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Award-winning DJ and producer RUMPUS has been blowing up recently following the appearance of his track ‘Set It Off’ in the hugely popular HBO series ‘White Lotus.’ Looking to continue this momentum he is now releasing the incredibly diverse and intoxicating ‘Body Movin’’ EP. The title track kicks off the EP with a bang having the infectious grooves that RUMPUS is a master at creating. The thick bass mixed with the Latin inspired drums creates a pulsating groove that draws you in and gets you moving. As the track goes on RUMPUS dials up the rave energy to eleven making for an emphatic floor shaking second chorus that leads into the second track ‘Party Favours.’ Artists often try to make unique blends of genres and RUMPUS has pulled off a blinder with a mix of tech house and acid that works beautifully. The track develops brilliantly from start to finish and while offering a very different sound to the opening track, the EP remains cohesive. RUMPUS’ insane talent has caught the eyes of some of the biggest DJs in the world with the likes of Tiesto, Dom Dolla, and Anyma supporting his work. The track that’s been getting him a lot of attention is his viral edit of the iconic ‘Innerbloom’ by RÜFÜS DU SOL which is a production masterpiece. He’s also been turning heads with his astonishing hybrid DJ/Drum sets where he displays his punk rock drummer skills alongside his powerful productions. The ‘Body Movin’’ EP is another great example of why RUMPUS is so highly regarded by the biggest names in the dance music scene. Both tracks will be a great addition to his electrifying live shows which you can see the dates and locations for on his website below: RUMPUS’ WEBSITEYou can follow RUMPUS on his social media below:

Words by Alex Lambeau and Zach Salafia The Temper Trap – Sweet Disposition (ARTBAT remix) Landing on their own UPPERGROUND imprint, ARTBAT‘s remix of The Temper Trap’s “Sweet Disposition” preserves the original’s emotional essence while injecting their signature peak-time energy. A standout in their global festival sets – from Tomorrowland to Ultra – the euphoric remix has captivated crowds and cements ARTBAT’s place among dance music’s elite. Alongside a growing list of collaborators including The Chemical Brothers, Empire Of The Sun, and David Guetta, ARTBAT now adds The Temper Trap to their resume. Massano – Natural [Album] The long-awaited debut album from Massano has at last arrived on his own Simulate Record Label. Following a landmark 2024 — which included a groundbreaking performance at the Sphere in Las Vegas, making him one of the youngest electronic acts to grace its stage — Massano continues to solidify his status as a defining force in melodic techno. Natural includes previously released fan-favorites including “Throwing Stones,” “Fama Land,” and “Angel In The Dark.” Over two years in the making, “Fade Away” with Braev is one of the standout new releases on the LP featuring original vocals alongside a euphoric melody. CamelPhat & Vomee – Needed You EP Marking CamelPhat’s first original release since 2024, the British duo teams up with rising Italian producer Vomee. Quickly making a name for himself with multiple releases on Siamese and now his debut on When Stars Align Records, Vomee is poised for a breakout year with upcoming appearances at X Barcelona, Sziget Festival, and more. For the veteran producer duo, CamelPhat continues to demonstrate an unparalleled ability to blend their productions across the melodic house and indie dance spaces. Bolstered by strong DJ support from Adriatique, “Needed You” lands just in time for the European summer season. Sebastian Ingrosso & Steve Angello – No Enemies (feat. Namasenda) Sebastian Ingrosso and Steve Angello follow up their 2024 collaboration “Skip” with a new single, “No Enemies,” featuring Namasenda. The track marks one of the first to be released on newly minted, Stockholm-based record label SUPERHUMAN MUSIC – the official new home of Swedish House Mafia. Jackie Hollander – Move To The Rhythm Jackie Hollander was an easy choice for Dancing Astronaut’s Artists to Watch in 2025 – and she’s more than lived up to the hype with singles like “I Look Good” and “LSD.” Now, she returns with “Move To The Rhythm,” her latest dance floor anthem and debut release on Chris Lake’s Black Book Records. Adding to the momentum, Hollander was just announced on the lineup for the label boss’ biggest headline show to date: Black Book On The Water at San Diego’s Waterfront Park this August. Riordan – TWOSTEP Another standout from Dancing Astronaut’s Artists to Watch in 2025, Riordan returns with his latest single, “TWOSTEP.” The highly anticipated track served as the opener for his weekend two set at Coachella’s DoLab, marking his debut at the illustrious festival. It’s his third release of the year following “Gimme” and his remix of Luuk Van Dijk’s “Disco Tetris.” Featured image: ARTBAT/Instagram The post Dancing Astronaut’s New Music Friday: April 25, 2025 appeared first on Dancing Astronaut.

DJ Antoine and Mad Mark breathe new life into Van Snyder and Serena Bleu’s hit track ‘Lose Control,’ crafting a timeless remix that radiates feel-good energy. “This collaboration seamlessly combines their captivating energy and chart-topping production expertise with our artistic vision, resulting in a modern reimagining that harmonizes nostalgia with classic house elements,” the duo explains. Rapidly rising stars, Van Snyder and Serena Bleu have consistently delivered outstanding collaborations, with ‘Lose Control’ highlighting the undeniable synergy between these talented artists. Enhancing the track’s appeal, DJ Antoine and Mad Mark present their unique house reinterpretation of ‘Lose Control,’ setting the stage for global recognition and acclaim. Dominating the dance music scene, Austrian DJ and record producer Van Snyder continues to astound audiences with electrifying performances and productions. His partnership with singer-songwriter Serena Bleu is nothing short of perfection, as her mesmerizing vocals elevate each project to remarkable heights. Together, they have forged the ultimate collaboration, and now, DJ Antoine and Mad Mark’s vibrant, signature sound elevates ‘Lose Control’ to new dimensions of energy and allure. “We are honored to team up with DJ Antoine and Mad Mark, two internationally renowned icons in the electronic dance and house music sphere. This partnership combines their captivating sound and production prowess with our creative vision, delivering a refreshed interpretation that merges nostalgic vibes with the essence of classic house,” remarks Van Snyder and Serena Bleu. Released under Interplay Records, ‘Lose Control (DJ Antoine & Mad Mark Remix)’ is a lively and dynamic production guaranteed to energize dance floors worldwide. Overflowing with vibrancy from beginning to end, this track is now streaming across all major platforms. Be sure to experience this exceptional remix and share your impressions in the comments section. Get ready to groove! The post Van Snyder & Serena Bleu’s ‘Lose Control’ Revamped by DJ Antoine & Mad Mark: A Must-Listen Remix appeared first on EDMNOMAD. View the full article

Les Plages Électroniques has come a long way since its first edition in 2006 and this year’s lineup is a testament to its growth. Following the first lineup announcement which included the likes of Tiesto, Peggy Gou, and Charlotte de Witte they have now expanded even further with more industry legends. The diversity in styles from the new additions is fantastic with the mix of deep house and pop from Sam Feldt, Deron providing Latin house, and Anna bringing her textured techno rhythms. Amidst the newly announced artists are some fantastic local talents including Alex Wann, Sara Costa, Agoria, Louis Bekk, Claraa, and Marion Di Napoli. Not only is Les Plages Électroniques fielding local talent but they are also giving the new generation their chance to shine on the big stage. Les Plages Électroniques is officially Frances biggest beach party attracting 60,000 people to the beautiful Cannes to see the world’s best DJs. It has grown from starting out as 5 nights of electronic music to being a fully-fledged 3-day festival that transforms the beach of the Palais des Festivals into an electronic music haven. The astonishing scenery and music has kept on bringing fans back and this year’s 18th edition of Les Plages Électroniques is set to be another jaw dropping event. To get your tickets click the button below: Les Plages Électroniques TICKETS

After teasing fans with cryptic previews and massive festival plays, Sebastian Ingrosso and Steve Angello have officially dropped their electrifying new single, “No Enemies”, featuring the razor-sharp vocals of rising Swedish artist Namasenda. Released via their newly announced label, SUPERHUMAN MUSIC, the track arrives as a bold statement piece—cinematic, relentless, and fiercely forward-thinking. Marking their first collaboration since 2024’s “Skip”, the track sees two-thirds of Swedish House Mafia delve into darker, techno-driven territory. “No Enemies” opens with a sinister, bouncing bassline that immediately sets the tone. As Namasenda’s rapid-fire delivery cuts through the mix, the production builds with growling synths and pulsating tension. It’s a high-drama, late-night weapon that feels tailor-made for underground dancefloors and massive festival stages alike. A New Era with SUPERHUMAN MUSIC The release also coincides with the launch of SUPERHUMAN MUSIC, a Stockholm-based label founded by Swedish House Mafia. Billed as “a space for ideas” and “a platform for those who create,” the label is committed to innovation and redefining what dance music can be. If “No Enemies” is any indication, expect boundary-pushing sounds and a whole lot of energy from the imprint. The track already has live momentum behind it—Axwell debuted it in front of a crowd of 60,000 at Ultra Music Festival Miami in March, igniting the dance floor and setting the stage for its official release. The Minds Behind the Madness Sebastian Ingrosso, known for classics like “Calling (Lose My Mind)” with Alesso and “Reload” with Tommy Trash, has recently been exploring new sonic landscapes. His 2023 collab with PARISI and Angello, “U Ok?”, amassed over 5 million streams, and 2024’s “Flood” marked his return as a solo artist after an eight-year hiatus. Meanwhile, Steve Angello continues to evolve his sound through projects like Wild Youth and Human. In 2024, he dropped “Hooligans” and “ME”, leading up to his collab with Jonas Rathman’s Modern Tales alias, “Darkness In Me”. Namasenda, the track’s secret weapon, brings her signature hyperpop-infused vocal style to the mix. A former PC Music darling and now signed to the cutting-edge label Year0001, she’s coming off a huge year that included a US/UK tour and a standout Boiler Room performance. Her recent collab with horsegiirL, “giirL Math”, showcased her versatility and genre-defying energy. Ready for Lift-Off “No Enemies” is more than a reunion—it’s a statement. It’s a bold leap into uncharted territory for Ingrosso and Angello, anchored by one of Sweden’s most exciting new voices. As the debut release on SUPERHUMAN MUSIC, it sets the bar sky-high for what’s to come. Out now. Stream it, blast it, and stay tuned—this is just the beginning of a superhuman chapter in dance music. The post Sebastian Ingrosso & Steve Angello Drop High-Octane Single “No Enemies” appeared first on EDMTunes.

S2O turned ten this year. What started in 2015 as an EDM festival built around Thailand’s most iconic season has become one of the biggest fixtures on the Songkran calendar. I started going in 2016, and even then, it already felt like a full production. That year had names like Nicky Romero, Afrojack, and Deorro. The stage was big, the water was constant, and the crowd came prepared. Every few minutes, the cannons would go off and nobody stayed dry for long. The whole thing was designed to be wet, loud, and non-stop from the first set to the last. By 2017, the bookings brought in more variation. Dash Berlin and Don Diablo were both on the lineup. Yellow Claw’s set that year drew a huge crowd, and their mix of trap and hardstyle flipped the mood completely from what came before. The screen setup had more depth that year, and it was one of the first times it felt like the visuals were being treated as part of the show, not just an afterthought. 2018 saw DJ Snake, Krewella, and Tchami take over. Each brought something completely different, which gave the weekend more balance. The water never let up. No matter where you stood, there was always something coming at you. Tiësto and Steve Aoki were key moments in 2019, and Fatboy Slim gave a set that surprised a lot of people who didn’t expect to hear those kinds of tracks at S2O. The 2023 edition brought back Tiësto again, this time alongside Baauer and Sebastian Ingrosso. Then in 2024, The Chainsmokers finally showed up, along with Armin van Buuren and Illenium. That year felt more refined, with a lineup that leaned into both familiarity and surprise. 2025 was the tenth year, and it didn’t just repeat the formula. It changed the setting entirely. The Move to RajamangalaThis year, S2O moved from Live Park to Rajamangala Stadium. It was the first time the festival took place inside a venue of that scale, and it changed how everything felt. The space made it easier to move between areas, and the layout gave the entire event more structure. From the moment you stepped inside, the welcome stage was already playing, with sponsor booths, merch stalls, and photo zones lined up across the entry path. It felt like part of the festival, not just a walkway you passed through. Inside, the transition to a stadium layout gave people more room without losing the atmosphere. It didn’t feel empty, but you could actually find space to stand, dance, or just regroup between sets without having to push your way around. The viewing angles were better, the sound travelled further, and the entire main arena felt more open compared to previous years. Security checks were faster, crowd flow made more sense, and even basic things like getting to the restrooms or food stalls felt less stressful. For a festival that’s known for being full-on from start to finish, Rajamangala offered a bit of breathing room without taking away from the chaos people come for. A New Look for the StageThe stage this year didn’t just look different. It was the most noticeable change after the move to Rajamangala. S2O dropped the usual industrial setup with exposed beams and pipes. Instead, the design leaned into something smoother and more futuristic. The LED screens were arranged in layers, not just a single wall of visuals. The lighting moved cleanly across the structure and matched the set pacing throughout the weekend. For someone who grew up on action and sci-fi films, it instantly brought Tron to mind. Not in a gimmicky way. It looked like something that belonged in a stadium, not just a temporary setup. Alan Walker He played a hardstyle remix of Better Off (Alone, Pt. III) by D-Block & S-te-Fan. The moment it dropped, the water jets and fireworks went off together. It felt perfectly timed. Everyone around me looked surprised and started cheering at the same time. It was one of those moments that shifted the whole crowd at once. Wukong His set was easily one of the most memorable. He twisted cartoon visuals into something completely different, dropped Thai memes mid-set, and brought out a popular Thai singer for a surprise appearance. The whole thing felt like a tribute to both rave culture and Songkran. It was weird, fun, and specific to the crowd in front of him. Diplo He played twice. First as himself, then later with Major Lazer Soundsystem. The solo set was more stripped back and flowed smoothly from track to track. The Major Lazer slot was louder and more involved, with more crowd response and sharper transitions. It was good to see both sides rather than just a repeat with a different name. DJ Snake He closed out the weekend and held the crowd the whole way through. He’s played S2O before, and this year people were already focused on the mainstage well before he started. His set leaned into trap and stayed intense without dragging anything out. The stadium stayed full until the very end. Everyone was soaked, shouting, and clearly not ready for it to end. The Rest of the ExperienceThe fireworks at S2O this year were on another level. They weren’t just saved for the end. Some were timed mid-set during key moments, especially during Alan Walker and DJ Snake. The way they lit up the stadium felt planned rather than random, and people actually looked up and reacted instead of just filming and moving on. It added to the show without distracting from it. The water setup was the strongest I’ve seen at S2O. There was no dry zone, no area where you could stand and avoid getting hit. Whether you were up front, walking around the sides, or even near the back, the water came from all directions. They didn’t hold back. The festival really stuck to its own catchphrase, body needs water. Most people gave up on staying dry within the first hour of day one and just leaned into it. Sponsor booths at S2O 2025 were more useful than in previous years. Some had games or drinks, others had shaded areas and mist zones that helped people cool off between sets. It didn’t feel like dead space. People were actually hanging out, grabbing stuff, and using those areas to reset before heading back in. The VIP box made the weekend easier to enjoy without stepping away from the experience. The view was solid. I could still hear everything clearly and see every visual on stage. It was also easier to get in and out when I needed a break or food. It didn’t separate me from S2O. It made the weekend feel smoother without taking anything away from the festival itself. Final ThoughtsS2O 2025 felt like more than just another edition. The move to Rajamangala, the updated stage design, the lineup, and the crowd all came together in a way that showed how far the festival has come over the past ten years. I’ve seen S2O go through different phases since 2016, but this was the first time it felt like they were thinking ahead instead of just repeating what worked before. It didn’t feel like they were chasing the past. It felt like they were ready to do something new. Whether you came for the water, the music, the visuals, or just to celebrate Songkran with your crew, this year gave people more than just a weekend. It gave the sense that S2O has grown into something bigger without losing what made it fun in the first place. Let’s see where they take it next year.

Hear ye, hear ye! It’s the news that we’ve all been waiting for… Hype, Hazard and Pascal are back. That’s right – Playaz 2.0 is here. Signifying an exciting new era for the label, Return of the Dubplate Killa featuring tracks from DJ Hype, Heist, DJ Hazard, Crystal Clear, Tyke & Prestige has finally dropped. The 4 track EP is signature sounding Playaz with a mischievous little twist, kickstarting a string of releases, alongside some exciting plans from one of drum & bass’ most influential labels. We sat down with the one and only DJ Hype to find out more. Hype! Playaz is back… What’s the story? I’ve got a credit Hazard. In lockdown, everything was all over the place. Everyone started doing their own thing. No one had an income, no DJ work, so I started producing again. I wasn’t trying to make a banger. Just making music, vibing. I started getting back in the studio. I worked with Xtrah, called up Jappa, Heist, Tyke. There were bits that I made that didn’t see the light of day, but I was playing other bits out when the clubs reopened and thought, yeah, I like this, but I had no confidence. I could tell you what I thought of your music, but I wasn’t really sure about my own music. I was playing at a Valve Sound System night last year, going back to back with Hazard and Dilinja, and I played one of the tunes I’d been working on. Both Dillinja and Hazard were vibing out, and I thought, maybe they just like the mix. I nodded over to Hazard and he was like ‘This tune! What’s this?’ And I said ‘It’s me!’ Hazard had been doing his Hazardous Material stuff at the time, releasing lots of dub packs. He had a few releases on other labels too, which, you know, he had my blessing for. But then he came up to me later that night and was like ‘We gotta get Playaz back. We gotta get it back up and running.’ And I was like, you know what? Yeah. We do. I’m so glad he said that. I’ve always been someone who needs a wingman, someone to bounce off. Pascal is amazing in the business side of the label, but musically, I didn’t have no one else. So, we had the conversation last year, and it was like, right, let’s rally the troops. I spoke to Tyke, Taxman, Heist. We all agreed rather than trying to get a million people on board, it was about quality and the right people. I want people making music because they genuinely want to, with us, not because they’re being arm wrestled into it. So yeah, it’s exciting. We’re just putting out good music. If me and Hazard agree that a tune is decent, we’ll release it. We’re not going to put out releases just because you need a DJ gig or because you’re a big name. That’s the mistake I made sometimes with Playaz, when I started, I ended up putting out a bit of fodder, so now I’m only putting out music that I really like. I’m not saying it’s going to be big or small – or that I’m better than anybody – it’s just, ‘Yeah I like it and I’m playing it.’ Return of the Dubplate Killa has just dropped! Sounds like Playaz with a nice little twist. Who’s on the EP? The EP is a mix of people and flavours, I wanted to release something that says ‘Yeah, we’re back.’ Do something collaborative. So you’ve got ‘Return of the Dubplate Killa’ by myself, Heist and Daddy Earl. I made the original back in 2004 so I thought, let’s get Earl to come in and do a vocal again, make a new version. The vocals were very catchy so yeah, it just worked. So that was the job done. And then obviously, Hazard’s, Hazard! Crystal Clear is on there too with a VIP of ‘The Code’, plus we’ve got a track called ‘They’re Watching Us’ from Tyke and Prestige. Any other upcoming releases or plans you can share? We’ve got ‘Dubplate Killa Volume 2’ and 3 incoming. They will all be four tracker, various artists EPs. It’s going to be an ongoing series. Annix and Hazard are doing a collab. We’ve got Tyke’s LP incoming too. There’s other names that I don’t want to name until I get the tracks sent through. I’m not reaching out to too many people. I want it to be natural. The plan for 2026 is to get Playaz nights happening more regularly too. We did Playaz at Fabric for 15 years, and I loved it, but then when the club lost its license, I thought: what do I do? Do I sit here waiting for them to reopen? Yeah? And what if they don’t reopen? Everyone else is gonna move onto other nights. Where am I going? My agent was like you should be doing big venues. Bigger than fabric. It’s time to move on. So we started doing our Printworks, Brixton Academy, all these big festivals like SW4. But I felt like I was losing my identity. I had a year where I kept saying to my agent ‘I’m not doing it,’ and he was like ‘You’ve got this good fee, and the place will be packed.’ But I said, it’s not about that. It’s not about the money. I lost interest in them. So getting the Playaz nights back up and running is a big goal for next year. In what ways will the label be different this time round? Hazard being involved a little deeper is a big one… Yeah so Hazard is going to be helping me. You know, if I’m out of the loop. My mother’s got Parkinsons. She’s 82 years old, me and my sister basically look after her. That takes up a lot of time, so I can’t always commit. So he was like ‘Well, when you can’t do something, I’ll do it.’ I’m excited to be working with Hazard across the label. I’m a team player, believe me, I’m not a lone soldier, and I like having people around me. It’s going to be different the second time round but I don’t think it’ll be dramatically different. It’s just we’re all a bit older and wiser. The only other thing I’d like to do is attract a few of the younger producers. I want a full range of artists. So anyone who’s reading this, if you’ve got any demos for Playaz, the best way to hit me up is probably Instagram, just private message me and send me a link. Is there anything you’re looking for in new artists? No generic tunes. I used to get a lot of people saying ‘I’m making a tune that sounds just like Hazard’s tunes’ and it’s like, I don’t want that. I don’t want you to mimic what we’ve got. I just want you to be you, and if I like what you’re doing, I’ll take it. If I don’t like what you’re doing, but I can hear you’ve got potential to go in a different direction, I’ll suggest it. It’s up to you then what you do with that. Playaz is more than a label. It’s a collective, an important part of drum & bass history, and so much more. What does Playaz mean to you? It’s my life. It’s an outlet for me to express myself musically and shape artists. Selling records and making money from it is a bonus. Over the years, there were times when I thought: do I really want to have a label anymore? But then it’s the people that are out there that keep you going. Whether it’s other DJs or ravers. People tell you that you’ve changed their lives. I used to be weird about it, because I just play records, but it does make you feel meaningful as a person and musically, it’s all I have. I’m not educated. This is what I’m self trained in. I’m in it for the love of it more than the money. If it was all about the money, things would be done a lot differently. I’d rather do a good gig that I love, where the money was sh*t, than a gig where you paid me millions, and I’m not getting to express myself in the way I want to. I call it music therapy. When I go out and play, it’s like I forget everything in my life. It frees your mind up. When you’re 20, you’ve got no responsibilities, you’re probably still at home with your mom, life’s fine. Then you get older, life gets in the way. You have issues and problems, people are ill. People die, you have children, you have to take care of all of that, but then being in a club and seeing everyone smilin’, it makes you forget everything for a little bit. I’m 57 now, so there’s only 13 years ‘til I’m 70. I’ve lost Randall, Fats. There’s other people in the scene that have passed that I wasn’t as close to but, I’ve had friends and family who have passed away too, that’s what happens in your 50s. Life is always muddied by people dying and ill parents. So it’s like, now’s the time. Do what you want to do and enjoy it. It keeps you young. I’m blessed that I can travel the world, entertain people. What sort of influence or impact do you think Playaz returning could have on the drum & bass scene as it is today? All I want is for my label to be liked for what it is, and to hopefully influence other people to make music that they truly like too, but it’s not going to change anything. Maybe there will be a tune like ‘Bricks Don’t Roll’ or ‘Mr Happy’ that will have a legacy or someone will make a tune that everyone jumps on, you know, in a style that becomes at the forefront of things. But I’m not going to be changing the game. I’m not here to check. I never was. I’m not a game changer. I’m a True Playa. Catch DJ Hype on Rinse FM second Friday of every month between 2-4pm.

Jill Stanley, a rising force in the House music scene, is set to make her debut on Space Yacht Records with “Feel It” ‘Feel It’ combines a thumping beat and mesmerising vocals, making for an instant club classic that will undoubtedly be dropped by DJs across the globe. The track flows with the vocals of legendary songwriter, singer, and producer Roland Clark, whose distinct voice and spoken-word style have made him a staple in dance music for decades. American House powerhouse Roland Clark has become a prominent name in the industry. His sound has been labelled soulful, loving, and deep. Roland has collaborated in huge hits with industry giants like David Guetta, Armin Van Buuren, Black Coffee, Duke Dumont, Katy Perry & Fatboyslim, and now joins Jill Stanley in ‘Feel It’. Based in LA, Jill Stanley defies typical molds of an artist. Not just a DJ and producer, but also a seasoned trial lawyer and law professor, Stanley pioneers a unique blend of professions in the fueling of her artistry. Allowing her to weave depth and perspective into her music, the result is a sound entirely her own. With a growing catalog and unmistakable style, Jill Stanley has already stunned with the release of ‘Love To You Baby’ and ‘Come Closer’ and is quickly becoming a name to watch in electronic music. Her music, built on rhythm and bass, is centered around connection. With tracks that resonate on an emotional level, forming bonds with listeners that transcend language, culture, and geography. Having started with humble beginnings in 2025, Space Yacht has transformed from one a space to give shine to up-and-coming dancefloor artists, to an influential and global brand, with events landing in cities across the US. Having released hundreds of tracks spanning a multitude of genres, clear testament to its legacy, Space Yacht Records has hosted artists that include Crumb Pit, Blue Fox, Gibson Parker, and CISAK, and now welcomes Jill Stanley and Roland Clark to its ever growing roster of talent Jill Stanley and Roland Clark’s ‘Feel It’ is out now on all digital platforms, blending their unique styles into a standout release.

Fankee, the world’s first community-driven music label, proudly announces the release of “Send Me An Angel” by Italian DJ/producer Ayko with the multi-talented British artist Sam Stray Wood. Dropping on April 18th, this highly anticipated track blends Ayko’s signature electronic sound with Stray Wood’s dynamic vocal presence. Fankee is revolutionizing the music industry by transforming fans into co-producers and co-owners, allowing them to earn a share of music royalties and actively participate in the promotion process. With “Send Me An Angel”, Ayko and Sam Stray Wood are embracing this innovative model to connect with their audience in an unprecedented way. Francesco Dogliani, known professionally as Ayko, is an Italian DJ and producer whose deep affinity for electronica and digital music has driven his career from local gigs in Turin to global club stages. Inspired by 80s/90s British pop and Italian dance music, Ayko’s signature style is a fusion of vocal-driven tracks, intricate instrumentals, and atmospheric effects. His journey has taken him to some of the most prestigious venues in the world, including London’s underground club scene and Ibiza’s legendary hotspots such as Space and Sankeys. Ayko has also hosted the renowned ‘Meganite’ party at Privilege nightclub alongside Italian trance legend Mauro Picotto. With five EPs and two official remixes of Picotto’s tracks “Ayala” and “Fly” on the Alchemy label, Ayko has solidified his place in the electronic music scene. His upcoming collaborations, including “Elisir of Love” with Picotto on Sony Music, signal an exciting future for his evolving sound and creative vision. Sam Stray Wood is a British DJ, singer, songwriter, dancer, and music consultant whose diverse talents have made her a rising force in the electronic music industry. Initially making waves as a dancer and choreographer in Italy, she transitioned into music, incorporating elements of rap, soul, funk, and house music into her unique artistry. Since 2019, Wood has released multiple tracks on leading labels such as Spinnin’ Records and Hexagon. Notable collaborations include “Get Lit” with Leandro Da Silva and “Big Flex” on The Myth Of NYX under Future House Music. Beyond her performances, Wood is deeply involved in the industry as an A&R and music consultant. Her music has garnered widespread support from global icons including Tiësto, Hardwell, R3HAB, Don Diablo, DJs From Mars, Madison Mars, Firebeatz, Yves V, Promise Land, and Dannic. With a growing presence in TV, radio, and social media, she continues to push creative boundaries in the electronic music space. “Send Me An Angel” is set to showcase the best of both artists—Ayko’s production mastery and Sam Stray Wood’s distinctive vocal energy—delivering a track that resonates with dance music lovers worldwide. As part of Fankee’s community-driven model, fans will have the unique opportunity to participate in the track’s journey from release to promotion, redefining the traditional artist-fan relationship. FOLLOW | Ayko | Sam Stray Wood | Fankee

Adam Beyer’s first album in over 20 years has finally arrived. Following the LP’s eponymous first single, ‘Explorer’, which dropped last month, highlights have included the 12,000-person Drumcode party at Drumsheds, a wild Drumcode pop-up event at an off-licence in London, while Beyer featured on two billboards in Leicester Square and Stratford to celebrate the album announcement. Now comes a new collaboration with Toronto producer HNTR, responsible for the viral techno hit ‘Yes B!itch’ with Danny Avila, and his remix of Cloonee’s “Stephanie”, which both became Beatport no.1 records. ‘Hypnotic’ delivers in spades, a massive vibe-bringer that rolls with crunchy percussion and seductive vocal lines, that the label boss highlighted at Drumsheds, his recent DJ Mag HQ stream and other sets. “Originally a tech house idea, but I sent it to HNTR, one of the new talents in the Drumcode family, and he turned it into something bigger and bolder. Classic meets future. He’s someone to watch, and it was great to collaborate with him” – Adam Beyer. Another solo album cut will also be shared on May 2nd to form a 2-Track EP release; ‘The Distance Between Us’ is a thrilling, laser-kissed cut with new wave synth lines that deftly contrasts ‘Hypnotic’s’ future-facing ethos. Tracklist: Adam Beyer & HNTR ‘Hypnotic’ feat. Kyozo (released 25 April as streaming single) Adam Beyer ‘The Distance Between Us’ (Out May 2nd) Adam’s new album Explorer Vol.1 is out June 13th via Drumcode, pre-save here. The post Adam Beyer joins forces with Toronto producer HNTR and British vocalist Kyozo, for Hypnotic appeared first on Decoded Magazine.

Just a month after dropping ‘Lose Control,’ Van Snyder teams up with Serena Bleu once again — this time unleashing a high-octane 135 BPM house remix, reimagined by none other than DJ Antoine and Mad Mark. The artist transforms this mainstage future rave anthem into a radiant summer hit, layering in lush piano leads and an infectious, feel-good energy. The vocals seamlessly align with the track’s vision, adding a vibrant splash of color to the production. Reimagined by the ethereal voice of singer-songwriter Serena Bleu, this breathtaking remake of Teddy Swims’ 2023 hit ‘Lose Control’ transcends genres. Serena’s angelic vocals weave effortlessly through the pulse of future rave and the uplifting energy of DJ Antoine and Mad Mark’s house remix, crafting an atmosphere that’s both powerful and mesmerizing. Get ready to feel the energy—DJ Antoine and Mad Mark’s electrifying remix of ‘Lose Control’ delivers nonstop adrenaline while setting the perfect vibe. Built to light up dancefloors and festival stages around the globe, this high-powered anthem drops April 25, 2025. Don’t miss it! Stream this single below and on all platforms here.

Billy McFarland has announced that he is selling the Fyre Festival brand, as he describes it as “one of the most powerful attention engines in the world”. McFarland was convicted of fraud over the original 2017 Fyre Festival, where attendees arrived to find all the talent cancelled, and promises of glamorous accommodation and catering were non-existent. The festival became the subject of the 2019 Netflix documentary, Fyre: The Greatest Party That Never Happened. READ MORE: Electronic music dethrones indie on TikTok for the first time in app’s history: “Dance music has become more accessible and big in the commercial sphere” A follow-up to the event, named Fyre Festival 2, was planned to run from 30 May to 2 June this year, but was cancelled just over a week ago, with claims that it would be rescheduled. Shortly after, it was reported that Shawn Rech, co-founder of streaming service TruBlu, had acquired some Fyre IP – including two trademarks – potentially allowing him to start up a new streaming service. Now, in a new statement directly from McFarland, he says the Fyre brand is more widely available for purchase — including its “trademarks, IP, digital assets, media reach, and cultural capital”. He says, “When my team and I launched Fyre Festival 2, it was about two things: finishing what I started and making things right. Over the past two years, we’ve poured everything into bringing Fyre back with honesty, transparency, relentless effort, and creativity. We’ve taken the long road to rebuilding trust. We rebuilt momentum. And we proved one thing without a doubt: Fyre is one of the most powerful attention engines in the world. “Since 2017, Fyre has dominated headlines, documentaries, and conversations as one of the world’s most talked-about music festivals. We knew that Fyre was big, but we didn’t realise just how massive the wave would become. That wave has brought us here: to a point where we know it’s time to call for assistance. This brand is bigger than any one person and bigger than what I’m able to lead on my own.” McFarland goes on to add that “there is a clear path for operators and entrepreneurs with strong domain expertise to build Fyre into a global force in entertainment, media, fashion, CPG, and more”: “For example, in the two years since we’ve relaunched Fyre Festival, Hollywood and entertainment executives have already licenced the brand to develop properties specifically in theatre, music streaming, and Free Ad-Supported TV.” He also claims that following the postponement of Fyre Fest 2, which was due to happen in Mexico, the brand has been approached by several Caribbean destinations “eager” to host the event. You can read the full statement below: Interested buyers can learn more and fill out a brand offer form via the Fyre Festival website. The post Billy McFarland’s Fyre Festival brand is up for sale, as he describes the brand as “one of the most powerful attention engines in the world” appeared first on MusicTech. View the full article

Iconic German electronic music producer Stimming, known for his meticulous production and his ability to evoke deep emotion, turns everyday moments into one-of-a-kind sonic experiments on his new album, Friedrich. The album carries a distinct lightness with it, a reflection of the confidence and freedom Stimming has gained over his many years in the industry. “After 15 years of doing this full-time, I feel like I finally know what I’m doing, and it’s just fun,” he says. This sense of ease and playfulness is evident throughout Friedrich, as Stimming carves out new paths of light in his sound. The album, which Stimming describes as a collection of “normal life moments” from the past few years, dives into personal themes like fatherhood, relationships, illness, and resilience, touching upon both the deeply personal and universally relatable. Friedrich continues to explore the symbolism of the pigeon, a recurring motif in Stimming’s work. The pigeon represents the beauty found in life’s ordinary moments, moments that often pass unnoticed but, when observed closely, reveal the extraordinary beneath the surface. This attention to detail shines brightly throughout the album, where every track offers a new perspective on both the joy and complexity of human existence, from the euphoric energy of Golden Path to the darker, more reflective tones of Lucky Me and Keys Don’t Match. The combination of club-driven beats, introspective melodies, and personal storytelling – moving between light and shadow, tension and release – makes Friedrich a powerful and gripping listen. The upbeatness and danceability of a Stimming release is ever-present, but not in a naively positive way. Instead, it highlights the lightness that coexists with the often-dreary reality of life. “You know how a city can feel like this very cold, unnatural space but then all of a sudden you see a flock of pigeons take flight and just then it reminds you of life and three-dimensional space? I mean, a pigeon can fly, isn’t that beautiful?,” says Stimming. Friedrich is set to be released on April 25th through Stimming Recordings. Available here The post Stimming returns with the second chapter of his album trilogy appeared first on Decoded Magazine.

International fans of the cult classic Donnie Darko will soon have the chance to enter the eerie world of the Tangent Universe, as a global series of immersive events kicks off this year. Following its sold-out debut in London, the experience heads to Australia this June, with the Melbourne Pavilion set to transform into a full-spectrum, Halloween-themed rave for one unforgettable night. The buzz surrounding the ‘Donnie Darko House Party’ has been steadily gaining momentum across social media, stoking excitement for its next otherworldly chapter. This June, the critically acclaimed sensory experience makes its long-awaited Australian offering, following a sold-out premiere in London and marking the official kickoff for its international tour which will include London, Melbourne, Tokyo, Osaka, Seoul, Bangkok, Shanghai, Berlin, Paris, Prague, Athens, Paris, Amsterdam, Reykjavik, Los Angeles, and New York City. With the timeline fractured, Melbourne has been revealed as one of 13 interdimensional portals where Frank is set to reappear at the stroke of midnight. For one night only, Friday, June 6, 2025 the Melbourne Pavilion will be transformed into a mind-bending fusion of cinematic chaos, 80s nostalgia, and rave-fueled surrealism. For fans of Richard Kelly’s 2001 cult classic, this is an open invitation to enter the Tangent Universe. The venues will be transformed into a multi-room, interactive world inspired by Donnie Darko, complete with intricately designed sets, high-tech audiovisual installations, and characters straight from the film’s hauntingly beautiful aesthetic. Select nights will also feature a rare live appearance by James Duval, the actor behind the film’s infamous Frank the Rabbit, giving attendees the opportunity to engage with the enigmatic character like never before. Each night, the production and sensory experience will immerse guests in a pop culture metaverse where cinema, music, and interactivity collide, creating an unforgettable journey into the world of the cult classic. This 80s-style house party meets modern day rave, promises a one-of-a-kind fusion of film, music, and theatrical storytelling, inviting guests to dive deeper into Donnie Darko’s twisted universe. Attendees will enjoy elaborate themed bars, mind-bending audiovisual installations, and an immersive atmosphere that includes a live screening of the film, all crafted to blur the line between reality and the movie’s provocative, time-bending world. Clubbers and guests are encouraged to come in Halloween costumes and themed attire, fully embracing the scenes that captivated millions of people and transitioned the film into a globally revered cult favourite. “This isn’t just a screening” says Jamie Mcsweeney, the event organiser. “It’s a full-blown 80s-style interactive House party inspired by the Donnie Darko film” With its succinct fusion of nostalgia, cinematic spectacle, and interactive storytelling, the Australian debut and its series of international dates rolling out, the Donnie Darko experience is set to be a must-attend event for film lovers, ravers, and pop culture enthusiasts alike. Given its immediate history of selling out in record time, fans are actively encouraged to secure tickets in advance via their website. As the re-ignition of this critically acclaimed film and event gains momentum, it’s quickly emerging as one of the must-experience cultural moments of the year. James Duval, the actor behind Frank the Rabbit, confirms, “Frank is here… and I’ll be waiting for you.” Tickets: https://tickets.oztix.com.au/outlet/event/64698825-135b-40de-b768-86b26b0a4bcc

In a digital world overflowing with new releases, it can be hard to keep track of the gems. That’s exactly what inspired DJ and Producer Alex Cecil to start his new Instagram series. Each Friday, he shares a short and sharp roundup of standout releases—from fresh club cuts to under-the-radar indie grooves—that reflect what’s inspiring him in the moment. Rooted in spontaneity and a genuine love for discovery, the series offers a quick window into Alex Cecil’s current headspace as a DJ, while spotlighting tracks that might otherwise fly under the radar. We caught up with Alex to learn more about the spark behind the project, the process of digging each week, and how the series is evolving as a new form of connection with both fans and fellow artists. What gave you the idea to start sharing three tracks every Friday on Instagram? It started when I released my Hip Aliens EP. I made a quick video—ten seconds of each track—and asked, “Which one’s your favorite?” People really responded. Some said “track two, no question,” others had their own take. They were enthusiastic about it. That was the first spark. After that, I started doing “3 Tracks I’ve Been Playing”—tracks from recent sets that I kept going back to and wanted to share. It felt good highlighting other artists’ work, kind of like how I do as a DJ, just in a different format. Then I thought: what if I focused on brand new music that dropped that day? There’s something exciting about hearing a fresh release, and if I can help someone discover a track they might’ve missed, even better. It’s just about sharing great music in an easily digestible way. How do you usually come across the tracks that end up in the Friday post? Every week is different. I’m always digging, discovering, exploring. I dedicate time to do that every week in different ways—going down the Beatport rabbit hole or listening to Revolution 93.5 radio in the car. Sometimes it’s a promo from a friend or Inflyte, or a random DM from someone I’ve never met—and the track’s great. Beatport charts are helpful, but they only show so much. But once you try to sort new tracks by date… it gets chaotic fast. Half of it’s just noise. Spotify? Love the algorithm, but it doesn’t go deep enough. There’s so much pleasure in a new release. I’m happy to be able to take part in it now on a weekly basis and support artists that someone may not know. For me, I’ve always loved showing the “underground”—to a music lover who’s teetering on the edge and just needs a push in the right direction. Something accessible can bridge the gap. That’s definitely true with indie dance, because there are so many elements that are recognizable to someone not in this scene. Disco, Indie Rock—it’s all there. Most people won’t ever hear a lot of this music. But I will (at least some, ha). What kind of sound or vibe are you usually drawn to when picking your weekly selections? It depends on my mood that week. Some Fridays I want driving ’90s grooves. Other times, I’m leaning into Indie Rock energy or acid-drenched weirdness. That’s what I love about Indie Dance—it’s a wide-open genre. You can go from 116 to 130 BPM and still be in the same universe. But the common thread is: the track has to light me up. Whether it’s euphoric, gritty, or just strange in the right way—if I want to play it again immediately, it’s a contender. It’s all about the digging. Finding a diamond in the rubble. Playing it out is the closest thing to dropping an unreleased track—which is also really fun. Do you build the list throughout the week or is it more of a last-minute Friday ritual? Bit of both. Sometimes I stumble on something mid-week and immediately know it’s going in. Other times it’s Friday morning and I’m scrolling through releases like I’m Indiana Jones. I’m open. Could be a white label, a friend’s promo, or something totally random that just dropped. As long as it hits different. How important is it to you that the tracks you pick are ones people might not already know? More and more, very important. Don’t get me wrong—if a well-known artist’s track is amazing, I’ll still share it. But I love giving a platform to stuff that might otherwise get buried. What kind of response have you had so far from people following the series? It’s been surprisingly personal. People message me saying, “I’ve never heard of this artist—thank you.” Or they’ll send their own picks, like, “This one dropped today too—have you heard it?” That kind of back-and-forth is rare on social media, and I love it. Do you see this series as a way to give people a deeper look into your current headspace as an artist? Absolutely. It’s a peek into what’s inspiring me in real time. These are the sounds influencing what I’m producing, what I’m playing out, what I’m obsessed with that week. It’s a window into the hard drive of my brain! Has doing this weekly series changed the way you listen to or dig for music? Yes. I’ll hear a track and immediately think: is this a Friday pick? It’s also made me go deeper in the crates on a weekly basis, especially leading up to Friday. If I’m going to share something every week, I want it to feel like a discovery—not just a repost of what’s already trending. Why did you choose Instagram as the platform for this series instead of, say, Spotify or a radio show? It’s where I’m already connecting with people. Instagram is visual, fast, and the feedback is instant. It’s low barrier and fun. I like keeping it light. If I turned it into a podcast or a playlist series, it might lose that feel. Where do you see the Friday series going next—do you want to keep it raw and casual, or could it evolve into something bigger? For now, I like the vibe. But I’m open to where it wants to go. Maybe it becomes a newsletter. Or maybe I start inviting guests—other DJs or producers—to share their three picks. But the heart of it will always be the same: music I’m excited about, shared in a way that feels real. What started as a simple question—“Which one’s your favourite?”—has grown into a weekly ritual that now connects listeners, producers, and selectors alike. Alex Cecil’s new Instagram series is more than just a playlist—it’s a curated snapshot of a DJ’s evolving taste and a celebration of music discovery in real time. If you’re an artist with unreleased music you’d like to share, Alex is now accepting submissions for potential inclusion in the series. It’s a chance to have your music heard, supported, and spotlighted alongside the weekly picks; make sure to reach out and keep the music flowing.

Splice has officially released the final instalment of Oliver’s Power Tools Decades sample pack series, and this time he’s taken inspiration from the 2000s. Power Tools Decades was launched by Splice and Vaughn Oliver (of production duo Oliver, a name which Vaughn still works under) in August of 2023 with the release of Power Tools Decades – 80’s. It featured 257 samples of synthetic drums, and was followed by a 90’s inspired pack (launched May 2024), which focussed on “modernising the raw grooves and energy of a decade that took hip-hop, house, and jungle into the mainstream”. READ MORE: “Your favourite producer’s sounds are made here”: Vaughn Oliver shows off his synths and studio According to Splice, this new pack channels “the groove and bounce of early 2000s drum programming”, and plucks inspiration from iconic producers like The Neptunes and Timbaland. Putting his own spin on things, Oliver layers “classic rhythms with modern processing, making them hit harder and sound more dynamic”. Power Tools Decades – 00’s includes 177 drum loops, 10 clap loops, 62 full drum loops, 39 stripped drum loops, 10 high-hat loops, 32 percussion loops, seven shaker loops, 17 top loops, 124 one-shot samples, 20 Claps, 18 hi-hats, 29 kicks, 21 percussions, nine rims, and nine snaps. “The 2000s had such a distinct rhythm and swagger. I wanted to capture that – but make it hit even harder with today’s tools,” comments Oliver. “For this pack, I leaned into live percussion and foley recording to give it that extra dimension and energy. “I’m always so blown away with what producers and artists have made with my sounds and loops. I’m very grateful that I’m able to help and inspire other musicians, even in a small way,” he concludes. Kenny Ochoa, SVP of Content at Splice, adds: “After six chart-topping sample packs, Oliver has cemented his place as a cornerstone of Splice’s global producer community. His ability to consistently deliver pristine, punchy sounds has set the bar for quality in the sample game, defining some of the biggest records of the last decade. These sounds aren’t just about capturing nostalgia – they’re giving producers the tools to push sound forward.” This sample pack concludes the Power Tools Decades trilogy, but Oliver is already working on another project for Splice called “Power Tools Presents”, for which he is planning to spotlight his favourite sound designers and collaborators. No further details on this project have yet been revealed. Power Tools Decades – 00’s is available to download now via Splice. The post Splice’s final instalment of Oliver’s “Power Tools Decades” sample pack series is inspired by hit producers of the noughties appeared first on MusicTech. View the full article

Jill Stanley, a rising force in the House music scene, is set to make her debut on Space Yacht Records with “Feel It” ‘Feel It’ combines a thumping beat and mesmerising vocals, making for an instant club classic that will undoubtedly be dropped by DJs across the globe. The track flows with the vocals of legendary songwriter, singer, and producer Roland Clark, whose distinct voice and spoken-word style have made him a staple in dance music for decades. American House powerhouse Roland Clark has become a prominent name in the industry. His sound has been labelled soulful, loving, and deep. Roland has collaborated in huge hits with industry giants like David Guetta, Armin Van Buuren, Black Coffee, Duke Dumont, Katy Perry & Fatboyslim, and now joins Jill Stanley in ‘Feel It’. Based in LA, Jill Stanley defies typical molds of an artist. Not just a DJ and producer, but also a seasoned trial lawyer and law professor, Stanley pioneers a unique blend of professions in the fueling of her artistry. Allowing her to weave depth and perspective into her music, the result is a sound entirely her own. With a growing catalog and unmistakable style, Jill Stanley has already stunned with the release of ‘Love To You Baby’ and ‘Come Closer’ and is quickly becoming a name to watch in electronic music. Her music, built on rhythm and bass, is centered around connection. With tracks that resonate on an emotional level, forming bonds with listeners that transcend language, culture, and geography. Having started with humble beginnings in 2025, Space Yacht has transformed from one a space to give shine to up-and-coming dancefloor artists, to an influential and global brand, with events landing in cities across the US. Having released hundreds of tracks spanning a multitude of genres, clear testament to its legacy, Space Yacht Records has hosted artists that include Crumb Pit, Blue Fox, Gibson Parker, and CISAK, and now welcomes Jill Stanley and Roland Clark to its ever growing roster of talent Jill Stanley and Roland Clark’s ‘Feel It’ will be available on all digital platforms on the 24th of April, blending their unique styles into an unforgettable release. Find Out More & Follow Jill Stanley Instagram | Soundcloud | Spotify Roland Clarke Instagram | Spotify | Facebook Space Yacht Instagram | Soundcloud | Spotify The post Jill Stanley Drops “Feel It” On Space Yacht Records appeared first on Electric Mode.

Sebastian Ingrosso x Steve Angello ft. Namasenda – No Enemies Swedish House Mafia’s Sebastian Ingrosso and Steve Angello team up with Namasenda for ‘No Enemies’, a powerful blend of tech house and electro energy. With driving beats, addicting basslines, and pulsating synths, this track is both bold and refreshingly different—marking a new chapter for the SHM icons. Tiësto x Clean Bandit x Leony – Tell Me Where U Go Tiësto joins forces with Clean Bandit and Leony for ‘Tell Me Where U Go’, a hyper-dance anthem with emotional depth and festival flair. Clean Bandit’s orchestral flair pairs seamlessly with Tiësto’s sleek production, while Leony’s vocals bring the track to life with a catchy, heartfelt hook. RUMPUS – Body Movin’ EP RUMPUS has been making waves following the feature of his track ‘Set It Off’ in HBO’s hit series White Lotus, and he’s keeping the momentum going with his dynamic new ‘Body Movin’ EP. The title track delivers infectious Latin-inspired grooves and rave-ready energy, while the second track showcases a bold blend of tech house and acid, proving RUMPUS’ flair for genre fusion. DJ Dime – Press Your Luck DJ Dime drops ‘Press Your Luck’, a high-octane and infectious house heater with bouncy percussion, hypnotic synth loops, and an old-school hook that brings instant dance floor swagger. It’s pure peak-hour fun with a classic underground feel. Armin van Buuren & Sam Gray – Dream a Little Dream Armin van Buuren teams up with vocalist Sam Gray for ‘Dream a Little Dream’, a feel-good progressive trance anthem that blends uplifting melodies with heartfelt lyrics. Originally debuted in 2023, it’s a modern, emotional take on the timeless theme of chasing dreams, crafted for mainstages and magical moments alike. Honorable mentions: Above & Beyond & Zoë Johnston – Carry Me Home Alan Walker x Sorana – Mind of a Warrior Blasterjaxx – The Power of Love Boris Brejcha – XOXO and Python BYOR, Angel Janson – Saving It All CamelPhat – Needed You Curbi, Scruffizer – Move Over CYRIL x James Blunt – Tears Dry Tonight Darren Styles x Gammer – Crush David Guetta x Willy William x Nicky Jam – Cuéntale Don Diablo – Freek Like Me Elysian vs. Kryder – Now We Are Free (Balearic Sunset Mix) Excision, Gryffin feat. Julia Michaels – Air Faithless – Dollars and Dimes (ft. Bebe Rexha) Ferreck Dawn & Caroline Byrne – Make Me Weak Francis Mercier, Von Boch – Found Love Imanbek – Limits Jackie Hollander – Move To The Rhythm Jengi – Closer John O’Callaghan – Crystal Caverns John Summit (ft. CLOVES) – Focus (Alok Remix) K-391 x Modi – DANCERS IN THE DARK Kayzo – Surge Klingande – Nightlife (ft. KOATES) KREAM – Mantra Malone, Kahani, HARJI – Miami Giddha Mark Knight, Roland Clark, James Hurr – Get Deep MaRLo – Let’s Go / Dance With Me MATTN – Fade Out Nicky Romero & GIACOBBI – Move It (Rapidín) [ft. Fatboi] R3HAB – Right Here, Right Now RetroVision x Tollef – The Party REZZ – Contorted Robbie Rivera, LYON MONSTER – La Motora Sammy Virji x Issey Cross – Nostalgia Seven Lions & Wooli (feat. Vargen) – Sunshine Sonny Fodera, Clementine Douglas – Tell Me (Chill Mix) Space Laces – This Way Steve Aoki & Öwnboss ft. LeyeT – 1-11 Tensnake, mOat (UK) – Heat The Temper Trap – Sweet Disposition (ARTBAT Remix) Ummet Ozcan – Yima Vini Vici, Timmy Trumpet, Niklas Dee – Party So Hard Vluarr – Lost and Found (EP) W&W & KSHMR – Bad Will Clarke – Breakthrough (Lu.Re Remix) Yves V – Strike a Pose (ft. Barefoot) Zerb – 24h In a Disco (ft. Kiki Gyan)

Electronic duo Into the Blood is set to ignite your senses with their ambitious new project, Destination 11, dropping on the 1st of May, 2025. This isn’t just a music video, it’s an 11-minute animated-live action short film that rockets through the story of human evolution, paired with a hypnotic new single and EP that’ll pulse through your veins. Buckle up for a wild ride across 11 vivid destinations, where the serene vibes of Earth’s dawn spiral into the frenetic chaos of modern life. Blending the lush textures of electropop, synthpop, chillout, and ambient, Destination 11 is a sonic and visual feast. The track, featuring the soulful vocals of Don de Bethizy, weaves a contemplative thread: Have we raced too far, too fast? Can our planet still be saved? The full short film lands on YouTube, while the single and its accompanying EP, packed with three additional tracks, hit all major streaming platforms. Vinyl junkies, rejoice: a limited 12″ pressing will spin at Copenhagen record stores and on Bandcamp. Into the Blood, Jens Brygmann (vocals, drums, synths) and Carsten Bo Andersen (synths), first sparked their creative fire in a chance elevator encounter at a 2016 music course. Drawing from icons like Depeche Mode, David Bowie, Pet Shop Boys, and Dua Lipa, they craft electronic soundscapes with a human pulse, weaving in real bass, clarinet, and raw emotion. What began as a studio experiment evolved into a hunger for the stage, culminating in a standout performance at Denmark’s Nakke Festival in 2024. Their name, a nod to a polyrhythmic gem in Underworld’s “Spoonman,” reflects their knack for rhythm and reinvention. Each year, the duo retreats to a summerhouse, cutting ties with the world to dream up 4-5 tracks that they polish over months. Destination 11 is the electrifying result, a bold step forward that’s as thought-provoking as it is danceable. Influences Depeche Mode, David Bowie, Pet Shop Boys, Mayor Lazer Support Into The Blood on Social Media Instagram | Twitter | Facebook Listen to more of Into The Blood Spotify | Apple Music The post Into the Blood Unveils A Mesmerizing 11-Minute Odyssey Through Human Evolution With Destination 11 appeared first on Electric Mode.

German DJ and producer Loco Dice is back with a bang, delivering his latest single, ‘G Class’, featuring one of Italy’s finest rappers— Guè. Hot on the heels of a jam-packed Miami Music Week and Coachella, ‘G Class’ brings Dice back to his roots and stands as the latest edition to his rapidly expanding musical landscape. Following a string of successful tracks, including ‘Juice’ with Trinidad James & The Martinez Brothers and ‘Ice Cold Dealer’ featuring Haftbefehl, ‘G Class’ is another step toward solidifying Loco Dice’s place at the forefront of genre-defying dance music, this time driving full-force into the world of Italian hiphop and rap. The track opens with a buzzing bassline that immediately captures attention, setting the stage for Guè’s unmistakable presence. His verses tell the story of a lifestyle built on hustle, power, and resilience, reflecting the journey of those who have risen to the top against all odds. The production intensifies after the first verse, reaching a fever pitch drop with an irresistible blend of grit and groove. It’s an exhilarating lyrical performance blended with top-notch production, that stays hard-hitting while bringing warmth and vibrancy. Guè’s contribution to ‘G Class’ strengthens Loco Dice’s presence in the Italian hip-hop scene. As a revered figure in Italy’s rap community, Guè brings a striking energy to the track, perfectly complementing Dice’s signature sound. For Dice, this collaboration is a full-circle moment, drawing on his early days as a hip-hop DJ in Düsseldorf. The collaboration not only bridges the worlds of electronic music and hip-hop but also highlights Dice’s ability to connect with influential voices across genres. Loco Dice shares: “Marcelo Burlon was the one who brought us together. “Wait till you guys meet!” he said—and it clicked instantly. We became friends, making sure to stay connected no matter where we were in the world. We’d visit each other’s shows, always talking about collaborating. Finally, the timing was right for this G-Class anthem!” Guè shares his excitement about joining forces with Loco Dice for the first time: “Loco Dice is not only my favorite DJ but also a great friend. I’m so glad I pushed myself to experiment with a different beat this time—The result is a bomb!!” With ‘G Class’, Loco Dice continues to expand his musical landscape, crafting a sound that bridges cultures while staying true to his roots. Fans can hear the rhythmic intensity of tech-house combined with the undeniable power of Guè’s rap delivery — a fusion that transcends genre and speaks to anyone who’s ever fought their way to the top. As anticipation builds for ‘Purple Jam’, this track reinforces that Loco Dice’s career defining year is far from over. ‘G Class’ is out now on all streaming platforms via Virgin Records. Pre-order the album ‘Purple Jam’ now. The post Loco Dice Teams Up with Guè for ‘G Class’ — A Bold Statement of Hustle, Luxury, and Ambition appeared first on Electric Mode.

Music, art, and Gen-Z pop culture are set to collide in the Philippines when &FRIENDS, a first-of-its-kind music festival, debuts at Okada Manila next month. Helmed by global creator studio Clout Kitchen and billed as the “biggest EDM festival in the Philippines,” the two-day event and expo will bring top global DJs and digital creators to the five-star resort on the coast of Manila Bay this May 30-31, with interactive panels, meet-and-greets, and immersive activities by day, and premier musical performances by night. Leading the line on night one is a headline set from anthemic festival superstar Zedd, who will return to Manila for the first time in three years. He’ll be joined by a special guest performance from Yellow Claw’s €URO TRA$H project, as well as additional support from surging Singapore DJ Kiara, Taiwanese star RayRay, Fairlane B2B Siangyoo, BOTCASH, and more. &FRIENDS night two will welcome a debut Manila headline performance from melodic bass superstar ILLENIUM, a special guest set from fellow genre innovator Seven Lions, genre-bending Canadian rapper bbno$, and Jeonghyeon B2B KDH, among others. Check out the full lineup below. Before the party kicks off at Okada Manila’s award-winning Cove nightclub, fans can take part in unique experiences with top global content creators, such as Ironmouse, Shoto, Tuonto, Antony Chen, and many more. Taking place in Okada Manila’s Crystal Pavilion, this expo will also house vendors selling clothes, accessories, collectibles, and prints from Filipino artists like Sskait, Aeonix, Little Things PH, and Yokify, among others. While rooted in EDM, &FRIENDS will also showcase a dynamic fusion of genres on the festival’s afterhours Creator Stage, which will host a K-Pop rave with DJs 2Spade and Hoaprox on May 30, and spotlight homegrown OPM artists like Ylona Garcia, Amiel Sol, Kiyo, and creative collective Planet Workshop on May 31. In a press release, Clout Kitchen CEO and festival organizer Justin Banusing said, “We’ve seen how festivals like Coachella, EDC, and Tomorrowland unite music lovers from all over the world, and now it’s Manila’s turn. &FRIENDS is about bringing people together—whether you’re here for the biggest names in EDM, viral pop stars, or the next breakout artist, this is the festival for fans who want it all.” For more information or to purchase festival and expo ticket packages for &FRIENDS Manila 2025, visit andfriends.live/tickets. Featured image courtesy: &FRIENDS. The post Music & Gen-Z Pop Culture Collide At The Philippines’ Biggest EDM Fest, &FRIENDS appeared first on EDM Maniac. View the full article

Music, art, and Gen-Z pop culture are set to collide in the Philippines when &FRIENDS, a first-of-its-kind music festival, debuts at Okada Manila next month. Helmed by global creator studio Clout Kitchen and billed as the “biggest EDM festival in the Philippines,” the two-day event and expo will bring top global DJs and digital creators to the five-star resort on the coast of Manila Bay this May 30-31, with interactive panels, meet-and-greets, and immersive activities by day, and premier musical performances by night. Leading the line on night one is a headline set from anthemic festival superstar Zedd, who will return to Manila for the first time in three years. He’ll be joined by a special guest performance from Yellow Claw’s €URO TRA$H project, as well as additional support from surging Singapore DJ Kiara, Taiwanese star RayRay, Fairlane B2B Siangyoo, BOTCASH, and more. &FRIENDS night two will welcome a debut Manila headline performance from melodic bass superstar ILLENIUM, a special guest set from fellow genre innovator Seven Lions, genre-bending Canadian rapper bbno$, and Jeonghyeon B2B KDH, among others. Check out the full lineup below. Before the party kicks off at Okada Manila’s award-winning Cove nightclub, fans can take part in unique experiences with top global content creators, such as Ironmouse, Shoto, Tuonto, Antony Chen, and many more. Taking place in Okada Manila’s Crystal Pavilion, this expo will also house vendors selling clothes, accessories, collectibles, and prints from Filipino artists like Sskait, Aeonix, Little Things PH, and Yokify, among others. While rooted in EDM, &FRIENDS will also showcase a dynamic fusion of genres on the festival’s afterhours Creator Stage, which will host a K-Pop rave with DJs 2Spade and Hoaprox on May 30, and spotlight homegrown OPM artists like Ylona Garcia, Amiel Sol, Kiyo, and creative collective Planet Workshop on May 31. In a press release, Clout Kitchen CEO and festival organizer Justin Banusing said, “We’ve seen how festivals like Coachella, EDC, and Tomorrowland unite music lovers from all over the world, and now it’s Manila’s turn. &FRIENDS is about bringing people together—whether you’re here for the biggest names in EDM, viral pop stars, or the next breakout artist, this is the festival for fans who want it all.” For more information or to purchase festival and expo ticket packages for &FRIENDS Manila 2025, visit andfriends.live/tickets. Featured image courtesy: &FRIENDS. The post Music & Gen-Z Pop Culture Collide At The Philippines’ Biggest EDM Fest, &FRIENDS appeared first on EDM Maniac. View the full article

SHANGUY is an innovative electro-pop collective spearheaded by Italian DJ/producer NRD1, whose global influence has been undeniable. With over 1.4 million Shazams in Russia for “All Good Things”, NRD1 has cemented his place as a powerhouse in the industry. Since its inception in 2017, SHANGUY has captivated audiences worldwide. The group, initially formed by French singer/producer Eon Melka and Italian singer/songwriter Frank-O, made an explosive debut with “La Louze”. The track amassed over 50 million streams/views, achieved a Double Platinum Award, and ranked in Shazam’s World Top 50. This success led to major TV appearances and an extensive European tour. Later, Milan-based diamond and multi-platinum-certified artist Shady (Shibui) joined SHANGUY, contributing to five hit singles. Their track “King of The Jungle” garnered over 25 million Spotify streams and achieved Gold and Platinum status in Poland, leading to standout performances at Warsaw Stadium and the Zakopane NYE Concert. The momentum continued with “Toukassé”, accumulating over 15 million streams and featuring performances at Luzhniki Arena (Moscow) and the Nur Sultan Music Awards. “Désolée (Paris/Paname)” became a triple Platinum sensation in Poland, entered Spotify’s Global Top 200, and reached #6 on the Billboard Dance US chart. Following this, “Back To Life” received strong airplay on Italian and Polish radio stations. SHANGUY also made an impact in the gaming world, collaborating with Mobile Legends Bang Bang, a game with 48 million players, to produce the track “Bang Bang”. Their collaboration with Paolo Pellegrino on “Oops” reached #3 on Russia’s Radio Airplay Chart, while “Dalida” with Marnik solidified their presence on the international stage. Other standout releases include “Kalima Minou” (Top 10 Radio Airplay Poland), “C’est la vie” featuring Holy Molly (5 million+ streams), and “Dernière Danse” with Yves V, surpassing 12 million Spotify streams. Most recently, “Lava” secured a spot in the Top 50 Airplay in Poland, while “Creatures Of The Night” and the Aaxis Hyper Mix of “Dernière Danse” amassed 1 million Spotify plays in just two months. Now, SHANGUY is ready to once again captivate global audiences with “J’ai compris combien je t’aime (NRD1 Edit)”. Combining their signature fusion of dance and pop, the track promises to be another milestone in their impressive career. The post SHANGUY Releases Electro-Pop Single J’ai compris combien je t’aime (NRD1 Edit) appeared first on Electric Mode.

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 PicksPocket - KnotFox Stevenson - MemoriesJEV - Dosesrüüdy. - for my old meSam Silver, informal., Babsy. - We In LondonJetta - sicklysweet (Tobiahs Remix)heartaake - i have zero careOscar Farrell - Running FreeDita Redrum - Dark green

Festival season is rapidly approaching liftoff, and "Air," the new collaboration from Gryffin, Excision and Julia Michaels, feels like its first moment of weightlessness. Out now via 10K Projects, the track leans into its emotional core rather than chasing the extremes on which Excision is known to hang his hat. Built on Gryffin's signature cinematic textures, "Air" opens with bright piano chords and luminous synths that swell like a rising tide. Michaels’ momentous vocals land with real weight, anchoring the arrangement as it glides into a drop that’s more subtle surge than full-on explosion. There's tinctures of Excision’s dubstep influence in the design, especially in the second drop, but it’s filtered through a melodic lens to inspire movement without overwhelming force. To that end, "Air" feels like a shared vision more than a clash of styles. It's a soaring, anthemic dance record that evokes the cathartic euphoria of early 2010s progressive house while staying rooted in modern melodic bass. As Gryffin continues his "PULSE: PHASE 2" tour and heads into a loaded festival season, "Air" lands like a mission statement. His first foray into dubstep and co-production with Excision signals his intent to continue growing and demonstrating his elite versatility within a multitude of dance music sub-genres. You can listen to "Air" below and find the new single on streaming platforms here. Follow Excision:X: x.com/excision Instagram: instagram.com/excision TikTok: tiktok.com/@excision Facebook: facebook.com/excision Spotify: spoti.fi/3lLJ5jl Follow Gryffin:X: x.com/gryffinofficial Instagram: instagram.com/gryffinofficial TikTok: tiktok.com/@gryffin Facebook: facebook.com/gryffinofficial Spotify: spoti.fi/3gl5Jg1 Follow Julia Michaels:Instagram: instagram.com/juliamichaels TikTok: tiktok.com/@juliamichaels Facebook: facebook.com/JuliaMichaels Spotify: tinyurl.com/3spbut5v