Ravebot

Etsy has inked a Reverb sale agreement with Creator Partners and Servco. Photo Credit: Oberon Copeland Almost six years after acquiring Reverb, Etsy (NASDAQ: ETSY) is selling the instruments marketplace to Fender investors Creator Partners and Servco Pacific. Reverb reached out with a formal announcement about its sale – and its return to private ownership – this morning. Meanwhile, Etsy confirmed the divestment in a regulatory disclosure, chalking up the move to a “focus on driving growth in the core Etsy marketplace.” The seller, which previously acknowledged “significant GMS [gross merchandise sales] headwinds in 2024,” also noted that it would provide additional information in its Q1 2025 earnings report. Having reportedly paid $275 million for Reverb, Etsy is scheduled to release the first-quarter performance breakdown on the 30th. Shifting to Reverb’s buyers, the mentioned Creator Partners was founded in 2022 by former SoundCloud head Kerry Trainor, a longtime Fender board member who, in keeping with another of his company’s investments, joined BMI’s own board towards the top of 2024. Fellow SoundCloud vets including Jaydan Heather Malsky are also aboard as Creator Partner execs. The more than century-old Servco, for its part, touts itself as “Hawaii’s largest private company,” with operations in the automotive sector as well as venture capital. On the VC front, Servco possesses an ownership stake in Fender, which is said to represent its “largest investment to date.” Notwithstanding the buyers’ Fender holdings, Reverb went ahead and pledged not to provide preferential treatment to the instruments giant. Plus, the marketplace signaled that it would continue operating independently with its existing team in place; a straight merger into Creator Partners isn’t forthcoming, per Reverb. Though the latter’s users “won’t notice any disruption as a result of this news,” significant updates are said to be on the horizon. “We’ve got a lot of exciting changes in the works,” Reverb CEO David Mandelbrot elaborated in part. “We’re expanding access to music-making software on Reverb and we’re getting ready to pilot a new option for selling that allows musicians to get paid faster, while skipping the listing and shipping process. “Our teams are working on improving our search functionality, making it easier to ship, and shortening the time it takes to resolve support issues,” the former Indiegogo CEO proceeded. Those remarks appear to indicate that Mandelbrot will remain aboard Reverb, which he’s led since early 2020. And the marketplace, which declined to provide sale-price details to DMN, expects the transaction to close “in the coming months.” View the full article

We’re launching After the Afters for the community we’ve always valued at EDMNOMAD. Quietly. Intentionally. No big announcements or flashy banners—just real recommendations, reviewed and verified by our team. Until now, the best raver-certified destinations, experiences, and gear lived in secret. Privately—shared through “Tomorrowland” group chats, backstage conversations, and late-night voice notes. Word got out anyway. Because in rave culture, word of mouth is everything. Music festivalgoers don’t simply follow ads. They follow energy. It’s based on trust. And if they hear something is worth it—whether that’s a secluded waterfall hike, a nighttime camera they swear by, a sensory float experience, an airline that goes the extra mile, or a hotel that doesn’t judge the glitter—they’ll go. In rave culture, word of mouth is everything Through After the Afters, EDMNOMAD is finally putting it in writing. What once lived in whispers, screenshots, and side conversations now has a name. It’s for those who always knew—and now, it’s open to those ready to understand. Not through hype. Through earned trust. Because in this culture, ravers don’t just pay attention to what’s loud. They pay attention to what’s been verified by us. Where Do Ravers Spend Their $48k Disposable Income? Let’s talk numbers. The average raver spends around $10,000 per year on music festivals—covering tickets, flights, accommodations, outfits, and essentials. Be it Electric Daisy Carnival, a drop-in at Ushuaïa, or a long-awaited Coachella reunion. Festivalgoers don’t treat these events like weekend getaways. They’re recurring milestones. Planned months in advance, these trips are immersive and intentional. EDM festival attendees arrive early, extend stays, and curate entire itineraries around the experience. And even after the music stops, they’re still in spending mode. Most brands overlook the scale of what comes after. Even after covering festival costs, ravers hold onto an average of $48,000 in annual disposable income. They funnel that money directly into travel, food, wellness, retail, skincare, tech, and recovery rituals. And they don’t spend blindly—they spend with precision. This isn’t impulse buying. It’s spending shaped by community, driven by experience, and rooted in purpose. Raver Demographics Revealed, An Untapped Market The demographic is clear: aged 25 to 45, highly educated, and professionally diverse—working in tech, finance, medicine, media, and design. They’re early adopters and lifestyle architects. They prioritize functionality and design, from the apparel they wear to the devices they carry. A product or place isn’t valuable to ravers unless it fits within their rhythm—flexible, expressive, and built to go the distance. Festivalgoers lean into premium dining, design-led hotels, and brands that understand nuance and timing. Gravitate toward experiences that match the highs and slows of post-rave life—meals that feel earned, spas that feel like sanctuary, brands that enhance the downtime, not distract from it. Ads don’t matter. They chase alignment. And when something clicks, they pass it on with conviction. Word-of-mouth spreads fast in this world—and with trust, it becomes ritual. Word of Mouth, Verified at Scale We know how decisions are done—and they don’t start on Instagram, TikTok, or display ads. Paid campaigns and viral soundbites don’t shape this world. Real conversation and shared memory does. Instinctual trust moves faster than algorithms. Ultra or Miami Music Week rave fams carry the same recommendations year after year. Playlists travel between countries. Packing lists resurface from last season’s Google Docs. Someone pours a second drink at the Airbnb and says, “I know a place.” Another laughs in the rideshare and asks, “Wait, where are we going after?” At 4AM, eyes barely open but the vibe still alive, someone drops a name—a spot, a product, a service—and without hesitation, everyone’s in. $48,000 of untapped potential When a raver finds something that hits—really hits—it becomes more than a thought. It becomes lore. It passes from one crew to another, naturally and with confidence. That place, experience, or favorite must-have becomes part of their ritual, and in rave culture, rituals hold power. We don’t invent those moments. We find them, test them, and share them to the community. Quietly. Intentionally. And when we do, they listen. For brands, they’re missing out on $48,000 of untapped potential. After the Afters Isn’t About What’s Next, It’s an EDMNOMAD Promise What happens after the rave is predictable. An afterparty, maybe a nap, or a hotel tub with essential oils. After the Afters lives elsewhere, existing in overlooked spaces—unearthed by EDMNOMAD veterans who’ve stayed longer, wandered too far, and found what’s worth remembering. This isn’t about squeezing in one more beat. It’s about what lingers—what stays in memories and resurfaces days later in group chats while planning the next festival. Someone says, “Remember that Michelin spot in Dubai—right next to that hidden speakeasy?” Another chimes in with, “That yacht in Miami with the built-in DJ studio—how did we even end up there?” Then comes, “That Bali spa, tucked in the jungle, five minutes from that pottery class—still dreaming about it.” Beyond moments—they are markers in time. That’s the kind of memory we chase. After the Afters exists to scale trust within the EDMNOMAD community—without compromising it. The places we go and the brands we feature come recommended by the same community we serve. Every feature is personally reviewed, experienced, and approved by the EDMNOMAD team. And that matters—because ravers don’t want noise. They want signal. And EDMNOMAD sends it to those seeking After the Afters. EDMNOMAD Radar: Not Just Any Brand Gets In After the Afters We don’t chase brands—a whole community listens for them. Ravers are world travelers, globetrotting one music festival at a time, and your brand travels with them. It has to show up in the isles of Ibiza, then again on a day club in Las Vegas. It has to surface in a group chat between friends planning a trip to Tomorrowland. Not loud nor forced. Just mentioned—casually, confidently, like something everyone already knows. We’ve learned to follow echoes. If it gets said once, we let it pass. Say it twice, we clock it. Three times, in different cities, through different people? We look deeper. Because when something gets shared in this scene, unprompted and uncoordinated, it means someone lived it. And that’s what makes it real. Ravers, A community that actually spends You don’t get into After the Afters because you asked. You’re in because someone already put you there. Because a raver remembered your name—not your logo, not your offer, your name—after two sleepless nights and a ten-hour flight home. That’s how you earn it. Quietly. Honestly. Repeatedly. And if you’ve made it that far, don’t worry. You’ll know. We’ll reach out. Wait for the After the Afters email. After the Afters: Why It Matters To The EDMNOMAD Community This isn’t just coverage. It’s context. It’s access to a global subculture that doesn’t just move between festivals—it moves markets. These are highly mobile, extremely loyal, and hyper-connected people who don’t wait for trends. They decide them. Ravers don’t simply follow the loudest brand. They follow the one that fits, shows up with purpose, and actually gets it. Before After the Afters, the most trusted recommendations in rave culture didn’t come from media. It came from memory. From overheard conversations at sunrise, from voice notes passed between cities, from last-minute texts that say, “Go here. Trust me.” Those moments built the roadmap. We’re the custodians writing it down. So if your brand lives in those moments—if it shows up unprompted, gets passed along, and keeps getting remembered—we’ll notice. And when we do, the community that actually spends will too. We built this for the people who were already living it. Now we’re opening the door—slowly, intentionally—for those ready to meet them where they are. Because in this world, word of mouth isn’t a strategy. It’s the currency. And After the Afters is where it gets exchanged. Not at the rave. After the Afters. The post After the Afters: Rave Culture’s Secrets—Verified by EDMNOMAD. Now, You Need to Know Them. appeared first on EDMNOMAD. View the full article

Photo Credit: Mike Mushok by Craig Noce / CC by 3.0 Staind guitarist Mike Mushok says he’s never received a royalty payment from Atlantic Records — but the band did receive “large advances.” Staind guitarist Mike Mushok sat down for an interview on The KiddChris Show, which airs on the WEBN station in Cincinnati. There, he weighed in on Chevelle frontman Pete Loeffler’s 2021 claim that the band hadn’t received any money from record sales despite selling six million albums for Epic Records. It turns out, according to Mushok, Staind had a similar experience. “I’ve sold I don’t know how many millions of records, and I’ve never once received a royalty from the record company after […] 20, whatever, 25 years. We still owe them money. We haven’t been on the label since — I don’t know, 2011 was the last record we put out on Atlantic, and we still owe them money,” said Mushok. “And listen, I’m not gonna lie — they gave us large advances, and that’s why [we still owe them money]. But seriously, they have to be paid off,” he added. “I think it’s estimated, […] like, another three years it’ll be paid off, and I’ll actually start making royalties on our records.” Mushok doesn’t anticipate the band having an easy time trying to reclaim their own music, either. “Supposedly after 35 years, the masters are supposed to revert back to you. But I was talking to our attorney about that, and he said that no label ever lets you do that. They try to buy you out and give you money so they can continue to own the masters — unless you fight them.” Both Staind and Chevelle are now signed to Alchemy Recordings, after years with other major labels (Chevelle with Epic, and Staind with Elektra and Atlantic). Staind released their first studio album in over a decade back in late 2023. Confessions of the Fallen debuted at No. 4 on the Billboard Top Album chart. View the full article

Photo Credit: YouTube Music Google is working to close the feature gap between YouTube Music and its most popular rivals—Spotify and Apple Music. Now you can directly share lyrics from the YouTube Music app. Here’s how. Lyric sharing is a feature that has long been available on Spotify and Apple Music, making it possible to share pertinent lyrics on social media and elsewhere. Not only does this help with music discovery among influencers’ fans, but it also raises awareness of the music service being used. YouTube Music appears to be taking a page out of Spotify’s book by branding lyrics shared in this manner. How to Share Lyrics on YouTube Music The new feature only shows up when you’re on the lyrics tab directly reading along with the song. From there, a new ‘Share’ button will pop up allowing you to select the lines you want to share. Once selected, tapping ‘Next’ takes you to a customization page where you can change the background color and preview what the share card will look like on social media. The share card includes the album artwork, song name, artist, and a small YouTube Music logo. Hitting the ‘Share’ button will post the lyrics card directly to apps like Instagram, save it to your gallery as an image, or send it through another supported app. The feature appears to be rolling out to users as a server-side update—so not everyone may have access yet. According to the redditor who originally spotted the feature, their YouTube Music app version is 8.15.51 on Android. ‘Fan-led streaming’ is one of the three main pathways for music discovery alongside editorial curation and algorithmic recommendations. Sharing lyrics creates organic opportunities for fans of influencers to discover new music they might not have seen before. Now YouTube Music users can get in on the action. View the full article

Photo Credit: Bluefest Australia’s Bluefest 2025 drew a record 109,000 attendees—the third-highest in its history. It’s also the largest attendance record for any Australian festival since the pandemic. Despite organizers’ stating ‘festivals are back’, the live music scene in Australia is still struggling. Bluefest’s success has been attributed to its loyal fan base and due to the fact that the festival was marketed as potentially the last Bluefest—driving ticket sales. A look at the data shows that only 56% of Australian music festivals were profitable in the 2022-2023 financial year, while 35% operated at a loss and 8% broke even. The 2024-2025 festival season saw the cancellation of major music festivals including Splendour in the Grass, Groovin The Moo, Coastal Jam, Falls Festival and Souled Out—among many others. Organizers for these festivals cite financial instability, rising costs, and insufficient ticket sales to continue supporting large music festivals. Nearly 47% of festival organizers have cited rising operational costs as the most significant barrier. According to a report from The Australia Institute, the average cost to run a music festival in the country now sits at around $3.9 million. Inflation in the sector is up 30-40% since the pandemic, squeezing margins and making it harder to deliver compelling line-ups that will attract necessary ticket sales to support large festivals. The live music scene demographics are also changing. Whereas music festivals were previously geared toward young people (18-24), there has been a drastic decline in ticket purchases from this demographic. That demo made up 41% of ticket sales in 2018-2019, but just 27% in 2022-2023. Attendees are also waiting longer to buy tickets, leading to increased uncertainty for organizers. The success of Bluefest stands as an exception rather than the rule, with its director previously warning of an extinction event for live music. So what is the Australian government doing to help out? So far, the government has committed a total of $25 million over the next two years to extend the Revive Live program. This program provides targeted grants to majority Australian-owned live music venues and festivals that showcase Australian talent. This funding includes $7.8 million already delivered, $8.6 million in the 2025-26 budget, and an additional $16.4 million announced in April 2025. Since the pandemic, over 1,300 live music stages have closed in Australia, impacting jobs and local economies. The funding is seen as essential to stabilize the sector, create more performance opportunities, and help the live music industry recover and grow. View the full article

The curtain is finally falling on Malaa and Tchami's collaborative DJ series after the former confirmed that the French electronic music superstars' next set under the "No Redemption" banner will be their last. After years of igniting dancefloors with their blistering synergy, EDC Las Vegas 2025 is set to host the final "No Redemption" performance. Malaa broke the news following a powerful performance with Tchami in Asia, sharing a brief yet poignant message signaling the end of an era for one of dance music's most formidable duos. "Grateful for another special moment in Asia with Tchami," he wrote on Instagram. "EDC Vegas will be the grand finale." Over the years, "No Redemption" has emerged as an identity all its own. Tchami’s celestial, groove-laden approach to house music met Malaa's snarling, gritty sound head-on in venues and festivals across the globe, creating a dynamic that felt simultaneously sacred and savage. Tchami's beloved Confession label, which turns 10 this year, became a spiritual home for boundary-pushing house music and released several of Malaa's formative singles. Together, they've since built a brand that's merged visual mystique with an unmistakable sonic identity that has left an indelible mark on the live music circuit. It's important to note that Tchami and Malaa will likely perform together again at some point. But their final branded "No Redemption" set will take place at EDC Las Vegas, which runs from May 16-18, 2025. View the original article to see embedded media. Follow Tchami:X: x.com/iamtchami Instagram: instagram.com/tchami TikTok: tiktok.com/@tchami Facebook: facebook.com/iamtchami Spotify: spoti.fi/30ORbPE Follow Malaa:X: x.com/Malaamusic Instagram: instagram.com/malaamusic TikTok: tiktok.com/@malaamusic Facebook: facebook.com/malaamusic Spotify: spoti.fi/2X7DZnt

Miami’s famous III Points festival has dropped off its phase one lineup for 2025. Returning to the Mana Wynwood Convention Center for its 12th edition this October 17-18, the heralded event has tapped another set of eclectic multi-genre names for this year’s lineup, which will swell to over 100 acts spanning underground dance, rap, indie rock, and more across 11 stages this fall. Featured in III Points first lineup drop are acclaimed house selectors Michael Bibi, Peggy Gou, ANOTR, and Barry Can’t Swim, techno queens Nina Kraviz and Indira Paganotto, dancehall legend Sean Paul, and rappers 2hollis, Denzel Curry, and CA7RIEL & Paco Amoroso. Instrumental performances will come from renowned electronic band DARKSIDE, nudisco favorites L’Impératice, and alternative acts such as Mk.gee and Turnstile. More names will be announced in the coming months. Orchestrated by Link Miami Rebels and Insomniac, the team behind Miami’s famous Club Space and Factory Town venues, III Points has helped shape the city’s vibrant music and arts culture since its debut in 2013. The festival, which preaches the importance of the “intersection of art, music, and exploration,” will also feature over 10 stages of music, immersive art exhibits, and curated food and beverage offerings. III Points will also launch a limited number of “after midnight” tickets, offering festival entry between 12AM and 4AM on both nights, for $139 all-in. Pre-sale registration for III Points 2025 is now open here. Pre-sale ticket access will begin this Friday, April 26, at 11:11 AM ET. General on-sale will follow on the same date at 1:11PM ET. For more information or to purchase tickets, visit iiipoints.com. Featured image courtesy: III Points. The post III Points Reveals 2025 Phase One Lineup appeared first on EDM Maniac. View the full article

Miami’s famous III Points festival has dropped off its phase one lineup for 2025. Returning to the Mana Wynwood Convention Center for its 12th edition this October 17-18, the heralded event has tapped another set of eclectic multi-genre names for this year’s lineup, which will swell to over 100 acts spanning underground dance, rap, indie rock, and more across 11 stages this fall. Featured in III Points first lineup drop are acclaimed house selectors Michael Bibi, Peggy Gou, ANOTR, and Barry Can’t Swim, techno queens Nina Kraviz and Indira Paganotto, dancehall legend Sean Paul, and rappers 2hollis, Denzel Curry, and CA7RIEL & Paco Amoroso. Instrumental performances will come from renowned electronic band DARKSIDE, nudisco favorites L’Impératice, and alternative acts such as Mk.gee and Turnstile. More names will be announced in the coming months. Orchestrated by Link Miami Rebels and Insomniac, the team behind Miami’s famous Club Space and Factory Town venues, III Points has helped shape the city’s vibrant music and arts culture since its debut in 2013. The festival, which preaches the importance of the “intersection of art, music, and exploration,” will also feature over 10 stages of music, immersive art exhibits, and curated food and beverage offerings. III Points will also launch a limited number of “after midnight” tickets, offering festival entry between 12AM and 4AM on both nights, for $139 all-in. Pre-sale registration for III Points 2025 is now open here. Pre-sale ticket access will begin this Friday, April 26, at 11:11 AM ET. General on-sale will follow on the same date at 1:11PM ET. For more information or to purchase tickets, visit iiipoints.com. Featured image courtesy: III Points. The post III Points Reveals 2025 Phase One Lineup appeared first on EDM Maniac. View the full article

Deadmau5 has apologised following a drunken set at Coachella, which was reportedly cut short. The artist, whose real name is Joel Zimmerman, performed under his Testpilot alias alongside ZHU at the festival last Friday (18 April) on its electronic stage, Quasar. Videos later surfaced online showing them drinking together, with some showing Zimmerman falling over and slurring his words when speaking through the mic. READ MORE: Watch deadmau5 play the medieval EP-1320 while wearing a suit of armour. No, seriously Zimmerman later took to Instagram to share that he doesn’t “remember a thing” from the set, and that it would likely be his last Coachella performance. The electronic artist has been an open critic of other festival performances in the past, notably Grimes’ when she suffered major technical difficulties last year. Another post from him later reads, “Man, even my cat is disappointed in me. Though, it could be argued that she always has been. Sorry about last night. To be fair, I felt the first 3/4 was great! Huge shout out to Zhu for introducing me to whisky and carrying my dumb ass till the bitter end. Lemme quit smoking, do some personal resetting here at home, find my spirit animal, work on some new music, and come back better.” Another post shows a video of his cat, with the simple caption of “I’m fine thanks.” In other deadmau5 news, back in March it was revealed that he had sold his catalogue to Create Music Group for $55 million. The deal means Create acquires the rights to the mau5trap Records catalogue, meaning the company now owns more than 4,000 new songs in total. It also marks the beginning of a new partnership between Create Music Group and deadmau5, who will work together on future deadmau5 records and mau5trap label releases. The post Deadmau5 apologises for drunken Coachella set: “Lemme work on some new music, and come back better” appeared first on MusicTech. View the full article

Electronic music content on TikTok achieved a significant milestone last year, surpassing indie music in viewership for the first time. Posts tagged with #ElectronicMusic collectively generated 13 billion views. As noted by The Guardian, electronic music’s growth on the social media platform is accelerating faster than indie, rap, and hip hop. Its popularity surged by 45% compared to 2023, which itself had seen a doubling in engagement from the previous year. Within the electronic music tag, techno and house are reportedly among the most favored sub-genres. TikTok attributes some of this rising popularity to the success of artists like Disclosure and Joel Corry on the app. Toyin Mustapha, TikTok’s head of partnerships for the UK and Ireland, told The Guardian that users often tag specific genres like electronic music. He suggests this behavior highlights the strong community focus inherent in the genre, stating, “It shows the community they are trying to build and are part of.” In the United Kingdom specifically, the creation of #ElectronicMusic videos increased by 50% during 2024, while views for this content rose by 22%. Mustapha added that dance music is increasingly accessible and commercially prominent. He believes TikTok contributes to breaking down barriers for artists, observing, “It’s not just reflected in festival bookings, you can see it in the official charts as well.” The post Electronic Music Surges On TikTok, Overtaking Indie In Views For The First Time appeared first on EDMTunes.

Hayashi International Promotions head Kaori Hayashi, whose company has sold to Live Nation. Photo Credit: Live Nation Live Nation’s aggressive international buildout has officially reached Japan, where the promoter has acquired Hayashi International Promotions (HIP). The Ticketmaster parent announced its newest buyout in a brief release. Founded some four decades back and currently led by the namesake Kaori Hayashi, Hayashi International has, of course, organized concert series for a variety of Japanese acts. Additionally, the Tokyo-headquartered business has promoted a number of shows in Japan for international talent. Global clients include the Red Hot Chili Peppers, Taylor Swift, Bruno Mars, Fall Out Boy, and Linkin Park, the appropriate website shows. Now, at least as Live Nation sees things, today’s deal “will enhance Japan’s live music landscape” both by attracting “global superstars” to the nation and by “elevating J-pop on the international stage.” While the involved parties opted against divulging the transaction’s financials, they did indicate that Kaori Hayashi will remain at the helm moving forward. In a statement, Live Nation head Michael Rapino touted the purchase as a means of bringing “even more live music to fans across Japan.” And in remarks of her own, Kaori Hayashi emphasized the sale’s perceived ability to help Hayashi International Promotions operate on a “greater scale.” “HIP has been at the heart of Japan’s live music scene for over 40 years,” the exec communicated, “and our focus has always been on delivering incredible concerts for fans. “Partnering with Live Nation allows us to keep doing this with greater scale, giving Japanese artists the opportunity to perform to new audiences and strengthening Japan’s position as a must-visit destination for major acts,” Kaori Hayashi concluded. For Live Nation, the play is just the newest in a line of international expansions, all having arrived as the company continues to grapple with stateside antitrust scrutiny. Furthermore, the promoter is also encountering regulatory hurdles in Europe, where rivals like CTS Eventim are expanding aggressively and reporting solid growth. At the intersection of those points – the antitrust crackdown and the stiff competition in Europe – Live Nation is apparently zeroing in on different regions. Besides today’s buyout, that refers to recent venue investments in Singapore, Portugal, Canada, and South Africa, on top of ticketing pushes throughout Africa and elsewhere. Separately, Japan-focused expansions aren’t confined to the events side. Universal Music bought A-Sketch in February, Hybe rebranded its Japanese division that same month, and Believe in March scored a Teichiku Entertainment distribution deal. View the full article

Daft Punk fans may soon get the chance to own a piece of electronic music history — in brick form. A LEGO recreation of the legendary French duo’s Alive 2007 stage setup has officially advanced to the review stage on the LEGO Ideas platform, a crucial step that could lead to official production. Patrick Harboun, also known as RobotRock, is behind the recreation of Daft Punk’s iconic ‘Alive’ 2007 concert, which was recorded at the Palais Omnisports de Paris. The set captures the essence of the concert, complete with the duo’s signature helmets and electrifying stage presence. This project has a special significance for Harboun, as he previously won the Grand Prize in the global LEGO competition Music To Our Ears! with a similar design., the detailed model replicates the iconic pyramid stage design used during Daft Punk’s 2007 world tour, widely regarded as one of the most influential live electronic performances of all time. The build includes lights, speakers, DJ gear, and two minifigures resembling Guy-Manuel de Homem-Christo and Thomas Bangalter in their signature helmets. After reaching the required 10,000 votes from the community, the project is now under formal review by the LEGO Group. If approved, it could become an official LEGO set, joining the ranks of other fan-submitted ideas that have been turned into real products. This revival of Daft Punk’s legacy in LEGO form comes after the duo officially disbanded in 2021, though interest in their work remains as strong as ever. An Alive 2007 LEGO set would be a collector’s dream for both music lovers and brick enthusiasts. Learn more about the Alive 2007 recreation and see more clips of it in action on LEGO’s Ideas platform. Stay tuned for updates on the project’s status as it moves through the review process. The post Soon You May Be Able to Purchase Daft Punk’s ‘Alive 2007’ LEGO Stage appeared first on EDMTunes.

The intellectual property of Fyre Festival has been acquired to launch a new music streaming platform, Deadline reports. Capitalizing on one of the most infamous brands in modern entertainment, Shawn Rech, an Ohio-based media entrepreneur known for producing crime documentaries and launching the streaming platform TruBlu, has reportedly acquired IP linked to Fyre Festival, including two trademarks. The deal will fuel the launch of a new user-submitted, fan-curated music platform bearing the same notorious brand. "Music networks are all just programming now and I have no interest in watching people slip on bananas," Rech said. "It has nothing to do with music. I needed a big name that people would remember, even if it’s attached to infamy, so that’s why I bought these [trademarks] to start the streaming network." The platform will reportedly launch on Thanksgiving Day with plans to feature both a $3.99 subscription service and a free ad-supported streaming television (FAST) channel. Subscribers will be able to vote on which artists are featured on the FAST feed. "This isn’t about festivals or hype—it’s about putting the power of music discovery back in the hands of the fans," Rech added. "We’re building something authentic and lasting." Billy McFarland, the disgraced co-founder of the original Fyre Festival, retains ownership of the event itself. While he's not directly involved in the streaming platform's operations, he is "expected to have a presence on the network," per Deadline. Meanwhile, Fyre Festival continues to be a global punchline for failed luxury music events after its ill-fated event in 2018, which devolved into chaos on the Bahamian island of Great Exuma. McFarland, who ultimately served four years in prison for wire fraud, was organizing a sequel this year in Playa del Carmen before postponing the event indefinitely amid contentious disputes with Mexican authorities. The organizers of Fyre Festival 2 insist the event "is still on" and are currently "vetting new locations." They have not announced new dates or a location at the time of this writing.

An artificial brain made using blood cells from composer Alvin Lucier is making posthumous music, four years after his passing. The American composer was the first artist to use brainwaves to generate live sound in his famous piece, Music for Solo Performer, back in 1965. Lucier was known for his experimental compositions, also notably the sound art piece, I Am Sitting In A Room. He died in 2021. READ MORE: One of the world’s smallest acoustic pianos raises $45k on Kickstarter In 2020, Lucier gave his permission to a team of scientists and artists to carry out the project, and agreed to donate his blood. Called Revivification, it was created by artists Nathan Thompson, Guy Ben-Ary, and Matt Gingold, alongside neuroscientist Stuart Hodgetts, as per The Guardian. For the project, Lucier’s white blood cells were reprogrammed into stem cells and transformed into cerebral organoids, described as “clusters of neurons that mimic the human brain”. The artificial mini-brain is now on display in the Art Gallery of Western Australia, where a raised plinth hosts a magnifying lens showing “two white blobs” which form the lab-grown brain, as it composes “a posthumous score in real time”. As outlined on the art gallery’s website, the walls of the exhibition are lined with 20 large, curved brass plates that are both sculptural and the source of the immersive sound environment. Each of the plates is directly connected to the neural activity of the brain organoid. “As the ‘in-vitro brain’s” signals pulse through transducers and actuators, they strike the brass, creating complex, sustained resonances that fill the space with sound”, the gallery explains. Artist Ben-Ary says the team involved are “very interested to know whether the organoid is going to change or learn over time”. As for the ethical and philosophical questions raised by the project, the team say Revivification “is art first and science second”. “Where does creativity lie?” Thompson tells The Guardian. “As cultural workers, we are really interested in these big questions. But this work is not giving the answers. Instead we want to invite conversations … Can creativity exist outside of the human body? And is it even ethical to do so?” You can find out more about Revivification via the Art Gallery of Western Australia. The post Artificial “mini-brain” made from blood cells of composer Alvin Lucier is making music – four years after his death appeared first on MusicTech. View the full article

Hefty tariffs imposed by US president Donald Trump are already wreaking havoc, as manufacturer Sonicware now warns that the price of its CyDrums drum machine will likely jump to over $900 from a much smaller price tag of $399 for customers based in the States. President Trump has already placed a 10 per cent universal tariff on the import of goods from foreign countries, but even higher rates – which he calls “reciprocal tariffs” – could be put in place for further specified countries by July. There is currently a 90-day pause on these higher tariffs for all countries except China, which is facing a whopping 145 per cent duty. READ MORE: How will Trump’s tariffs affect the music gear and vinyl pressing industries? A Billboard journalist breaks it down In a new notice on its website, Sonicware writes, “Due to new US customs regulations, a 145 per cent duty will apply to China-made products, including this item. This $399 item will incur over $578 in additional import charges starting next month. We recommend ordering within this month to avoid the new duties.” A similar notice is also placed under many of its other products, including its SmplTrek portable sampler, which will face an extra $622 in import charges. Sonicware is based in Japan but some of its products are manufactured or use parts from China, hence the additional charges. Recently, NAMM president and CEO John Mlynczak urged the Trump administration to “exempt musical instruments and accessories, along with materials used to manufacture musical products” from the tariffs. In a statement he said, “The negative effects of these measures threaten the economic and cultural impact of US-made musical instruments and accessories, as well as cause our US music products industry to lose its global competitive advantage in producing high-quality products, especially at professional and entry levels. “The 90-day pause on reciprocal tariffs announced last week via executive order  is a welcomed measure, but the continued unpredictability of these tariff actions makes it difficult for companies to react in a meaningful way… The effects of these sudden and unpredictable tariff actions will have a long-term effect on musicians worldwide.” Check out more from Sonicware. We will continue to report on any tariff updates that will impact the music industry. The post “We recommend ordering within this month”: Sonicware warns price of its CyDrums drum machine will rise from $399 to over $900 due to Trump tariffs appeared first on MusicTech. View the full article

Reverb has been sold by Etsy, and is now a privately held, independently operated company for the first time since 2019. The online music gear marketplace has been bought by Creator Partners and Servco, two investment firms with strong ties to the music industry. Creator Partners, for example, owns SoundCloud and BMI, while Servco is a majority shareholder of Fender. Creator Partners founder is also the former CEO of SoundCloud. READ MORE: “We need more listeners and dancers and less DJs”: JKriv says DJs should have “more anonymity” when performing Reverb CEO David Mandelbrot stresses that Reverb will not be merging with Creator Partners, Servco, or any of the companies in which they invest, that Reverb’s team will remain intact and that buyers and sellers on the platform will not notice any disruption as a result of the deal. “Creator Partners and Servco share our passion for the musical instruments industry and a community-first approach, plus a deep desire to strengthen creative industries,” Mandelbrot says. “The musicians, shops, and brands who use Reverb have always been at the centre of all that we do, and these two partners will help us support our music-making community in new and better ways.” Reverb also says that while both Creator Partners and Servco are investors in Fender, Fender will not receive preferential treatment on the platform as a result of the deal. “We’ve got a lot of exciting changes in the works,” Mandelbrot says. “We’re expanding access to music-making software on Reverb and we’re getting ready to pilot a new option for selling that allows musicians to get paid faster, while skipping the listing and shipping process. “Our teams are working on improving our search functionality, making it easier to ship, and shortening the time it takes to resolve support issues. All in all, there’s a lot for our community to look forward to and I’m very excited about what’s coming as we move forward as an independent company again.” “Reverb is the #1 global marketplace for musicians, and a one-of-a-kind platform that has transformed access to quality used gear for creators of all levels,” says Creator Partners founder Kerry Trainor. “We are thrilled to join the Reverb mission to make the world more musical, and grow the entire industry through seamless secondhand commerce.” “We are thrilled and honoured to be a part of Reverb’s continued success,” adds Executive Chair of Servco, Mark Fukunaga. “For nearly 90 years, Servco has been deeply involved in musical instruments and music education programs. And we remain committed to being good stewards of leading musical instrument companies, like Reverb, and supporting players everywhere in pursuing their passion to create music.” Learn more about Reverb, Creator Partners and Servco. The post Reverb is now independently operated again after being sold by Etsy appeared first on MusicTech. View the full article

We’ve got a beautiful yet daring remix to share with you today. We’ve got news for you today. Rising talent Dias Ridge has put his own spin on Night Breeze‘s recent release ‘Wanaka Springs‘, transforming it into a captivating, triplet-infused club number. This remix arrives hot on the heels of Ridge’s acclaimed End to Begin release on the Where The Heart Is imprint a few months back — a record that initially garnered attention for its intriguing blend of Jazz-inspired piano arrangements, a nostalgic nod to Trance, and grounded narrative qualities. Centred on personal uniqueness and what makes us human, Dias Ridge’s music explores the inner conflicts we encounter as we decide to forge our own paths. Inspired by the picturesque landscapes of northern California, he finds comfort and creative spark in these images, crediting them for his work. ‘Wanaka Springs (Dias Ridge Remix)’ Known for his melodic touch and the woven-like quality of his rhythms, Dias Ridge steers the original ‘Wanaka Springs’ into deeper, more expansive territory while ensuring it retains its dancefloor appeal. There’s emphasis on the rhythms this time, with the swinging feel of the triplets providing both a driving force and ample breathing room within the track. There’s an aspect of immersion I really like throughout the track. Every element complements the entire arrangement. It feels as though no starring signal reigns, instead having 3-4 protagonists at all times, both melodically and rhythmically. I’m digging that, once again, woven-like nature of this piece. Listen to Dias Ridge‘s remix of Night Breeze‘s ‘Wanaka Springs’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on Beatport. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry. The post Dias Ridge Remixes Night Breeze’s Latest, ‘Wanaka Springs’ appeared first on EDMTunes.

As the number of views of TikTok videos with electronic music soars past that of indie, the genre is no longer just pulsing through clubs, but powering pop culture's algorithm. The rise of EDM on TikTok is a signpost for where global listening trends are heading, and the numbers are hard to ignore. In 2024, TikTok videos tagged with #ElectronicMusic garnered over 13 billion views globally, a 45% leap from the previous year, For the first time, those figures outpaced content using indie and alternative music tags, The Guardian reports. The genre's breakneck momentum has even left hip-hop and indie, longtime dominant forces on the platform, trailing in growth. Videos tagged with electronic music were made in droves, with over 100% year-on-year growth in creation, particularly tied to themes like fitness, fashion and travel. "Dance music has become more accessible and big in the commercial sphere," said Toyin Mustapha, TikTok’s Head of Music Partnerships for the UK and Ireland. "We are seeing the breaking down of boundaries for artists, and TikTok is part of that." That influence echoes across the industry’s biggest stages. According to recent data from ROSTR, electronic dance music artists comprised a commanding 39% of Coachella's 2025 lineup, a staggering shift for a festival similarly once known for its indie and rock foundations.

Over 30 renowned artists have released new music incorporating the sounds of nature to celebrate Earth Day 2025. The project extends the groundbreaking "Sounds Right" initiative, which made history in 2023 by establishing NATURE as an official artist on streaming platforms. The diverse roster of musicians spans continents and genres, electronic music superstars like Amelie Lens and Swedish House Mafia's Steve Angello to classical composer Evgeny Grinko, each bringing their unique interpretation to the collaboration. Many artists have incorporated field recordings from wildlife sound specialists or captured their own environmental audio. Several tracks carry deeper environmental messages. British DJ and producer I. JORDAN featured endangered UK birds on the "Red List" while Rosa Walton highlighted moth sounds, drawing attention to their declining populations due to climate change. Alice Boyd created a poignant comparison of birdsong recordings from the same location nearly five decades apart, subtly demonstrating nature's diminishing presence against increasing human activity. Led by the Museum for the United Nations, the initiative has proven remarkably successful since its launch. NATURE has amassed 130 million total listeners across platforms, according to a press release, generating substantial royalties that directly fund conservation efforts. Last year, the program committed $225,000 to protect biodiversity in the Tropical Andes, including work to safeguard Colombia's endangered cotton-top tamarin monkeys. "We asked a question: what if nature could speak—and be credited—through music?" said Gabriel Smales, Global Programme Director for Sounds Right at UN Live. "A year later, the answer is clear. Millions are listening, and directing real funding to communities protecting the planet’s most vital ecosystems." Looking ahead, the organization plans to commit over $500,000 to conservation projects by 2025, with a focus on key biodiversity areas in the Amazon and Congo Basins ahead of the crucial COP30 climate conference in Belém, Brazil. All tracks are available on the "feat. NATURE" playlist, which you can listen to below.

May 2025 is shaping up to be an insane month for EDM fans across the globe. From sun-soaked beaches to sprawling cityscapes, these ten festivals promise unforgettable experiences with stellar lineups and vibrant atmospheres. Whether you’re a seasoned raver or a curious newcomer, here’s our guide to the must-attend EDM festivals this coming month.​ 01. EDC Las Vegas Dates: May 16–18 Location: Las Vegas Motor Speedway, Nevada, USA EDC Las Vegas returns with over 250 artists across 16 stages. This year’s lineup boasts heavyweights like Tiësto, Martin Garrix, Charlotte de Witte, Eric Prydz, DJ Snake, Alesso, and Armin van Buuren. Expect immersive stage designs, pyrotechnics, and a vibrant community under the electric sky. ​ Tickets: https://lasvegas.electricdaisycarnival.com/tickets/#sunday 02. Palm Tree Music Festival Hawaii Dates: May 9–10 Location: The Ritz-Carlton, North Shore, O’ahu, Hawaii Set against Hawaii’s picturesque backdrop, this festival features Kygo, The Chainsmokers, Eric Prydz, Alesso, Nora En Pure, and San Holo. Experience tropical vibes and top-tier performances in an intimate setting. Tickets: https://wl.seetickets.us/event/Palm-Tree-Music-Festival-Hawaii/634383?afflky=BAMPproject 03. Don’t Let Daddy Know Chile Date: May 3 Location: Club Hípico, Santiago, Chile DLDK Chile brings a powerhouse lineup with Afrojack, Don Diablo, Nervo, Nicky Romero, Oliver Heldens, and Third Party. Prepare for a night of high-energy performances and unforgettable moments. Tickets: https://dldk.com/events/dont-let-daddy-know-chile-2025/ 04. &FRIENDS Festival Manila Dates: May 30–31 Location: Okada Manila, Philippines Blending music and pop culture, &FRIENDS Festival features Zedd, Illenium, Seven Lions, bbno$, Yellow Claw, and local talents like Ylona Garcia. A unique fusion of global and local acts awaits. Tickets: https://www.andfriends.live 05. Ultra South Africa Dates: May 9 (Cape Town) & May 10 (Johannesburg) Locations: The Ostrich, Cape Town & Expo Centre, Johannesburg Celebrating its 10th anniversary, Ultra South Africa features Martin Garrix, Armin van Buuren, ISOxo, KSHMR, and local stars like Shimza and Culoe De Song. A decade of dance culminates in this epic celebration. Tickets: https://ultrasouthafrica.com/tickets/ 06. Breakaway Atlanta Dates: May 16–17 Location: Center Parc Stadium, Atlanta, Georgia, USA Debuting in Atlanta, Breakaway Festival presents Zedd, Illenium, Chris Lake, Tinlicker, Le Youth, and more. A fresh addition to the city’s festival scene. Tickets: https://www.breakawayfestival.com/festival/atlanta-2025 07. Lightning in a Bottle Dates: May 21–25 Location: Buena Vista Lake, California, USA A blend of music, art, and wellness, LIB 2025 features Jamie xx, Four Tet, Khruangbin, John Summit, and Shygirl. Experience a transformative festival journey. Tickets: https://www.libfestival.org 08. Electric Island Dates: May 17–18 Location: Fort York, Toronto, Canada Toronto’s summer series kicks off with CamelPhat, Miss Monique, Mochakk, and Sammy Virji. Enjoy house and techno beats in a scenic outdoor setting. Tickets: https://www.electricisland.to 09. NAMELESS Festival Dates: May 31–June 2 Location: Lake Como, Italy Set by the stunning Lake Como, NAMELESS features Martin Garrix, Armin van Buuren, Don Diablo, Gorgon City, and Tchami. A picturesque location meets world-class EDM. Tickets: https://namelessfestival.it/en/tickets/general/ 10. Project GLOW Dates: May 31–June 1 Location: RFK Festival Grounds, Washington, D.C., USA Returning for its fourth year, Project GLOW boasts Kaskade, Alan Walker, Chris Lake, James Hype, and Loud Luxury. Dance in the heart of the nation’s capital. Tickets: https://projectglowfest.com/tickets/

Bootshaus has stood as a pillar of Germany’s nightlife for decades holding countless unforgettable events. On April 25th 2025 they’ll be adding to their history of amazing nights with Oliver Heldens at the helm. Ranked as the #7 club in the world this year by DJ Mag, Bootshaus is a prestigious venue with a long and colourful history. Set in a shipyard warehouse in Mülheim harbour the building was originally used to store boats hence the name Bootshaus which translated to English means Boathouse. The venue has a monstrous capacity of 2000 split across its three diverse rooms: Mainfloor, BLCKBX, and DREHEREI. The production quality is second to none with high-end lighting, huge LED screens, incredible sound systems, and even pyrotechnics. On the 1200 capacity Mainfloor Oliver Heldens will be heading up a night of hard-hitting electronic music with some excellent support artists. He’s been touring all around the world taking to the stage at all the biggest festivals and is coming off the back of another massive release ‘Born To Love’ in collaboration with Sarah de Warren. But the star power doesn’t end there as supporting him on the Mainfloor are the talents of Brandon, DJ Artin, and Ravepunzel who will undoubtably bring the house down. To get tickets for this insane event click the button below: BOOTSHAUS TICKETSTo follow Bootshaus on Instagram click the button below: BOOTSHAUS INSTAGRAM

Photo Credit: Karol G by La Prensa Gráfica Noticias de El Salvador / CC by 3.0 Karol G launches the trailer for her Netflix documentary feature, “Karol G: Tomorrow Was Beautiful,” releasing on May 8 from director Cristina Constantini. After wrapping up her Mañana Será Bonito World Tour last summer, Colombian superstar Karol G has hardly slowed down. The trailer for her upcoming Netflix documentary feature launched today, alongside an official release date: May 8. A documentary from This Machine and director Cristina Constantini, “Karol G: Tomorrow Was Beautiful” traces Karol’s rise from humble beginnings in Medellin, Colombia, to international fame with her record-breaking stadium tour. The film is a rare look at the unique determination, raw talent, and relentless work ethic that has launched Karol G to superstardom and paved a path for future generations of Latinas. “Karol G was told her dream was too big, that she was the wrong gender, and from the wrong place, to ever be a global star. But only fools bet against a Bichota,” the film synopsis states. The documentary is produced by This Machine, Interscope Films, and Bichota Films, with producers R.J. Cutler, Elise Pearlstein, Trevor Smith, Cristina Constantini, Kristofer Rios, Alex Simmons, and Mariem Perez. Executive producers include Mark Blatty, Margeret Yen, John Janick, and Nir Seroussi. Karol defied critics with her record-breaking tour last year, as no other woman in Latin music had ever headlined a global stadium tour. The tour, in support of her Grammy-winning and chart-topping album, Mañana Será Bonito, also became a top-grossing event. Karol was the highest grossing Latin touring artist of 2023. The final performance of the tour took place in Madrid’s Santiago Bernabéu Stadium — where she broke yet another record, becoming the first artist to sell out four shows at the venue. There, she gave a heartfelt speech to her audience. “After almost seventy nights, I’m going to say for real that tonight is going to be the coolest night of my life,” she said. “I always think I have the words for everything, but I would like to find the words to describe how I feel as a person, as a woman, how I feel here in front of all of you.” “This tour allowed me to find my purpose in life and that is to help people feel like I feel now after so many years of not feeling this way. I’m closing a chapter of my life that meant everything, the closeness with my fans, with my family, and after all, tomorrow was very beautiful.” View the full article

Miami life is leveling up with the finished development of the all-new Miami Worldcenter opening in May. And to celebrate this grand opening, while staying true to their passion for music and entertainment, downtown Miami is hosting a free concert. But let’s call it what it really is… Block Party! On May 22nd, join the evening fun as Lee Greenwood kicks it off singing ‘God Bless The USA’. Honoring the country, the flag, and the people who have all led to allowing such incredible achievements to happen. Immediately after, be ready for they are coming out of the gates hot with performances by Flo Rida, Nicky Jam, and Shaggy. Then the night will reach its finale with Swedish DJ Alesso. The entire event will be hosted by Miami’s very own DJ Irie and DJ Scotty B. This new 6 billion dollar destination is 300,000 square feet, across 27 acres, and will bring you shopping, restaurants, and other lifestyle entertainment. If you show up at the Miami Worldcenter grand opening party, you can expect to enjoy immersive street activations, experimental performances, with lots of food and drinks. You can attend for free with RSVP. The location’s address is 850 NE 2nd Avenue, which means it’s accessible by transit options such as Brightline, Metrorail, Tri-Rail, and Metromover. Doors open at 6 pm, concert begins at 7:30 pm and if you are interested, be sure to RSVP through Eventbrite. The post Alesso Will Headline Free Miami Concert For Opening Of New Shopping Development appeared first on EDMTunes.

While taking a break from the desert heat, EDMTunes got to sit down with German producer and DJ Boris Brejcha. The High-Tech Minimal pioneer was focusing a couple of hours before his return to the Coachella stage on Weekend 1. The artist was ready to bring out his Reflections concept show to the Sahara tent, including the live debut of his unreleased track ‘Red In The Desert’. EDMTunes: What made you return to Coachella this time around? Boris Brejcha: Easy, I came two years ago and it was my first time. It was crazy to see all the stages and the festival itself, we had a super nice time. At the time, we did a bus tour in America so the last stop was Coachella. It was insane so it was an easy choice to come back. EDMTunes: What makes the Coachella crowd so special? Boris Brejcha: I don’t know, it’s huge and we have people all over the world so it’s super crazy, the sound system is incredible and so are all the stages, everything is super well done. EDMTunes: This is also a festival where the mainstream meets the underground, so it’s a very diverse experience. Do you have any past tracks that have inspired some new ones? Boris Brejcha: I just did one called ‘Red In The Desert’, the vocalist is here in Coachella so that’s really funny. I’m going to play it today for the first time, see how it works. I’m super happy, that we got a nice singer for that. EDMTunes: That’s something that we notice here in Coachella, the surprise special guests kill it every time. And speaking of special, you recently did a collaboration with Andrea Botez, she started as a professional chess player and now she’s producing. How did that come about? Boris Brejcha: It was random, she was messaging me on Twitter, on X, and told me she loved my music and came into the genre because of my work. We started chatting a bit, and I saw that she plays chess, and man she’s f*cking good. I challenged her once and lost immediately. I had this track out and we were thinking ok, let’s do this together and do a remix, and it worked out really really well, she’s really tough. EDMTunes: I’ve followed her for some time through her chess content, so I was super excited when I found out she liked Techno as much as I do. Boris Brejcha: And actually it’s a nice combination right? Chess and Techno, it’s crazy, I mean. EDMTunes: You’re right! They’re both strategic, calculated, but also cerebral, which we absolutely love. Moving on, do you have any new artists that inspire you right now? Boris Brejcha: I have to say I don’t get to listen too much to other artists. I’m in the studio everyday, day by day so I don’t really listen to other music like pop or rock, but I can say there are a lot of good new artists coming up. EDMTunes: Well that makes sense since you play your sets completely on your own production. And what about Boris tracks that you stop playing? Are there times when you decide you won’t play a specific track anymore? Boris Brejcha: That’s a tough question, when you’re in the studio, you never know if the track is going to be super big or not. I just do my set and realize the reactions, then I decide if I want to play the track more or not, it also depends if I like to strike. It’s always a hard decision, but I like all of my tracks so it’s perfect to me. EDMTunes: Now on the other end, what is one track of yours that gets that major reaction from the crowd every single time? Boris Brejcha: Actually there are two or three tracks. One is ‘Gravity’, it’s a long-time favorite, of course ‘Purple Noise’, it’s super old but still works. And ‘Take It Smart’ as well, but yeah there’s always a couple tracks with the reaction. EDMTunes: Personally, ‘Spicy’ gets me every time, but you have plenty of tracks that get us going. This next question is a special request from a friend in Las Vegas, her name is DJ Mariela Nunez, and she wants to know: If you could go back in time and give young Boris a piece of advice when you were first starting out, what advice would you give yourself? Boris Brejcha: I mean, when I look back, it was a hard time, but in the end I would say I did everything right, so I would say: Boris, just do it, you know? Because everything will be alright. The post [INTERVIEW] Boris Brejcha Talks Return To Coachella, And His Creative Journey appeared first on EDMTunes.

Musician and sound designer Venus Theory has launched yet another free goodie, and this time it’s a piano library sampled right from his good friend Benn Jordan’s own home studio piano. Jordan’s piano is described as a “unique” upright Yamaha, which also happens to have a MIDI input. The pair had been meaning to sample it for quite some time, and finally, it’s available free of charge for the Decent Sampler plugin (handily, this is also free). READ MORE: “You have eight months to soundtrack an AAA game in a style you’ve never done before”: Venus Theory on his ‘trial by fire’ soundtrack for Avowed Venus Theory, also known as Cameron, launches free tools thanks to support from his patrons, and has a mission to make inspiring and easy to use music tools that are completely free of charge with “No strings attached. No stupid subscription bullshit. Just sound.” The new piano tool marks the start of another new free series from the creative, which will all fall under the name of “forms”. The series introduces a new interface, but currently there are no other plans or ideas in motion for what might come next. In a newsletter speaking of the launch, Venus Theory recalls of their joint project, “I packed a few extra goodies with me and we set up his Yamaha Upright with my piano sampling template and got to work drinking some bourbon while the piano played itself. Turns out a piano with MIDI Inputs makes for a very easy sampling session comparatively. “This session was done as a ‘test’ to see if we could get the sound we wanted from the piano and experiment a bit with the recordings to come up with other ideas and we had no real intention of ever releasing this set of sounds since it was just an experiment more than a proper session. However, once we put them together in a test instrument and played around with it we liked the result too much to not share it,” he says. Forms:piano is available to download for free now. Check out more from Venus Theory and Benn Jordan. The post Venus Theory’s new free piano library is sampled from Benn Jordan’s unique upright Yamaha appeared first on MusicTech. View the full article