthy of King & Spalding, which represents Dolan’s Sphere Entertainment Group (SEG), Beyoncé violated the company’s intellectual property rights. This, they assert, has “resulted in significant speculation that Beyoncé will end her tour with a Sphere residency.” “Beyoncé—many orders of magnitude larger than the Sphere venue—leans over, picks up the venue, and looms over it,” wrote McCarthy. “SEG was never asked and the prominent appearance and manipulation of SEG’s Sphere venue in the video is unauthorized.” The superstar was given a deadline of Monday discontinue use of the imagery in her videos, “in addition to refraining from using this imagery on any merchandise, promotional or marketing materials, or in tour movies.” Any plans Beyoncé had for a residency at the Sphere collapsed last year after it was reported the venue refused her request to shut down for two weeks of rehearsals. Her team also sought around $10 million for a high-tech production similar to that of U2’s Sphere residency, which evidently further complicated things. As a result, she was said to be exploring a potential 100-show deal with Sphere rival MGM. Beyoncé’s Cowboy Carter tour kicked off last week in Inglewood, California, with several dates at SoFi Stadium before heading to Chicago, Houston, New York, London, and more. Failure to comply, SEG said, will result in the company taking further action as they deem appropriate, “without notice.” View the full article

Photo Credit: Rihanna at Met Gala 2017 by Danilo Lauria / CC by 3.0 Warner Bros. says Chris Brown has no standing in suing them over their documentary about his violent history, citing his past with Rihanna to prove it. Rihanna’s very public history with Chris Brown is being cited as evidence against him in his defamation battle with Warner Bros. over their documentary, “Chris Brown: A History of Violence.” The company, which produced the documentary, submitted multiple media reports documenting Brown’s 2009 felony assault on Rihanna—especially his guilty plea and subsequent court-ordered counseling. According to Warner’s legal team, these stories support their argument that the documentary, over which Brown is suing under claims of defamation, is protected under free speech laws. “All of these exhibits consist of news articles, or other media, published online about the work at issue in this case and its subject matter, namely the Documentary and the widely publicized reporting of Chris Brown’s criminal history and violence towards women, and are being introduced to demonstrate that the Complaint arises from acts in furtherance of [Warner’s] free speech rights,” they argue. Warner’s evidence didn’t stop at Rihanna, though hers is by far the most well-known account of Brown’s violence against women. They also submitted press coverage of Brown’s relationship with Karrueche Tran. Tran was granted a five-year restraining order against Brown in 2017. Further, they included reports of a physical altercation with singer Frank Ocean. Even before submitting the mountains of evidence to support their claim, Warner released a statement in April that comments made in the documentary were protected under free speech. The entertainment giant’s legal team asserted Brown’s claim lacked substance, and any statements made in the documentary were either provably true or not legally harmful. Chris Brown has denied accusations of sexual misconduct, and rejects claims painting him as a “serial rapist and sexual abuser.” He seeks $500 million in damages in his lawsuit against Warner Bros. and the producers behind the documentary, pledging to donate the funds to survivors of sexual abuse should he win. View the full article

Photo Credit: Tingey Law Firm A US federal district judge is questioning Meta’s ‘copyright fair use’ defense for materials used to train its AI. The judge is hearing arguments related to the case comedian Sarah Silverman and two other authors filed against Meta and OpenAI in 2023. Meta has argued in court that any copyrighted materials used to train its AI models fall under the fair use doctrine. But US federal district judge Vince Chhabria seems less than convinced by Meta’s attorney’s arguments. “You have companies using copyright-protected material to create a product that is capable of producing an infinite number of competing products,” Chhabira told Meta’s attorneys in a San Francisco court on Friday. “You are dramatically changing, you might even say obliterating, the market for that person’s work. And you’re saying that you don’t even have to pay a license to that person—I just don’t understand how that can be fair use,” Chhabira continued. Fair use is a doctrine that permits the use of copyrighted materials without explicit permission of the copyright holder in certain situations. Those situations include for the purpose of criticism, news reporting, teaching, and research. Meta’s argument is that its AI systems fall under the ‘research’ aspect, that its LLMs ‘study’ material to create transformative new content. “This seems like a highly unusual case in the sense that though the copying is for a highly transformative purpose, the copying has a high likelihood of leading to the flooding of the markets for the copyrighted works,” Chhabira says. He asked Meta’s attorneys about the broader impact on much less established creators with the question “What about the new Taylor Swift?” Judge Chhabira argued that a relatively unknown artist whose work is ingested by Meta could see their career stifled if the model generates a “billion pop songs” in their style. While thoroughly grilling Meta AI’s attorneys, the judge also pressed the plaintiff’s legal team to provide concrete evidence that Meta’s AI outputs would harm the market for specific works. “It seems like you’re asking to speculate [that] the market for [a] Silverman memoir will [be] affected. It’s not clear to me that this is the case.” The outcome of this case—whether on summary judgment or at trial—could set a major precedent for how U.S. courts interpret fair use in the context of AI training and copyright law in the future. View the full article

Photo Credit: joaco_ds / reddit Brazilian police have arrested two people in connection with an alleged plot to plant two explosive devices to bomb a free Lady Gaga concert in Rio de Janeiro. Lady Gaga’ show on the Copacabana Beach in Rio attracted the largest show of her career, with more than 2.1 million fans listening and dancing. The men plotting against the event were attempting to target LGBTQ attendees enjoying the show. “They were clearly saying that they were planning an attack at Lady Gaga’s concert motivated by sexual orientation,” Felipe Curry, a Rio police secretary told the press. Rio police chief Luiz Lima said the group disseminated hate speech and violent content online aimed at “gaining notoriety online in order to attract more viewers and participants—most of them teenagers, many of them children.” Brazilian police arrested two suspects in the hours before the concert got underway, with the concert going off without any disruption. At the time, police did not mention the bomb threat in an effort to avoid panic and the ‘distortion of information.’ Meanwhile, a spokesperson for Lady Gaga says the pop star and her team learned about the supposed threat from media reports. “Prior to and during the show, there were no known safety concerns, nor any communication from the police or authorities to Lady Gaga regarding any potential risk,” the statement reads. “Her team worked closely with law enforcement throughout the planning and execution of the concert and all parties were confident in the safety measures in place.” 5,200 police offers and military personnel were deployed on the beach to keep the event safe. “Those involved were recruiting participants, including teenagers, to carry out integrated attacks using improvised explosives and molotov cocktails,” police said in a statement. Brazil’s Justice Ministry said it determined the group spreading hate online presented a risk to public order. Police raided homes of 15 suspects across several Brazilian states, confiscating phones and other electronic devices. “Nothing could prepare me for the feeling I had during last night’s show, the absolute pride and joy I felt singing for the people of Brazil,” Lady Gaga wrote on social media on Sunday morning. “The sight of the crowd during my opening songs took my breath away. Your heart shines so bright, your culture is so vibrant and special, I hope you know how grateful I am to have shared this historic moment with you.” Lady Gaga’s audience attendance record beat out Madonna’s May 2024 record of 1.6 million people watching her perform. View the full article

A view from the booth at Barry Can’t Swim’s Friday night Shrine throwdown (Photo: Digital Music News) Searing Scottish DJ Barry Can’t Swim packed The Shrine for two nights in Los Angeles this weekend — with his full band in tow. Ninja Tune phenom Barry Can’t Swim capped his West Coast mini-tour this weekend with a pair of packed gigs at The Shrine — with a Bonnaroo slot next. The fast-rising Scot is quickly making friends and influencing people, with the first Los Angeles gig oversold and expanded into a second night. And for those who like to be entertained, Barry Can’t Swim — aka Joshua Spence Mainnie — essentially destroyed it. For starters, The Shrine is a cavernous space, though the sound was properly balanced and full, with a non-stop laser and light show to accompany the music. Those putting on DJ sets are intimately familiar with how difficult it is to pull off a proper choreography, though team Barry crushed it. The result: Barry Can’t Swim’s adherents were dancing their asses off, with Mainnie deftly threading together tracks in a tightly-woven set. Barry Can’t Swim definitely has his die-hard fans, and this story is likely to grow. Part of the appeal might be the DJ’s differentiations from the typical solo DJ ensemble. Barry Can’t Swim’s visual display was great, though the real attraction goes beyond backdrop razzle-dazzle. Instead, this ‘DJ’ is actually a band, with a real drummer, keyboards, and even a full-blown string section trotted out. That fits Mainnie’s orientation, which is more musician than DJ and certainly not constrained to a particular dance sub-genre. Instead, the music of Barry Can’t Swim traverses jazz, house, afrobeat, and even shoegazer, with splices of random recordings peppered throughout. That said, Barry Can’t Swim is very much a DJ, and his performances are solidly dance events. But it’s surprising how much of a difference the live instruments alter the musical motif, including the energetic drumming. It makes you realize that decades after the advent and widespread acceptance of the drum machine, there’s still something left behind. Superfans also got a nice preview of some upcoming material at this weekend’s gigs. That includes some tracks from the forthcoming album, Loner, which drops July 11th on the aforementioned Ninja Tune. View the full article

Should producers and beatmakers be calling more upon sounds heard in everyday life when making music? TOKiMONSTA does, and it’s a key part of her artistic process. In a new episode of MusicTech’s My Forever Studio podcast – in which we sit down with producers and have them select gear for their fantasy Forever Studio – the veteran DJ and producer dives into her approach to using field recorders to source sounds for her beats. READ MORE: My Forever Studio: TOKiMONSTA nabs a historic synth Asked about her process using real-world samples, she explains: “If I go out and I use my field recorder to [record a] twig snapping, you know, maybe a car door shutting, stepping on rocks or sand, whatever, all those sounds are [a] nice texture, so it’s using those to layer. Then you have an unlimited amount of samples in that way.” She adds that another benefit to capturing her own samples for beats is that they are completely unique. “I’ll always know that those are my sounds,” she says. “And so if I have stock kicks and I like the body of it, but maybe it’s not fuzzy enough or it doesn’t have the tack I want, there’s always a way to manipulate real life. Something from real life that’s recorded to give it that umph. “And if I have a good field recorder, it’s. It’s unlimited. I can keep making sounds and manipulating sounds, I guess, with my stock Ableton plugins.” She recalls: “I made a bass line that I recorded playing something that wasn’t real. Like I had tapped on this really interesting surface, and then I pitched that sound into a bass line. It required a lot of work, but those are just the little, little things. And people might not notice. It may not matter to anyone else, but for me, it’s fun in the process of creating stuff like that.” Speaking more broadly on the importance of enjoying the creative process, TOKiMONSTA concludes: “The more fun the musician has, or the more satiating it is for the musician to create, the better the music is. That’s sort of where I’ve landed on my journey.” The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio. However, hosts Chris Barker and Will Betts impose some strict rules. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles! You can subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech. The post TOKiMONSTA: “The more satiating it is for the musician to create, the better the music is” appeared first on MusicTech. View the full article

Blacklist Festival returns to Turbinenhalle in Oberhausen on October 11, 2025. For one day, the industrial venue will host over fifty artists across four rooms, all rooted in bass-heavy genres. This year’s first lineup announcement features a range of names from dubstep, trap, drum and bass, and bass house. With twelve hours of nonstop music and seven thousand attendees expected, Blacklist continues to focus on programming that appeals directly to a specific underground audience. A festival with a clear directionBlacklist has built its identity around staying focused. It does not split its lineup across unrelated styles or aim to be a general music festival. Instead, every room is dedicated to a different branch of bass music, from drum and bass and riddim to experimental hybrids and heavier subgenres. This consistency has helped grow a following that stretches beyond Germany, bringing in fans from across Europe who are familiar with the artists being booked. Turbinenhalle remains the venue of choice. Its layout supports the format Blacklist uses. The space allows for four distinct rooms to run simultaneously, each with separate production setups. The environment is built around large-scale visual and lighting design, but the focus remains on the artists and the set pacing rather than spectacle. Every room is programmed intentionally, and artists are given the time and space to deliver full sets. DJ Snake brings The Outlaw to GermanyDJ Snake will appear at Blacklist under his alternate project, The Outlaw. First debuted at Lost Lands, this alias showcases a much heavier and more stripped-back selection compared to his usual mainstage sets. It marks a rare European appearance for the project and fits naturally into Blacklist’s lineup, which leans toward harder and more underground styles. The Outlaw has only been seen at a few select festivals so far, making this booking a standout for those who follow Snake’s broader range. Black Tiger Sex Machine headline with a Europe-exclusive setBlack Tiger Sex Machine will perform their only European date of the year at Blacklist. The Canadian trio is known for combining narrative-driven visuals, live elements, and heavy electronic production. Their shows are designed with structure, often built around themes connected to their label and video content. Blacklist is one of the few festivals on the continent that regularly books acts with full creative setups, making this an appropriate match. Sullivan King joins the lineupSullivan King is also confirmed. Known for mixing metal vocals and guitar into his live sets, he continues to blur the lines between band performance and electronic music. His shows include extended breakdowns, transitions built around tempo shifts, and original vocals. His name has remained visible across major bass festivals, and his inclusion here reinforces Blacklist’s relationship with artists who perform outside traditional DJ formats. Other artists in the first announcementThe initial lineup includes Modestep, performing a classics set built from their early discography. Habstrakt will represent the bass house scene with a French take on groove and distortion. Code: Pandorum continues to explore darker themes in dubstep, and Reaper adds drum and bass with a precise and high-speed format. Layz, Hurtbox, Makla, Nimda, and Dizzturb are also on the list. Each has been active in the club and festival scene across Europe. The announcement also includes a back-to-back set from Veksyu and Astaroth, both known for more aggressive selections and collaborative projects. Tickets and accessTickets start at 45 euros and range up to 85 depending on access tier. All passes and official updates are available through the festival’s site: https://blacklist-festival.com More names are expected to be announced in the lead-up to the event. Each year, Blacklist builds on its format without changing its direction, and the 2025 edition looks to continue that same path.

VOID Water Fest made its debut this April at RCA Central Park, and from the moment I arrived, it didn’t feel like a first edition. The event was built around a single stage with a clean layout and a lineup that actually made sense. It didn’t try to do too much. It didn’t feel overdone. Everything about the setup focused on what mattered. Music. Crowd. Timing. The stage design had a futuristic look without being too flashy. LED screens gave each artist space to showcase their own visuals. Water jets fired during key drops and pyro followed some of the biggest moments in each set. It wasn’t constant. It was timed well. You didn’t get the sense that they were trying to impress with every second. They used what they had properly. The sound held across the venue and everyone seemed to really enjoy this new festival following the major Songkran events. It was like an extension of Songkran, wetter and yet calmer at the same time. Third Party Played the Track That Stuck I’ve seen Third Party in Bangkok before, but this set felt different. I was filming from the stage and had a full view of the crowd the entire time. When they played Believe, the moment hit hard. The water jets launched as soon as the drop came in. The lights shifted and I could see the front rows reacting without hesitation. No phones in the air. Just people singing word for word. It was one of those tracks that didn’t just play well. It felt like the right one for that exact point in the set. I knew while filming it that I was capturing something that worked. I didn’t need to be in the middle of the crowd to feel it. DubVision B2B Matisse & Sadko Was One of the Most Personal Sets I’ve Ever Filmed This was the set I had been waiting for and I’m so happy that I got to experience it at Void Water Fest. I’ve followed both acts for years and seeing them finally go b2b in Bangkok felt surreal. I was on stage filming the entire thing, and from the very first few minutes, it already felt like something special. They played a run of progressive house classics that brought everything back. I wasn’t trying to predict the next track or think about the crowd. I just stood there, camera in hand, fully in the moment. At one point, I actually teared up. I jokingly told Dubvision and Matisse & Sadko before their set that I would cry and well, I did because it felt too real to be true. The sound, the setting, and the fact that I was right there for it hit all at once. It wasn’t about one song. It was about finally being there for something I had waited years to see. I didn’t want the set to end. Progressive House Still Has Its PlaceThat set reminded me why I still care about progressive house. It’s not gone. It’s not something we talk about like it belongs in the past. It’s here. It’s just taken time to find the right space again. VOID Water Fest gave it that. I put together a short video from the weekend and posted it to Instagram. Just clips from that set. No edits. No added sound. The response was instant. This sound still means something to a lot of people. And after seeing it live like that, it means even more to me now. Dannic B2B Dyro Hit Exactly How I Hoped It Would This was one of the sets I was genuinely looking forward to filming. I’ve followed both of them for years, and seeing them go back-to-back at VOID Water Fest felt like the kind of pairing that didn’t need to be overthought. They got on, started strong, and didn’t slow things down. The transitions were quick and steady. Every track had a purpose. I stayed on stage for the full set and kept filming without even thinking about moving. The crowd didn’t drift or look around between drops. Dannic and Dyro stayed right where they were and responded to every shift in pace. Nothing about the set felt forced or too planned. It was two artists doing what they’ve always done well, and it came through clearly in every moment they played. R3HAB Gave VOID Water Fest Exactly What It Needed I’ve been watching R3HAB live since 2012, and his set at VOID Water Fest was a reminder of how consistent he’s been over the years. He didn’t try to force anything or go too heavy on crowd interaction. The transitions were smooth, the pacing was tight, and the crowd stayed focused the entire way through. What made it more meaningful was that I had interviewed him at Unseen Festival last year, and seeing him again here felt full circle, especially knowing VOID Water Fest was put together by the same team. The best part was how he remembered me. That moment stuck with me. It wasn’t planned or expected, but it added something personal to an already strong set. When you’ve been following someone for over a decade and get a moment like that, it stays. Support Acts Helped Carry VOID Water Fest From Start to Finish Josh Le Tissier and Kevu both played later in the day, around the early night stretch, and brought exactly what was needed to keep things running strong between the headliners. Josh kept his set steady and never rushed it. He paced it in a way that gave people time to reset while still staying with him. Kevu leaned into harder drops and kept the tempo high without going overboard. They didn’t treat their sets like filler. Both made the most of their slots and helped hold the shape of the evening. Earlier in the day, it was the VOID Club regulars and local talent that gave the festival its base. Sets from ARS, DEVARA, DJ LER, BEE CHAN, KIKIE, MATHEW BEE, and MC DAN all reflected the sound that’s been built inside VOID over time. None of them tried to do too much. Each one brought a clear sound and didn’t shift just because it was a bigger stage. The balance between international and local names didn’t feel forced. It felt natural and earned. VOID Water Fest didn’t just fill the schedule. They filled it with people who already understand how this scene moves. VOID Water Fest didn’t try to do too much. It stayed focused with one stage, a lineup that made sense, and a flow that kept people grounded in the music. From the local names to the progressive house moments to the way the crowd stayed present throughout, it felt like something that had real thought behind it. Nothing felt rushed or added for show. If this was the first edition, it already set the tone for what could be built from here.

Mochakk interrupted his recent Circoloco Napoli performance when he saw someone in the audience needed immediate medical assistance, the DJ revealed this week. As revelers danced at the storied party series, the Brazilian house music star noticed people waving for help near a collapsed individual on the dancefloor. Footage shared by attendees on social media shows him frantically pleading for someone to tend to the man. "There was someone passed out on the dance floor, people were waving to show and ask for help, no one was doing anything to get the guy off of the crowd and take him to the medical center," Mochakk wrote on Instagram. "I'm not gonna keep playing knowing someone is potentially hurt in the middle of a packed crowd, people can die in these scenarios." His comment goes on to emphasize the risks of inaction by drawing comparisons to past tragedies: the 2022 death of a fan due to heat exposure at a Taylor Swift concert in Brazil and the disastrous 2021 crowd crush at Travis Scott's Astroworld Festival in Houston. Mochakk says he paused the music and instructed his videographer to intervene, enabling paramedics to reach the man safely. Only once the attendee was in medical hands did he resume playing. You can watch a video of the incident below. View the original article to see embedded media. Follow Mochakk:TikTok: tiktok.com/@mochakk X: x.com/mochakkmusic Instagram: instagram.com/mochakk Facebook: facebook.com/mochakkmusic Spotify: bit.ly/3LYOfH1

Mochakk interrupted his Circoloco Ibiza performance last week when he saw someone in the audience needed immediate medical assistance, the DJ wrote on Instagram. As revelers danced at Circoloco, a storied party series at the island's DC-10 nightclub, the Brazilian house music star noticed people waving for help near a collapsed individual on the dancefloor. Footage shared by attendees on social media shows him frantically pleading for someone to tend to the man. "There was someone passed out on the dance floor, people were waving to show and ask for help, no one was doing anything to get the guy off of the crowd and take him to the medical center," Mochakk wrote on Instagram. "I'm not gonna keep playing knowing someone is potentially hurt in the middle of a packed crowd, people can die in these scenarios." His comment goes on to emphasize the risks of inaction by drawing comparisons to past tragedies: the 2022 death of a fan due to heat exposure at a Taylor Swift concert in Brazil and the disastrous 2021 crowd crush at Travis Scott's Astroworld Festival in Houston. Mochakk says he paused the music and instructed his videographer to intervene, enabling paramedics to reach the man safely. Only once the attendee was in medical hands did he resume playing. You can watch a video of the incident below. View the original article to see embedded media. Follow Mochakk:TikTok: tiktok.com/@mochakk X: x.com/mochakkmusic Instagram: instagram.com/mochakk Facebook: facebook.com/mochakkmusic Spotify: bit.ly/3LYOfH1

Anyasa is renowned for pioneering an exquisite sound that fuses Indian classical music with melodic house and techno. The first artist from India to sign with the legendary Anjunadeep, Anyasa has released critically acclaimed EPs, including Gaya, Athena and Apollo, solidifying his place as a global talent and earning him recognition as one of electronic music’s most genre-defining storytellers. Anyasa’s impact extends far beyond the studio, with his live performances —touted as immersive journeys—from the dancefloors of Brooklyn Mirage in New York City to the shores of Savaya Bali, and the stages of DGTL Amsterdam and Printworks in London. His headline performances across North America, Asia, and the Middle East have earned him an inimitable international presence. With a vision to expand the horizons of melodic house and techno, Anyasa remains an ever-evolving force in the industry, preparing to release new music and embark on new tours, cementing his place as one of the most exciting and forward-thinking talents of his generation. EDMTunes sat down with Anyasa (real name – Anish Sood) recently post his recently concluded North America tour. Thank you for catching up with EDMTunes, Anish! Third successive North America tour wrapped up in 3 years. How does it feel? It feels fantastic! I am very grateful to the North American audiences for accepting my sound with such open arms and after this third tour, it definitely feels like I’ve built a consistent fan base across the major cities. We hit some iconic venues on this tour like Coda in Toronto and Audio in San Francisco and all the shows did really well with amazing energy on the dancefloor. Being the first Indian artist to be signed to the legendary Anjunadeep, which includes the globally well received EPs Gaya, Athena and Apollo, how would you characterize the Anyasa sound as per your own self-evaluation? I would describe the core Anyasa sound as ethnic influenced with production that walks the line between melodic house and techno. However, I am also an artist that likes to constantly innovate, so the new ‘Flectere’ EP marks a momentary departure from the ethnic heavy sound to discover new realms with English vocals. It’s always about finding the balance between a global sound that has Indian roots. How has the Anyasa journey been so far? Would you be able to shed some background about the factors that inspired you to carve out Anyasa some years ago (starting 2021, if not mistaken)? It has been a fantastic ride! I did not in my wildest dreams expect the ‘Anyasa’ project to break out internationally as quickly as it did and I’m very grateful to my teams and the fans for their unwavering support. The project was born during the lockdown as an experiment to marry Indian classical vocals with modern house and techno production. One of the key distinctions with all the Anyasa material is that all the ethnic vocals and instruments are 100% original and not sampled, and that’s one of the key reasons Anjunadeep chose to sign and work with me. Any particular moment or high point you cherish from this North America tour (or any of the previous ones) on the continent? Feel free to include any specific memory about a venue or club that might have left an impression. Reactor Venao in Panama was absolutely surreal! It’s a two week long festival on the beach about 5 hours away from Panama City and the community there is simply unrivalled. They have built such a pure, spiritual experience with the festival, it’s a magical experience. How has the experience been so far on this tour? Were there any particular surprises or highlights that you might have treated the North American crowd to? Abhilasha Sinha jumped on the decks in New York to sing our track ‘Kaise’ live and that was a completely unplanned, yet super special moment! Lastly, your thoughts on embracing the intense touring schedule that you are synonymous with across the globe. Are there any words of advice for upcoming producers that you would like to share around this? For me, it is all about finding the balance between touring and downtime at home in the studio. I think rest and recovery are as important as a hectic touring schedule and I’m very mindful of staying fit and healthy when I’m not on the road. For upcoming artists, it can be hard to find the right schedule since you want to maximize every opportunity possible and you rightly should. My advice would be to find downtime during the week and try to find a consistent & healthy routine during the week between touring weekends. Can we already foresee another North America tour soon? The plan for the rest of 2025 is to focus on new music in the studio, so I think North America would most likely be next year! The post [INTERVIEW] EDMTunes Catches Up With Anjunadeep Heavyweight Anyasa Post North America Tour appeared first on EDMTunes.

Following the release of his debut solo EP Just Like A Flower, the project that launched his visionary new imprint 57 Records, HWIN returns with a euphoric remix of one of the project’s standout tracks, ‘Love Is All I Need‘. This remix reimagines the original UK garage-influenced track with a driving four-on-the-floor pulse and global rhythmic influences. While preserving the emotional core that defines HWIN’s work, this version transforms the intimate anthem into a celebratory peak-time moment. The remix maintains the song’s heartfelt vocals and melodic essence while opening up new sonic territories. It creates a euphoric experience that simultaneously moves bodies and touches souls. By introducing worldbeat elements and a more propulsive rhythm section, this version broadens the emotional palette of the original. It offers listeners a joyful catharsis that stays true to the “beautiful contradictions” at the heart of HWIN’s sound. The HWIN Touch Ideal for those magical dancefloor moments where collective celebration meets individual feeling—when the crowd is ready to ascend while staying rooted in emotion. The remix arrives on the heels of Just Like a Flower, a deeply personal yet community-focused EP that marks HWIN’s evolution. An evolution ranging from chart-topping producer (Cathedrals) to independent cultural architect. The EP blends underground textures with anthemic songwriting. It also celebrates the launch of 57 Records, a new model for artist development rooted in real-world engagement and creative collaboration. The label’s debut release was accompanied by a 360° immersive launch event at HERO NYC. It also follows five years of community building through HWIN’s artist collective, 57. 57 is a hybrid creative studio, performance venue, and cultural movement with over 9,000 active members. The party had close to 2K RSVPs, and resulted in 3,000+ EP saves generated on the EP on DSPs. It’s undeniable HWIN’s 57 Community is invested in their collective art. With his remix of ‘Love Is All I Need‘, HWIN continues to carve out a musical space where vulnerability, groove, and transcendence collide. The post HWIN Unveils A Euphoric Remix Of ‘Love is All I Need’ appeared first on EDMTunes.

Drea Kaplan has been passionate about music for as long as she can remember. What began as a love for singing back in elementary school has evolved into a lifelong obsession with every aspect of music. Evolving into a triple-threat DJ, producer and vocalist, Kaplan is formally reintroducing herself to the world as DREYA V. The artist formally known as MISS DRE earned a spot on Dancing Astronaut‘s Artists to Watch in 2025 list thanks to a standout discography that includes tracks like “Lucy,” a touring schedule that included dates at EDC Las Vegas, Project GLOW and Day Trip among others, and distinct vocals that grace nearly every track she puts out. She made waves on the club and festival circuit last year with her viral remix of Tinashe’s “Nasty,” which received support from Dom Dolla, Mau P, and MEDUZA among others. Her ascendent trajectory speaks for itself, bolstered by releases on labels such as Gorgon City’s Realm Records and MEDUZA’s Aeterna. Now, she’s stepping confidently into a new chapter as DREYA V. “This new era feels more of like an arrival than a departure,” she says, while also adding that she’s “so excited to share it with you guys!” DREYA V has already established herself as one of dance music’s brightest rising talents. This year alone, she’s released “Light The Fire” — her debut single on Aeterna — and graced stages like The Concourse Project in Austin. With her eyes firmly on the future, DREYA V is undoubtedly poised to continue making noise in the dance music community. Featured image: DREYA V The post Allow her to reintroduce herself: MISS DRE rebrands as DREYA V appeared first on Dancing Astronaut.

Verknipt, the renowned hard dance collective from Amsterdam, is officially landing in India—and it’s arriving with a bang. In collaboration with Sunburn, one of India’s known music event curators, Verknipt will debut with three exclusive shows this May 2025 in Mumbai, Bangalore and Hyderabad. Expect the full force of Verknipt’s signature style— hard techno, industrial beats, high-impact visuals, and relentless energy. Full-blown sensory experiences engineered for the rave-hardened and the curious alike. or Indian audiences, this event offers a window into the raw, underground energy of Berlin-style hard dance culture—delivered with Verknipt’s signature Dutch flair. Artists of Verknipt: A Lineup of Hard Techno Pioneers Verknipt has made a name for itself by showcasing some of the biggest names in hard techno alongside the fresh emerging talent. Over the years, the collective has hosted the likes of Nico Moreno, Sara Landry, Shlømo, Luca Agnelli, and Alignment—artists who are shaping the global hard techno sound. Other heavy-hitters frequently seen on Verknipt lineups include 6EJOU, Basswell, DIØN, OGUZ, and Trym, known for their high-octane sets that push tempo and intensity to the limit. For its India debut, attendees can expect blistering sets from international heavyweights like— Shlømo, Fatima Hajji, 6EJOU and Stan Christ. Each act brings their own sonic arsenal, promising a weekend packed with unrelenting BPMs and warehouse-ready rhythms. Journey from Amsterdam to India Founded in 2012, Verknipt began as a local party series in Amsterdam. Over the past decade, it has transformed into a global phenomenon. They have been championing the hardest shades of techno—raw, industrial, and uncompromising. With sold-out shows across Italy, Germany, France, and Croatia, and the upcoming Verknipt ArenA 2025 promising a 360-degree stage production, the collective has built its legacy on breaking rules and shaking walls. Verknipt is built on a bold ethos: “Nothing is mandatory, everything is possible.” This mantra drives their music programming but also its production values. Think massive LED rigs, custom lighting, and industrial-futuristic stages that transform venues into dystopian dance utopias. After expanding into Asia in 2023, Verknipt sets its sights on India in 2025. And according to founder Mer Hajbarati, the timing couldn’t be better, “India has one of the most passionate electronic music scenes in the world. We’ve seen the energy at Sunburn, and we knew this was the right moment to bring Verknipt’s hard techno movement here. We’re not just throwing events; we’re building a community.” Verknipt India 2025: Tickets and more Verknipt’s debut India tour spans three major cities, promising an unrelenting weekend of hard techno heat. Here’s everything you need to know: Dates & Venues May 2, 2025 – Sunburn Union, Bangalore. May 3, 2025 – NSCI Dome, Mumbai. May 4, 2025 – Quake Arena, Hyderabad. Tickets are live on BookMyShow. Note that this is a cashless event, so be ready to tap and go. Bring your ID, and don’t forget to charge your phone— ticket QR codes will be scanned at entry. For more information, check out Verknipt Events and Verknipt Asia. If you’re looking for Tickets for Verknipt ArenA 2025, you can find them here. The post Verknipt Makes India Debut, Brings Unrelenting Hard Techno Energy appeared first on EDMNOMAD. View the full article

Festivals can be a glorious landscape of music and unity that brings joy to millions of people a year. However, once the crowds are gone that landscape isn’t quite so glorious to gaze upon as the sea of rubbish and abandoned tents is revealed. Every year we see that festival grounds are left in poor states the day after, so what’s being done to prevent this, and what can you do to help? One of the main things you always see is thousands of tents left behind which contrary to popular belief are usually incinerated instead of donated. Thankfully festivals like Creamfields have a salvage operation in place where charities and community groups are allowed in at the end to collect reusable tents and camping gear. Tomorrowland’s approach to this problem is their ‘Camp2Camp’ scheme where they collect, clean, and repair camping equipment to hire out at future events. Although that Monday morning may hold a horrific hangover at the end of the festival, you still need to make the effort to take your belongings home. It helps the environment, it helps the clean up crew, and it saves you having to buy more equipment for the next festival. Of course, the other main problem is general rubbish with cups and bottles creating a new layer on top of festival grounds. The type of waste left behind has improved drastically in the last few years with the advent of paper cups and aluminium cans/bottles over plastic. An excellent idea that many festivals have adopted is giving a small amount of money for returning cups which encourages people to not just drop them on the floor. Brands like Liquid Death that provide water in recyclable cans are becoming more frequently seen at festivals even being a title sponsor for Download Festival. This is all encouraging but this waste still needs to be disposed of properly to make this change work. It’s on festivals to provide the correct facilities to dispose of all the rubbish, it’s on festivalgoers to make use of those facilities. Amidst the rubbish there is always thousands of cigarettes and in the past few years a rapidly increasing number of disposable vapes. Neither of these are biodegradable, and both leak toxins into the soil. Now disposable vapes are more popular festivals are providing electronic waste bins and it’s essential that they are used. Disposable vapes are both harmful to the environment as well as being dangerous if the battery is damaged. On the cigarette front Ultra Music Festival has come up with a simple solution as they provide pocket ashtrays for free so people can keep their cigarette butts till they find a bin. All these efforts are not only for the environment, but for the continuation of festivals. If the grounds are not looked after, then whoever owns that land may decide to stop hiring it out. The grounds must be respected by festivalgoers as much as the festivalgoers must be respected by the festival itself. Woodstock 1999 didn’t provide adequate waste facilities, and we all know how that went. If everyone does their bit then festivals can continue to thrive, and the world will be a better place for it.

(l to r) Craig May (artist and fan development) and Sean Hallarman (product) are now CD Baby SVPs. Photo Credit: Downtown Music Here’s a recap of recent music industry hires and in-house promotions as of May 2nd, 2025. If you have a job shuffle to share, we’re all ears. Send us a note to [email protected]. If you’d like to post a job on our Job Board, just send us a request to [email protected]. And, keep track of all the latest music industry hires here. Warner Music Nordics Over six-year Sony Music Finland exec Henri Lanz has come aboard Warner Music Nordics as senior international A&R and creative advisor. CD Baby Downtown’s CD Baby has brought on Sonos content director Sean Hallarman as SVP of product and named Craig May (who joins from an executive role at FUGA, also a Downtown subsidiary) SVP of artist and fan development. Meanwhile, marketing SVP Jean Mischler’s role has expanded to include revenue, and finance VP Whitney Thomas will also oversee business operations moving forward. Payday Music Publishing Payday Publishing has hired Score a Score vet Jamey Sussman as creative sync director for trailers and ads. Additionally, the company has welcomed former MNRK higher-up Desiree Autobee in the same role but with a focus on film and TV. Event Safety Alliance Rob Bergeron, previously an executive director with ODTUG, has signed on with the Event Safety Alliance in the same capacity. Apple Music Apple Music has confirmed as co-presidents ex-TikToker Ole Obermann and 16-year Apple vet Rachel Newman. Kobalt Former 138 Strategic managing partner Jason Feinberg has joined Kobalt as SVP and head of its Kosign admin platform. SXSW A far-reaching shake-up at South by Southwest has brought the exit of longtime president and chief programming officer Hugh Forrest, music festival VP James Minor, and close to four-decade comms VP Lillian Park. Now, Penske EVP of product and technology Jenny Connelly (who’s been on the SXSW board for four years) is SXSW’s director in charge. Plus, SXSW EDU co-founder Greg Rosenbaum is succeeding Forrest as programming head, and 13-year SXSW music team member Brian Hobbs is replacing Minor as VP. Avex Music Group Justin Hunter, an over three-year exec at S10 Entertainment, is officially VP at Avex Music. Russells London law firm Russells has two new music partners: Liv Lyons (who joins from Lee & Thompson) and Mark Walker (who’s been with the firm for about a decade). North American Concert Promoters Association (NACPA) AEG Presents exec Brent Fedrizzi has been re-elected president of NACPA’s board. ASCAP ASCAP has upped Nicole George-Middleton, who’s been with the PRO since 2008, to EVP and head of creative membership. Virgin Virgin Music Group has formally boosted three-year team member Hannah Thompson-Waitt to SVP of U.S. commercial strategy. View the full article