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Cyazon’s new EP, ‘Home,’ highlights his refined production and evolving sound across five immersive tracks. ‘Home’ sits at the intersection of the genres of melodic dubstep and synthwave, with the two styles working together in perfect harmony. The record boasts two brand new tracks, “Lose My Mind” with glasscat and “White Lies” featuring Ollie Wride, along with three previously released singles, “Home” featuring Natalie Shay, “Reach For You” alongside Snnr, and “Wait A While” with Leyla Diamondi. Two years in the making, ‘Home’ marks a new chapter in Cyazon’s ever-growing discography, showcasing his signature fusion of cinematic soundscapes and high-energy dance music. Powerful, bass-driven drops perfectly compliment soaring, emotive synths throughout the entirety of the EP. With past releases on esteemed labels such as Monstercat, Ophelia Records, and Insomniac’s Bassrush, and support from heavyweights like ILLENIUM, Gryffin, NGHTMRE, and SLANDER, Cyazon continues to solidify his place in the electronic music scene. ‘Home’ is yet another testament to his evolving artistry and cutting-edge production. Featured image: Cyazon The post Cyazon shows off evolving sound on new five-track EP, ‘Home’ appeared first on Dancing Astronaut.

After years of existing only in fragments and unauthorized online leaks, Avicii's long-awaited song "Let's Ride Away" is officially releasing as part of a new compilation, Avicii Forever. Due out May 16th via Interscope, Avicii Forever will feature many of the Swedish EDM icon's most prized anthems alongside the previously unreleased track, which features vocals from Grammy-nominated artist Elle King. The record represents one of Avicii's final creative endeavors prior to his tragic death by suicide in 2018 at the age of 28. "Let's Ride Away" originated from a collaboration between Avicii, whose real name was Tim Bergling, and country music superstar Kacey Musgraves. Though the original version featured Musgraves' vocals, it never made it onto an official release. The new version has been finalized by Carl Falk, a longtime collaborator of Bergling's, who completed the mixing and recorded King's vocals. Multiple versions of the song had leaked online prior to this official release. View the original article to see embedded media. Avicii Forever celebrates Bergling's enduring legacy by curating a selection of his most beloved songs, including 2011's breakthrough "Levels," which defined a generation of EDM, and 2013's "Wake Me Up" and "Hey Brother." The compilation also draws from 2019's posthumous album Tim. Avicii Forever is a collaborative effort between Bergling's estate, Interscope and Pophouse, which in 2022 acquired 75% of his recording and publishing rights. It marks another chapter in the investment firm's ongoing efforts to preserve and celebrate the musical contributions of the late DJ, whose blend of EDM with elements of folk, country and pop helped redefine contemporary music in the 2010s. Pophouse is also currently developing a musical about Avicii, whose life was the subject of a recent high-profile, intimate Netflix documentary released on New Year's Eve 2024. Another documentary from the Academy Award-winning filmmaker Lawrence Bender is currently in production and will feature "previously unreleased footage" recorded around the time of Bergling's discovery and rise to fame. The reveal of Avicii Forever arrives just ahead of the seventh anniversary of Bergling's death on April 20th, 2018. His collaborator on "Wake Me Up," Aloe Blacc, has announced a streaming event in remembrance. Avicii Forever is due out May 16th, 2025. You can view the compilation's trailer and full tracklist below. Avicii Forever tracklist:“Wake Me Up” “Levels” “Let’s Ride Away (feat. Elle King)” “The Nights” “Waiting for Love” “Without You” (feat. Sandro Cavazza) “SOS” (feat. Aloe Blacc) “Hey Brother” “Lonely Together” (feat. Rita Ora) “I Could Be the One” [Avicii vs Nicky Romero] “Silhouettes” “Fade Into Darkness” “You Make Me” “The Days” “For a Better Day” “Addicted to You” “Friend of Mine” (feat. Vargas & Lagola) “Broken Arrows” “Heart Upon My Sleeve” (feat. Imagine Dragons) “Heaven” Follow Avicii:X: x.com/Avicii Instagram: instagram.com/avicii TikTok: tiktok.com/@aviciiofficial Facebook: facebook.com/avicii Spotify: tinyurl.com/3tkv6c2e

YouTube is expanding its Creator Music platform with an AI-powered feature that allows users to generate custom instrumental music for their videos. The tool, Music Assistant, is gradually rolling out to creators across the U.S. who are part of the YouTube Partner Program, according to TechCrunch. After a beta phase in late-2024, Music Assistant is now officially launching to allow creators to generate background music without worrying about copyright claims, offering a cost-effective alternative to licensed music. Users can enter text prompts describing the exact kind of music they want, specifying the mood, instruments, video type and other criteria, before the AI generates a copyright-free track available for download. Suggested prompts are also provided to help guide the creative process. Music Assistant builds on YouTube's earlier "Dream Track" experiment, which used DeepMind’s Lyria model to create 30-second AI-generated tracks in the style of specific artists. Unlike Dream Track, which was limited to Shorts and short-form content, Music Assistant is being integrated into the broader Creator Music marketplace for long-form content. YouTube says the goal is to give creators more flexibility and control over their soundtracks while simplifying the music licensing process. For more information, check out the video below published on YouTube’s Creator Insider channel.

John Summit‘s ‘Focus’, featuring the haunting vocals of CLOVES, made a major splash when it dropped back in January 2025 via his Experts Only imprint and Darkroom Records. Now, the Chicago house star invites Layton Giordani to put his own spin on the emotional heater — and the result is a cavernous techno weapon that deserves club rotation. Giordani, a staple of Drumcode Records, wastes no time in flipping ‘Focus’ into a darker realm. While CLOVES’ dreamy top-line remains, the track’s soul shifts from Summit’s melodic house warmth into pulsing low-end grit, crispy hi-hats, and ominous breakdowns. It’s hypnotic, heavy, and unapologetically built for the warehouse. This isn’t the first crossover moment between the two. Summit and Giordani shared decks at the Experts Only pop-up in Vail, treating fans to a memorable b2b set that blurred the line between house and techno. The remix is a natural extension of that chemistry, showing both artists exploring new territory while keeping their core identity intact. Whether you’re into John Summit’s emotional grooves or Layton Giordani’s warehouse power, this remix lands right in the middle — and it hits hard. Listen to John Summit – ‘Focus’ (Layton Giordani Remix) below and tell us which version you’re spinning. The post John Summit – ‘Focus’ (Layton Giordani Remix) appeared first on EDMTunes.

RESISTANCE London is set to make a seismic impact on the UK’s electronic music scene with its inaugural two-day takeover at Drumsheds on September 26 and 27, 2025. This event marks a significant milestone for the globally renowned brand, known for its cutting-edge techno and house lineups.​ Drumsheds, located in North London’s Meridian Water area, is a 608,000-square-foot venue housed in a repurposed IKEA warehouse. With a capacity of 15,000, it has quickly become a cornerstone of London’s nightlife, hosting major events and artists since its opening. While the full lineup for the RESISTANCE takeover has yet to be announced, anticipation is high. Given the brand’s history of featuring top-tier artists and immersive productions, attendees can expect a stellar roster of performers and state-of-the-art visuals.​ This event is part of Drumsheds’ ambitious programming, which has included performances by industry heavyweights such as MK, Green Velvet, and Charlotte de Witte. The venue’s commitment to delivering unparalleled live experiences makes it the perfect setting for RESISTANCE’s London debut. Tickets for the RESISTANCE London takeover at Drumsheds are expected to go on sale soon. Fans are encouraged to stay tuned to official channels for updates and ticket releases.​ For more information or to sign-up for the presale, please visit drumshedslondon.com. Stay tuned for more news! The post ​RESISTANCE London Announces Drumsheds Debut in September appeared first on EDMTunes.

As Fyre Fest 2 continues with an extremely confusing path towards the official date, more shocking news surfaces. Francesca Keller, known as DJ Donna Francesca, told Good Morning America she turned down Fyre Festival’s offer to play at their event in Playa del Carmen from May 30 to June 2. Latest Updates on Fyre Fest 2 Before her statement, Fyre Festival had posted a series of documents that seemed to be legal paperwork that allegedly gave the event legitimacy. However, they had also reposted an official statement from the Playa del Carmen official Instagram that debunked Billy McFarland’s posts entirely. Moreover, some of the paperwork shows that the permit would only suffice for a 250-person capacity at a beach club from midnight to 4 am and pre-recorded music only. DJ Donna Francesca went on Good Morning America to explain her interaction with the Fyre Fest boss. Skeptical, she asked lots of questions since his phrasing was vague. According to the DJ, Billy told her he was shocked she had so many questions. He claimed other artists he talked to didn’t have as much pushback as she did. Ultimately, Francesca refused the offer. She stated that if the festival even happens, it will probably only be a beach club takeover. Of course, that would be a waste of time for the DJ and all attendees. With a little over a month until it’s supposed to occur, controversy surrounds Fyre Fest 2 again. We will continue to cover any updates. The post DJ Explains Why She Turned Down Fyre Fest 2 Offer appeared first on EDMTunes.

As the 2024/25 winter clubbing season comes to a close, the legendary Peter Pan Club in Misano Adriatico is gearing up for its final events—marking the end of a season where it stood out as the only venue open every weekend. So, when are the last chances to dance at Peter Pan this season? Sunday, April 20 – Easter Special with Luciano Friday, April 25 – Nostalgia takes over with 90 Wonderland Saturday, April 26 – Latin vibes and reggaeton reign at Vida Loca Screenshot Sunday, April 20: Luciano at Peter Pan The Easter celebration will be headlined by none other than Luciano, a true icon in the global electronic music scene. Known for his ability to unite crowds with a sound that’s deeply personal yet universally recognizable, Luciano brings a unique energy to every set. From his legendary Vagabundos nights in Ibiza to the influential releases on his own label Cadenza (founded in 2003), and from the vibrant Magik Grande Festival in Santiago de Chile to the humanitarian work through his One Coin for Life foundation—Luciano’s impact extends far beyond the booth. Whether he’s behind the decks or supporting cultural preservation, Luciano embodies passion, precision, and a touch of magic. Every set is a journey. Every track, a moment. Simply put: Magik Luciano. As the winter chapter closes, the Peter Pan Club is already preparing for an exciting summer season with full event details coming soon. Meanwhile, the buzz is building for the grand opening weekend of Villa delle Rose, Misano Adriatico’s iconic summer destination, set for Friday, May 9 and Saturday, May 10, 2025. Stay tuned. The party never really ends. The post Peter Pan Club Misano Adriatico: The Final Countdown to an Iconic Season appeared first on Electric Mode.

We’d all love to be vinyl aficionados and Walkman fanatics but, for better or for worse, the most popular way people consume music is on streaming platforms. But which ones are the best? The leading streaming platform in 2024, with over 350 million users and 150 million subscribers and counting, is Spotify. And while Spotify does, of course, have brilliant features — a vast, evolving library of music and podcasts, accurate music suggestion tools, Spotify Wrapped and even an AI DJ — its average royalty rate of $0.004 per stream, frequent layoffs, and CEO blunders has caused people to look at what else is on offer. READ MORE: The music streaming revolution is here, thanks to these new streaming platforms Spotify, it’s important to remember, is just one streaming service, and there are plenty to choose from. Each major platform has differences that set them apart and might tempt you into switching. You might not align with Spotify’s ethics. You might want to connect better with your favourite artists. You might just be bored of consuming music in the same way. Whatever the reason, we’ve examined and compared the differences between alternative streaming platforms for you, and can introduce you to some lesser-known services that offer unique benefits. The best Spotify alternatives at a glance: Nina Bandcamp Apple Music sonu.stream Qobuz Tidal SoundCloud Beatport Marine Snow Nina – Best platform for artist royalties Nina is a refreshing open-source music streaming platform and store for devoted lovers of music, donning the bold slogan, ‘100% MUSIC’. In its own words, it’s “the only platform and toolkit for independent music designed to give artists total freedom and ownership of their work”. When artists upload their music to the site, they pay a one-time transaction fee. After this, Nina takes itself out of the picture, offering full control of their output and 100 per cent of royalties, taking no fee itself. It also hosts a ton of intriguing editorial content, if you’re looking to dig deeper into a scene you just stumbled across. While the music on Nina was once only purchasable with a Solana wallet, after a rigorous second update in November 2023, traditional forms of payment are now accepted. The v2 update also introduced uploads of multi-track releases and a discovery feed. Artist royalty payout rate: artists/labels receive 100% of royalties Subscription price: None Audio fidelity: MP3, WAV Key features: Open-source platform Earn 100% of royalties Flexible control over parameters Discovery feed Playlisting and editorial features Find out more on Nina Protocol. Bandcamp – Best for underground music discovery It sounds obvious, and some might say old-school, but trust us: if you love music and can afford to do so, buy it. It’s singlehandedly the biggest way to support artists in 2024. Bandcamp is an online music store and haven for independent artists, partly thanks to its Bandcamp Friday scheme, where artists, once a month, receive 100 per cent of royalties for their music. It’s not just a site for buying music, though: you can stream tracks online or from its app (by default, you can only stream a song in full up to three times unless you’ve bought it). The radio shows are also excellent — we only wish there were more of them. Bandcamp also has a keen focus on new music discovery, with a fantastic regularly updated editorial section highlighting new, exciting music. The home page even includes a real-time carousel showing what releases are being purchased globally, potentially inspiring you to find music you would have never heard of. Artist royalty payout rate: On average, 82% of each purchase goes to the artist/label Subscription price: None Audio fidelity: MP3, WAV, AIFF Key features: Artist-focussed, DIY user experience 100% of revenue goes to artist/label on Bandcamp Fridays New music discovery features Quality editorial section Find out more at Bandcamp. Apple Music – Best for spatial audio and radio shows https://www.youtube.com/watch?v=uDqvmeq1nj0 Right up there as one of the most-used music streaming services in 2024, Apple Music, though not perfect, is a strong alternative to Spotify, thanks to its royalty rate – $0.01 compared to Spotify’s $0.003 – $0.005 – and better audio quality. It prides itself on lossless audio and spatial audio, supported by Dolby Atmos, even teaming up with Boiler Room to offer exclusive immersive live DJ sets. Many users also praise Apple Music for its intuitive playlisting and library-organising features. At $11 per month, you get a vast catalogue of music that rivals all other major platforms. You also get access to all of Apple Music’s exclusive — and often excellent — podcasts and radio shows, such as The Zane Lowe Show and Tim Sweeney’s Beats In Space. Artist royalty payout rate: $0.01 per stream Subscription price: None Audio fidelity: AAC (256 kbps), ALAC up to 24-bit/192 kHz, Spatial audio with Dolby Atmos Key features: Exclusive Apple content Better royalty rate than Spotify Lossless and immersive audio 100m+ songs Ad-free Find out more on Apple Music. sonu.stream – Best for Web3 users Co-founded by Laura Jaramillo and producer TOKiMONSTA, sonu.stream uses Web3 technology, utilising blockchain to ensure fair compensation for its artists. Like Marine Snow, sonu.stream‘s not fully released to the world, but we recently spoke to its founders, who gave us a bit more information about the upcoming streaming service. In our chat, Jaramillo emphasised the platform’s unique Web3 model, saying, “It allows you to create a strong foundation that decentralizes the permission for AI-generated music…People are disappointed in these giants and they see sonu.stream as an opportunity for change.” Features: Artist royalty payout rate: N/A Subscription prices: N/A Audio fidelity: N/A Standout features: Web3-powered streaming sonu auctions Protocol-generated rewards No ownership transfer of music rights; artists retain full control Biweekly streaming royalties payout Find out more on sonu.stream. Qobuz – Best for community and hi-fi listening Qobuz is a serious contender to Spotify if you’re a passionate music fan seeking the feel of a record store when finding new music. It’s a premium music streaming service – leaning more into jazz and classical territories – that prides itself on high-fidelity audio listening, exclusive editorial content, and Qobuz Club. The latter is a social media-style platform where users can discuss and share music. It’s not just a music streaming website – Qobuz is also a store with purchasable or downloadable high-res digital files available alongside online listening. Artist royalty payout rate: $0.04 per stream Subscription prices: Studio plan: £10.83/month Sublime plan: £14.99/month Audio fidelity: Lossless, FLAC (24-Bit up to 192 kHz) Key features: High-quality audio 100m tracks available Exclusive editorial content Passionate community on Qobuz Club Learn more on Qobuz. Tidal – Best for hi-fi listening and exclusive music In 2015, Jay-Z splashed $56m on a Norwegian streaming service, rebranded it, and launched it as an “artist-owned” streaming service called Tidal. Nine years later, Tidal has had an interesting journey but has managed to establish a core user fanbase and attract artists with its satisfyingly high royalty payout rate. Some of the biggest rap and R&B artists today, such as Ye, for example, choose to release their music exclusively on this streaming service. Beyoncé released her phenomenal LEMONADE album on Tidal and Rihanna, Jay-Z and Drake have also released albums exclusively onto the platform. The exclusivity of Tidal is not just what attracts both artists and listeners to the streaming service. Tidal’s royalty rate is $0.0125 to $0.015 per stream which, compared to Spotify’s average of $0.004, is a steep improvement. Plus, Tidal builds a tight-knit community through engaging editorial content, from conversations with new artists about upcoming releases to reviews of gigs or look-backs on important music that has shaped music and its culture. Artist royalty payout rate: $0.0125 to $0.015 per stream Subscription price: HiFi: £10.99/month HiFi Plus: £19.99/month Audio fidelity: Up to 24-bit, 192 kHz Key features: Exclusive music High-quality audio Curated editorial content Artist-centric approach Find out more on Tidal. SoundCloud – Best for up-and-coming artists and sharing your music SoundCloud, which launched in 2007, started out as a music-sharing platform, later developing into its own streaming service. The platform lets you easily upload, promote, and share your music and DJ mixes, so you can reach global audiences directly and engage with them through comments and a message inbox. Because of this, SoundCloud has built up a dedicated community of listeners, producers, and – most notably – rappers, having birthed a sub-genre of rap called SoundCloud rap in and around 2016. Compared to Spotify, SoundCloud offers more flexibility for independent artists to showcase their work and engage with fans without the need for label support. Since 2021, SoundCloud has featured a fan-powered royalty system, where artists are paid based on the actual listening habits of their fans, rather than overall listens being pooled up with major artists. Artist royalty payout rate: $0.0025 to $0.004 per stream (if artists sign up to SoundCloud For Artists) Subscription price: Free (with ads) SoundCloud Go: £5.99/month (no ads) SoundCloud Go+: £9.99/month (no ads) Audio fidelity: SoundCloud Go: 128kpbs MP3 SoundCloud Go+: 256kbps AAC Key features: Fan-powered royalties Upload DJ mixes (3 hours max.) Engagement with fans Direct artist-to-listener model Find out more on SoundCloud. Beatport – Best for DJs Beatport, founded in 2004, is a digital music store focused solely on electronic music. Beatport’s EDM-centred library is vast and varied, home to everything from drum ‘n’ bass to house, garage, techno, right through to trap, amapiano and more, offering niche sub-genes from each. In 2023, Beatport expanded into streaming with the launch of Beatport Streaming. It provides subscribers access to all of Beatport’s catalogue tracks for streaming through web browsers or on your phone. Beatport’s StreamingDirectPlay is integrated into modern DJ decks, such as the Pioneer CDJ-3000, which then gives you access to Beatport’s library directly from the decks without the need for a USB stick or, thanks to its offline streaming capabilities, Wi-Fi. The iOS and Android app is a handy solution for DJs who want to discover and be inspired by new music on the move, instead of sitting at a desk. Artist royalty payout rate: $0.10 per stream Subscription price: Essential: $9.99/month Advanced: $15.99/month Audio fidelity: MP3, WAV, AIFF Standout features: Extensive dance music catalogue DJ-friendly features (key, tempo, advanced filters etc.) Stream via desktop or on smart phones Stream tracks directly to DJ decks via Beatport StreamingDirectPlay No need for Wi-Fi when DJing with offline streaming Find out more on Beatport. One to watch: Marine Snow Marine Snow is a streaming service that has been in the works for over three years and is set to officially launch very soon. We’ve been speaking to its lead creator, ex-Spotify employee Tony Lashley, about what the upcoming streaming platform will provide for artists. It certainly sounds like, if it takes off, it could change the streaming landscape. One of the main exciting features of Marine Snow is its unique artist-focused take on usual streaming models. Marine Snow offers artists an upfront payment equal to 500,000 Spotify streams, and gives subscribers the option of a subscription-as-investment – if you choose to pay more than the minimum subscription rate, you’ll gain a stake in the platform. Marine Snow also rotates tracks exclusively for 90 days, guaranteeing each contributing artist a fixed share of revenue regardless of stream numbers. In a recent interview with MusicTech, Lashley explained the platform’s shift towards artist empowerment: “You can only help artists as much as you can capture money or attention from consumers…you have to create new forms of value if you want to succeed. “An artist can think they’ve written a really good song, and it can get 10,000 plays and it’s still a really good song, no matter how many plays it gets.” Features: Artist royalty payout rate: N/A Subscription prices: N/A Audio fidelity: N/A Key features: Upfront payment to artists Gamified music discovery 90-day track rotation Subscription-as-investment model Read more on Marine Snow. The post Best Spotify alternatives in 2025 for music listening and discovery appeared first on MusicTech. View the full article

25 years ago there was only one place to be on a Friday night in London: Smoove in Ministry of Sound. The legendary club night returns bringing the true sound of London: House, Garage, Funky, RnB, Hip Hop, Afrobeats, and Dancehall across 4 arenas. A Night for True Music Lovers In the early 00s, Smoove era transformed the typical night out, establishing itself as the place to be for those who live and breathe authentic music, focused on delivering a true music experience that mattered to the people. Smoove brings together the energy of the crowd with the skill of top-tier DJs. With a carefully curated lineup of the best selectors in the industry, each event offers a unique blend of freshness and nostalgia, capturing the essence of the golden age of clubbing. It’s where true music lovers come together to connect, dance, and celebrate the culture. “Smoove is true to the sound. True to the culture. It’s about celebrating the genres that have shaped the scene and bringing the different communities together while showcasing the next generation of talent and creating a new legacy” says Mugib Rahman, Events Manager at Ministry of Sound. “London’s been missing a regular spot for everyone to get together and have a vibe with a bit of everything we all love to listen to. Smoove on a Friday is exactly that“ says promoter Steven Cee  The Comeback We Didn’t Know We Needed Set to stay at Gaunt Street with regular events throughout 2025, Smoove’s revival is more than just nostalgia, it’s a much-needed reset for London’s nightlife. In a time when music lovers crave real experiences and genuine connections, Smoove stands as a beacon for those who want to lose themselves in the music and embrace the culture that built the scene. Be Part of the Legacy and the Future Smoove is back, Don’t miss your chance to experience the energy, the music, and the movement that defined a generation and will reshape the next. True to the sound. True to the Culture. 25th Birthday on Fri, 2 May, 10:00 pm line-up below. Artful Dodger Rampage Masterstepz Shortee Blitz Maximum Supa D + Terminal 4 Sef Kombo Donch Damn Shaq AAA Aychibs Crazy Cousinz Sir DJ Corey Shaolin Wavy Mastaque CVSS Morgan Black S Fly The post Ministry of Sound Revives Iconic Night, Smoove, with Artful Dodger, Supa D, S Fly, Aychibs and more appeared first on Electric Mode.

When it comes to choosing your beat-making hardware, is it best to pick something tried and tested like the Roland TR-808 or 909, or opt for something a little more obscure in pursuit of new drum sounds? British DJ, producer and podcast host Will Clarke thinks it’s wiser to choose the latter, as he explains in the first episode of MusicTech’s My Forever Studio Season 7. READ MORE: 19,000 sq ft music education campus opens in Shoreditch, with 13 studios, Dolby Atmos mixing facilities and a dedicated DJ space developed with Pioneer DJ Speaking to MusicTech’s Chris Barker and Will Betts, Clarke notes how he opts for a little-known Russian drum machine – the AVP ADS-7 – when it comes to crafting certain elements for his beats. Clarke first became aware of the ADS-7 – an analogue drum machine with an onboard sequencer, MIDI, CV and individual outputs – after seeing a clip online around 2018, when he was beginning to dip his toes into techno music. “I was like, ‘I really want to change drums. I really want to have a specific sound of what my techno side sounds like.’ And I said, ‘What can help me get that?’” He reached out to AVP via DM, who said each ADS-7 is made by hand to order. “So I ordered the MkI and it just rocked up from Russia on my doorstep,” he says. “It’s very easy to use. It’s a very unique sound – it’s very noisy. “Everyone can get a 303, everyone can get a 909. Do we need another 909 kick drum? No we don’t. I still use it to this day. In terms of what he regularly uses the ADS-7 on, Clarke replies: “Hats, all of my hats, all of my shakers. It’s just really noisy. I like twisting shit. I’m not a super nerdy synth guy [who knows] everything about synths, but I know what I need to know to get the job done. Even the most seasoned synth nuts will attest to the intimidating nature of the ADS-7’s interface. As Clarke so eloquently puts it, “It looks Russian as fuck.” “It’s not a clean sound,” he concludes, “but I’m not looking for a clean sound. I’m looking for something gritty. I’m looking for something to get textures that you wouldn’t get from a sample.” [products ids=”46KMPPCynrf3lxfAakOBap”] The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio. However, hosts Chris Barker and Will Betts impose some strict rules. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles! You can subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech. The post “Do we need another 909 kick drum? No we don’t”: Why Will Clarke opts for this obscure Russian drum machine when crafting beats appeared first on MusicTech. View the full article

Josh Tillman chose celebration over cynicism on this grand London stage View the full article

Alt-pop provocateur Jessica Winter bursts onto the scene with some thrilling news that fans have eagerly awaited. Her highly anticipated debut album, aptly titled “My First Album“, is set to be unveiled on Friday, July 11th. This release marks a significant milestone in her career, showcasing her unique blend of inventive sounds and relatable lyrics. Yet, Winter shows no signs of slowing down. Following her captivating February single “L.O.V.E.,” which resonated with listeners for its catchy hooks and introspective themes, she is ready to treat us to another dynamic fusion-pop track. The new single, “All I Ever Really Wanted,” delivers a powerful mix of infectious beats and heartfelt emotion. Thus further solidifying Winter’s position as a force to be reckoned with in the music industry. Above all, Jessica masterfully navigates multiple genres and consistently pushes innovative boundaries, making it no surprise when she releases a track that challenges the norms of contemporary music. With a devoted fan base eager for her unique alt-pop concoctions, Jessica draws inspiration from pop aesthetics spanning the decades for “All I Ever Really Wanted.” The track showcases a distinctive glam-pop-rock influence alongside a striking 80s new wave vibe. This combination, paired with Jessica’s ethereal and whispered vocals, creates a captivating experience that truly defies expectations. Her vocals in essence echo the ethereal quality of Alison Goldfrapp. Yet, the lyrical narrative delves deep into a profound melancholy that captures the weight of tumultuous emotions. It reveals a poignant appreciation for authenticity amidst chaos and yearning, highlighting the struggle within a complex emotional landscape. Needless to say, the energy is electric as Jessica prepares to unveil her highly anticipated debut album. The result of a culmination of years of hard work and creativity. Notably, this project promises to deliver an extraordinary musical journey that not only highlights her distinctive vocal talent but also reflects her unique artistic vision and personal experiences. Subsequently, I am confident that fans can expect a rich tapestry of sounds, innovative production, and heartfelt lyrics that will resonate deeply. Furthermore, making this an unforgettable experience that once again redefines her artistry. PRE-SAVE “My First Album” HERE. (Arrives July 11th via Lucky Number). Connect with Jessica Winter Facebook: https://www.facebook.com/jessicawinterr X: https://x.com/jessicawinterr Instagram: https://www.instagram.com/jessicawinter666/ The post Listen to “All I Ever Really Wanted” by Jessica Winter appeared first on EQ Music Blog. View the full article

In recent years, cuts to arts funding have taken their toll on music education, but it’s not all bad news. London’s pointblank Music School has just opened a new 19,000 square-foot Shoreditch campus, hosting 13 studios catering to DJing, production and engineering. Studios include two immersive Dolby Atmos facilities fitted with Solid State Logic Duality Delta and Origin consoles, Adam Audio S Series monitors, and Avid Pro Tools HD, offering students the “most advanced spatial audio experience available”. READ MORE: Five of the best free software and apps for DJs There’s also a new DJ Performance studio developed in partnership with Pioneer DJ, with 16 DJ workstations with industry-leading gear including the OPUS-QUAD, DJM-A9, CDJ-3000 and DJS-1000. These workstations are equipped with state-of-the-art software including Ableton live, Beatport/Beatsource, Logic Pro, Neural Mix Pro, Mixed In Key, rekordbox, Serato and Traktor Pro. The spaces also include six “cutting-edge” music production studios with Ableton Push 3 suites – for mastering real-time production and performance techniques – a specialist MuSE (Music Production and Software Engineering) classroom, enabling students to code and develop software for Mac and Windows, and Music Business Classrooms, where students can learn about artist management, label operations, music marketing and other music industry specialisms. At the centre of the campus, though is a central performance Hub, which doubles as a bar for socialising and a place for students to host gigs, and features two dedicated singing studios for musicians keen to train their vocals. “Our new Shoreditch campus is more than just a school, it’s a creative hub designed to inspire the next generation of music professionals,” says Rob Cowan, CEO & Founder at pointblank Music School. “With cutting-edge technology, immersive learning spaces, and a strong focus on hands-on experience, our students are in the best possible environment to launch their careers in music.” pointblank has offered music education for three decades, with its original Hoxton school opening in 1994. Since, it has expanded to locations in Los Angeles and Ibiza, and also offers online courses. The school has even earned the honour of being the UK’s only TEF Gold-rated music production institution for teaching excellence. Students can dig into a slew of unique courses, each focusing on a specialised corner of music, from Music Production, Sound Engineering, DJ Performance, Vocal Performance, to Music Business, and Radio and Podcasting. Applications are still open to enrol at pointblank in September for the 2025-26 academic year. The post 19,000 sq ft music education campus opens in Shoreditch, with 13 studios, Dolby Atmos mixing facilities and a dedicated DJ space developed with Pioneer DJ appeared first on MusicTech. View the full article

Home Again Club Festival has completed the lineup for its newly expanded 2025 edition from May 28 – June 2. Taking place on four stages across RSO.BERLIN and the sprawling Valley Stage, this celebration of the realness and rawness of Berlin’s underground with the open-air euphoria of a festival is set to be another unmissable mix of scene veterans and exciting new disruptors. Following two unforgettable editions in 2023 and 2024, Home Again is all about giving Berlin the festival it deserves. The city is renowned globally as a haven for electronic music, and has a famously diverse make-up of parties, DJs, live acts and innovative producers who have enriched the local scene and gone on to worldwide acclaim. A proudly urban experience that reflects the sound of the city, Home Again features a meticulously crafted programme, platforming homegrown and rising new school innovators alongside international heavyweights. Newly announced stage hosts include the likes of unruly techno crew Gotec, the globally recognised HE.SHE.THEY. party and label collective known for its inclusive, open-minded atmospheres, Polyamor who serve up trance and techno with a focus on humour, kitsch and tolerance, Berlin’s IN A MOOD which is a FLINTA* run collective and record label and event that also hosts vital workshops, and Sachsentrance, a left-wing trance label and event series. Daytime sets go down at open-air favourite and hedonistic hotspot The Valley which is set against an industrial backdrop in the middle of an old brewery. Once night falls, RSO.BERLIN becomes the centre of the action with its state-of-the-art sound system and two different spaces – the vast Robus and the more compact and personal Summe. Lineup additions include Obscure Shape, a solo techno explorer who brings a deep and heady twist to Detroit and classic sounds, whilst Head High’s masterful loops blend breakbeats, fuzzy synths and subtle rave euphoria. BADSISTA is co-founder of feminist DJ collective Bandida and a cross-genre artist who effortlessly bridges their native Brazilian baile funk with fast-paced rave techno, whilst Trancemaster Krause blends old-school hard house, wonky pop edits and relentless grooves. Elsewhere, Nürnberg’s AGY3NA gravitates towards spacey, explorative, rhythm-focused house and electro and Afrofuturism, an aesthetic that explores the intersection of African culture and futuristic icons. Italian-born The Muffin Man describes her own sound as “sewer grooves”, a potent blend of fast, rolling drums and bass with psytrance emotion that has made her an international favourite. These names come on top of the previously announced 999999999, Bae Blade, Clara Cuvé, DJ Fuckoff, fka.m4a, Helena Hauff, I Hate Models, Job Jobse, Johannes Brecht live, Logic1000, Meggy, Octo Octa, Peggy Gou, Sandilé, Solomun, Thabo, Thalo Santana and X & Ivy to make for a wide-ranging and fulsome spectrum of sound. In addition to the music, expect a mentally nourishing array of panel talks, workshops, and community gatherings in the Baergarten, with a view to fostering dialogue around the culture and future of electronic music. 4 Days and 5 Nights of International Heavyweights and Rising Homegrown Talent May 28 – June 2, 2025 at Revier Südost, Berlin Tickets are available via https://homeagain.berlin The post Home Again Club Festival Locks in Full Lineup for 2025 Return appeared first on Electric Mode.

As a producer, multi-instrumentalist, DJ, and co-founder of Brooklyn’s revered Razor-N-Tape label, JKriv has helped shape the sound of underground house and disco for over two decades. A trained jazz musician addicted to crate-digging and a deep admiration for texture, the artist is constantly chasing and creating sounds for dancefloors full of fellow groove obsessives — and can count Disclosure and Gilles Peterson among his fans. But his latest project, Intuition, hits a little deeper. Completed during JKriv’s treatment for lymphoma in the autumn of 2024, the record is a personal triumph and a reflection of creative resilience. Inspired by the 90s-style sounds of Ryuichi Sakamoto and David Morales, and harnessing his arsenal of analogue synthesizers and talented vocal collaborators, the EP is JKriv’s ode to the sounds that have shaped him. During a stretch of performances in Europe, we caught up with JKriv to learn more about life as an artist and label boss, how his diagnosis impacted his music-making process, and why he won’t release music that’s been made only on his laptop. Intuition EP by JKriv This is your first release back on Razor-N-Tape in 2 years. As a label co-owner, do you feel any tension when working with competing labels? JKriv: So, I wear two hats: the label co-owner hat and the artist hat. As an artist, I have my own goals — releasing on labels I like and involving myself in things I’d love to be part of. Then I have the goals for the label, but there’s a sort of Venn diagram where they overlap in a certain portion, and I think that spreading some of what I do around helps the label profile, too. Does that get tough to balance? JKriv: Yeah. Before what I went through last year, I was starting to feel overloaded and overwhelmed with everything that I committed to. One of the things that I’m trying to do now is say no to some things and make space for the important stuff, so I can give everything important to me the attention that it deserves. And that’s not just music, but other things that are important to me — family, and just taking time for myself. But to be honest, I love it all. And I get in that situation because I want to do everything — I want to do that remix, I want to do this event, I want to do that gig. And some days it can be self-defeating, because if you feel overwhelmed and you’ve got too much, then you’re not doing any of it — you just kind of shut down. So, yeah, you do have to find the balance, but it’s tough. Did you intend for your new music to be reflective of last year’s events in your personal life? JKriv: I wouldn’t say that the music is aesthetically reflective of what I was going through, but it was very important to me to finish it. [I didn’t want it to] not get done because of what I was going through. I was fortunate to have the energy to work on music, and it really helped me get through the process. So it’s a really meaningful EP to me, in that sense. It was just important to me to feel, mentally and emotionally, that I didn’t let it get the better of me to the point where I didn’t complete the work that I wanted to. How do you actually get from an idea or sketch to a finished track? JKriv: Yeah…Finishing music is the hardest part; the start, the inspiration, that’s the fun part. That last 10% is the really challenging part. I think that ‘finished’ is better than ‘perfect’ every single time, so I try to keep that in mind. And another thing to remember: sometimes, a track is not meant to be finished now. Sometimes it sits, and then later, elements of it become useful for something else. I’ve had so many songs that at some point I’ve been like, ‘Oh, you know what? I’ve got that thing I never finished. It’s got the perfect element in there for this new song.’ And I go back and repurpose it into something I’m doing. If you’re organised about the way you keep stuff, then you can do that — and it’s really satisfying when you’re able to do it. You’re DJing and performing in a ton of cities this year. Are you often making and finishing music on the road, or are you waiting until you’re back in the studio? JKriv: Very few of my productions go straight from laptop to vinyl. I need to get stuff home. I like to write parts that I can replace later; maybe start with a soft synth emulation, then replace it [with the real thing]. I can build out ideas on a laptop, but they’re never going to be finished ideas. For me, the process involves getting real instruments into a track and potentially collaborating with some people. The exception to that is edits. I’ll make edits all the time while I’m travelling, and then play them the same night during a DJ set. The Intuition EP has a lot of 80s- and 90s-style sounds. Do you tend to use the real hardware of the era to create those tones? JKriv: I have a lot of analogue equipment at home — some synths and drum machines from the era — but I’m not a purist about that. I’m not going to buy a Yamaha CS-80 just because I want a CS-80 sound on there. I feel like, over time, you learn how to work with software instruments and get them to sound the way that you want, through processing. I just think it’s important to bring stuff out of the box — processing it through hardware, like dynamic processors or effects. That can help music sound a bit more alive and dynamic. But also, if it sounds good, it’s good. I’m told that Intuition is “a strong statement of how far your sound has travelled in the 2+ years” — what does that mean exactly? JKriv: This EP, sonically, is a little different from what some people might expect from me. It’s a lot less live instrument-driven; it’s more electronic. My main instruments are bass and guitar, but Intuition is all synthesisers, drum machines and vocals. So it’s a departure, in that sense. It’s pretty clubby; it’s maybe reflective of the music that I like to DJ. And it’s also in line with the direction that Razor-N-Tape has been going — a bit more modern house and a bit less retro-disco. And it’s got vocal features from two artists that we’ve worked with on the label Megatronic and Pahua, both wonderful artists and singers. I actually sang a little bit myself – I can sing, but I’m not that crazy about my own voice. I’ve actually never sung on a record that I’ve released before. So that’s new. Speaking of your DJ sets, you tend to gravitate more towards vinyl and rotary mixers… JKriv: It’s not feasible to schlep let around Europe, but I love records. Vinyl isn’t exactly how I started DJing, but it is the way that I feel the most comfortable these days. If I could play records every gig and know it’s going to be set up perfectly and all the conditions were going to be right, and I didn’t have to break my back dragging them around, then that’s what I would do. My favourite type of mixer is a rotary mixer. There are a lot of different ones, and they all have their own character. I own two E&S mixers — a two-channel and a four-channel. I’ve had them for 10 or 11 years. We have one in the shop now, in the Razor-N-Tape shop, made by Dima Khramov. It’s a very unique mixer — it’s really beautiful and smooth. You DJ a little bit differently when you play on one of those, compared to playing on a Pioneer DJ mixer. We’ve seen a rise of hi-fi bars recently, particularly in major cities like New York, which are kitted out with nice rotary mixers and high-end equipment. Do you often visit these venues? JKriv: I have — they’re popping up all over. It’s a big new outlet and venue for DJs. My feelings about them are a bit mixed. It really depends and varies from one to another. Some of the hi-fi bars end up just being restaurants with a nice sound system. It’s really hard to instil the ethic of listening to the music once people are paying a lot of money for food and drinks, you know? It can be hard to get out of the background music thing. That said, sometimes that’s cool. Maybe you’re just playing for the people around you, your friends who come and sit down. It’s nice to share music in that way, in a more casual kind of way, that’s less about dancing and partying. READ MORE: Inside 5 of New York City’s best hi-fi bars As someone who’s pretty active in electronic music culture, what do you hope to see more of in clubs and venues? JKriv: I’d love to see a move back towards dark rooms and more anonymity for the DJ. My least favourite way to play is up on a stage where the focus is directed towards you and less about the energy in the room and people interacting and dancing. I think festival culture has driven that — it’s now about the personality of the DJ and the “performance” they’re giving. We need more listeners and dancers and less DJs, too. Back in the day, music discovery was a different process. You had to spend money on it. You’d have to go and dig for records and learn the craft of doing it. And now, with digital DJing and digital record collecting, it’s much easier. That’s good, obviously, but also the market is just flooded. Before we go, I want to ask you about streaming. As an independent label that presses to vinyl, what’s Razor-N-Tape’s approach to modern music consumption? JKriv: It’s tricky. I don’t want to say it’s a battle that’s been fought and lost. I’m hopeful that there’s a way to change the model a bit. But as a label, we’re working within the parameters of what the system is, and we’re finding a lot of success with streaming. Over time, things start to grow. [With vinyl], you sell a white label record, you press 1,000 copies, you sell it, and when that’s done, you’re probably not going to repress it. So that’s all the money the artist will make from it, right? Streaming is obviously pennies, but the music will sit there forever. And it grows — you start to see over time how that income stream can build for you and for the artists. So that’s a positive thing. I would love to see a platform like Bandcamp build out some features that could compete with a streaming service like Spotify. Most people would love to know that the money they’re paying for music is supporting artists a bit more. I think if you gave people the opportunity to do that, they would go for it, and it would be a real success. Check out the full Razor-N-Tape catalogue and JKriv’s Intuition EP on Bandcamp. This interview has been edited for length and clarity. The post JKriv: “A finished track is better than a perfect track, every single time” appeared first on MusicTech. 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Ad feature with Splice Tobi Lou has me hanging onto his every word during our interview. It’s 10 am in Los Angeles, where the vocalist and producer lives, and he’s passionate but calm as he reveals the universe’s deepest artistic secrets as vivid metaphors, casually sipping coffee between bursts of wisdom. The Lagos-born, Chicago-raised artist, athlete and anime lover has been producing music in his bedroom for over two decades. Sure, he’s found himself working in lavish studios with revered labels and world-class producers, but most of the ideas for his four studio albums and viral hits — such as 2019’s Buff Baby — are conjured in one familiar place. “It always comes back to me, locked in my room, just like when I started [making music] in eighth grade,” says Tobi. “I love the process of getting an idea and fleshing it out. It’s like I have to take this invisible thing and give it some physical properties so that it’s echoing off the walls in the room, rather than in my mind.” Tobi likens the act of expanding these musical ideas to “raising a little bird.” His latest means of nurturing his songbirds is Splice’s Mobile App. “In terms of recording ideas, I’ve always lived in voice memo land, where I play a beat and record a freestyle over the top — but my phone turns into a bit of a graveyard of ideas”, he explains. “Splice’s app helps me keep in the flow. The second I get on the app, I’m working in an environment where I can take an idea as far as I need it to go.” Specifically, Tobi is enjoying the Splice Mic feature, which is part of the Splice Mobile app and allows him to record any sound over a Stack of complementary samples. Instead of letting his ideas dwindle and lose energy, Splice Mobile helps him invigorate them. In a tap, he can effortlessly shuffle the genres, style, tempo and key of his Stack. Another swipe on his smartphone and he can transform his mellow neo-soul spark into a melodic lo-fi track or a country-style beat. Given that Tobi has mastered the art of creating music in myriad styles with a wide palette of instrumentation, this is a boon to his workflow. “Rather than starting from this completely blank canvas, where you open a DAW and think, ‘What do I do now?’, it’s like, you go to Splice and instantly get the building blocks of what a song should be,” Tobi says. “I’m really appreciative of that right now.” Since he started making music, Tobi has been obsessed with capturing his ideas as they happen, no matter what gear he had access to. His introduction to producing came when he bought a microphone for $10 from RadioShack — it’s a far cry from what he has access to now, but plugging that first mic into his old computer was enough to get him hooked. “From there, I was obsessed with trying to get a clearer signal of my recordings on my own, without having to go to studios — I couldn’t really afford studio time,” he says. As he started putting his musical mind to work, he found that the barriers between him and his creativity became less about the gear he was using; it was a battle of confidence. “It’s cute when you’re a kid and you’re like, ‘Mom, look what I made,’ he says. “And then once you start to be aware of judgment — that not everyone’s going to pat you on the back for what you did — you start to look around and compare like, ‘How do I sound?’”. If I had a really good song idea that maybe my family and friends really like, it felt like, ‘Okay, I got one, good job’. But I would always think, ‘Damn, is that my last good idea?’” Thankfully, he quickly assures me, it’s never anyone’s last good idea. “After making thousands and thousands of songs, I realised, ‘Okay, I’m never going to run out of ideas.’ I actually don’t have enough time to record all the ideas I have. No matter if I live another 50 or 100 years, I will still have way more ideas than I ever got time to put on wax. So then it all just became about getting better at executing each idea.” It’s tools like Splice Mobile that help Tobi materialise his creativity. He’s able to take a galaxy’s worth of sketches, build on them in the app, and export them as stems to his DAW with functions such as AirDrop and Export to Project. The app even lets Tobi text his ideas to friends and producers, who will add to the idea and send it back to him. Tobi is comfortable when he’s working solo, but has also become an adept collaborator. He’s worked with the likes of T-Pain, Chief Keef, and Warren Hue, and a wealth of esteemed producers throughout his career. “I’ll send a producer a sample, they’ll send me back what they did on it, then I’ll get the stems and do something with it, maybe organise it a different way, then I might send it to another producer. We’re just experimenting. I love taking the ideas of three or four producers and putting them in one big sandwich.” Being able to easily collaborate and expand on his projects quickly with Splice Mobile is helping Tobi make more music and is becoming a natural part of his workflow. The artist once looked to fellow LA-based songwriter Steve Lacy, who famously created music using just his iPhone, and thought “that’s too crazy”, he recalls, shaking his head. How could his smartphone be such a catalyst for his sonic inventions? “Since I started using Splice Mobile, I realised, ‘Wow, you can actually do this,’ he explains. “And being able to switch up genres on my iPhone — I’m doing different styles but it’s still Tobi Lou. It’s like I’m accessing a different side of who I am within the music.” It’s not all about crafting serious and meticulous performances, though. Tobi’s found that music is how he channels what he calls “playing as an adult.” He’s happy to freestyle wacky and spontaneous songs, and record whatever comes to mind, just in case it proves to be useful later on. “That’s what some of the best ideas are,” he says, beaming. “Like, what you thinking about right now? You’re thinking about bananas and pineapples? Great. Go with it. Show me your song about bananas and pineapples.” “That’s what I think you can get out of using Splice Mobile — even though you’re working, it’s still a form of play.” Tobi Lou has managed to turn his version of play into a profession, and also likens it to his form of therapy. But he’s, of course, still learning, experimenting and building, every day; he’s just trying to create as much music as he can. And, naturally, Tobi leaves me on the edge of my seat for one more vivid metaphor. “When you start a music career, you’re really building a house. So if I started building a house right now, I may get 20 songs in and have a roof over my head, but you want to make this house as comfortable and as dreamy as you can. So rather than thinking, ‘I’m going to drop this one song and it’s going to be a mansion.’ Like, no, — you’re laying the foundation. And the foundation isn’t laid down with one song, it’s repeating, and repeating, and repeating that. That’s the best advice I can give — it’s all really just on you, and what you can do.” Download the Splice Mobile App for free The post How Tobi Lou is turning countless voice notes into masterpieces: “I’m never going to run out of ideas” appeared first on MusicTech. View the full article

Photo Credit: Patrick Moxey, Founder and CEO, Payday Music Publishing Ultra International Music Publishing announces its name change to Payday Music Publishing following a court judgement in a case brought by Sony Music. Leading independent publisher of hip-hop, pop, electronic dance music, jazz, and reggae, Ultra International Music Publishing, has announced it will be changing its name to Payday Music Publishing. The move follows a recent court decision in a legal case brought by Sony Music disputing ownership of the Ultra brand following Sony’s acquisition of the company’s recording division in 2021. The newly branded Payday Publishing will continue to represent over 70,000 copyrights, including shares in numerous No. 1 Billboard hits. It publishes and co-publishes songs by Post Malone, Ed Sheeran, Future, Travis Scott, 21 Savage, Katy Perry, Kanye West, Chris Brown, Drake, Martin Garrix, Kygo, Steve Aoki, Playboi Carti, and many more. Thirteen of its songwriters were also nominated across seven categories — including Album of the Year, R&B Album of the Year, and Rap Album of the Year — at the recent Grammy Awards. The Payday Music Publishing name is a natural progression from Payday Records, Patrick Moxey’s groundbreaking hip-hop label, which launched in 1992 and is best known for releasing music by Jay-Z, Jeru the Damaja, Antslive, and many others. “Throughout the entire legal process surrounding the ongoing usage of the Ultra brand, we have asserted our belief that for our entirely separate and unconnected publishing division, the rights should remain with us. However, the judge in the case thought otherwise, even though no damages or legal costs were awarded against us, and we will move forward with a new name,” said Patrick Moxey, Founder and CEO of Ultra International Music Publishing (UIMP) and now Payday Music Publishing. “But it’s important to emphasize that this is all it is — a new name. Nothing apart from the name changes, we will continue to represent our amazing songwriters and producers and we will continue serving as the custodians and protectors of the more than 70,000 copyrights we are privileged to represent. We have seen tremendous growth in recent years and will remain market leaders in independent global music publishing and we are proud to be working under our new Payday Publishing banner.” The company is celebrating multiple entries into Spotify’s Billion Streams Club in the last few months, including Tory Lanez’s “The Color Violet,” “Wait For U” by Drake, Future, and TEMS, and “Runaway” by AURORA. Alongside numerous hits in the Urban, Rhythmic & Dance Radio charts, songwriters represented by the company have contributed to several recent US No. 1 albums, including those by Future, Playboi Carti, Lil Baby, and more. In addition, Payday has announced a new series of international writing camps in 2025 following the success of 2024 collaborations with Atlantic Records in Ibiza, Virgin Records in Germany, and Warner Music in Paris. These new camps also follow its successful South Korean writing camp, which took place in Seoul in February in association with Hybe Publishing, JYP, Watner Records, and SM Entertainment. Songwriters represented by Payday Publishing who attended this camp, including Neil Ormandy, Jenson Vaughn, Lizzy Land, and Kwon Close. They were joined by a number of acclaimed South Korean songwriters, including 1Zone, Slow Rabbit, Jinsol, Frants, Kass, CA$HCOW, Alex Karlsson, Gyubin artists, Tim Tan, Alawn, Wutan, no2zcat, MADDOX, Steven Castle, and Scon. This spring will also see the return of Payday Publishing’s annual sync writing camp. With a focus on trailers, this week-long event is held in May in Palm Springs, and brings together the company’s top songwriters with major production company partners. Previous sync placements include the recent We Live In Time trailer, MAX Promo, Disney 100, Grey’s Anatomy, and works for Netflix, Hulu, ABC, and many others. View the full article

Aloe Blacc is once again hosting a poignant tribute to honor Avicii, inviting fans around the world to take part in a special livestream to celebrate the life and legacy of the late EDM legend on the seventh anniversary of his passing. The stream is scheduled for place Sunday, April 20th at 12pm ET (9am PT) via Instagram Live. The event will feature special guests, reflections on Avicii's enduring impact on electronic music and candid conversations about mental health. Blacc has encouraged fans to submit their own stories and memories about what Avicii's music meant to them, which he will read and respond to live. "Tell me what Avicii meant to you," he wrote in an announcement on Instagram. The renowned singer-songwriter has long been dedicated to celebrating Avicii's legacy. The two famously joined forced on the global dance hit "Wake Me Up," a generational dance anthem released back in 2013. Blacc's vocals also featured on 2019's "SOS," the first posthumous single to release after Avicii’s tragic death by suicide at the age of 28. Blacc has led annual tributes through livestreams and global fan gatherings. He performed at the massive Avicii Tribute Concert in the DJ's home of Stockholm in 2019, which brought together over 50,000 fans. On the fourth anniversary of the DJ's death in 2022, he recorded his vocals from "Wake Me Up" in Mandarin and Spanish as a tribute to Avicii’s global impact. Fans can tune into the livestream on April 20th, 2025 via Instagram and submit their Avicii memories ahead of time here. View the original article to see embedded media. Follow Aloe Blacc:Instagram: instagram.com/aloeblacc X: x.com/aloeblacc TikTok: tiktok.com/@aloeblaccofficial Facebook: facebook.com/aloeblacc Spotify: spoti.fi/37DmFMz

Photo Credit: Yo-Yo Ma by Joi Ito / CC by 2.0 Amid continued cost-cutting at major labels, whispers emerge of Sony Classical enacting mass layoffs. As major labels continue their onslaught of cost-cutting endeavors, classical music news site Slipped Disc reports whispers of mass layoffs at Sony Classical. “People we’ve tried to contact are no longer there,” writes Norman Lebrecht. “Among them is the boxed-set reissue specialist Robert Russ at the company’s headquarters in Berlin.” “Our mole says, ‘Just heard this: a huge shake up at Sony Classical. Everyone has been fired. A lot of the masters being stored at Iron Mountain in New Jersey are going to just do nothing because all the people who knew what is there have been fired,’” the post continues. Digital Music News reached out to Sony Classical directly, but did not receive a response in time for press. Sony Classical was launched in 1924 as Columbia Masterworks Records, a subsidiary of Columbia Records. The label was renamed in 1980 to CBS Masterworks Records, and renamed again in 1990 after its acquisition by Sony in 1988. Sony Classical has represented the likes of Leonard Bernstein, Yo-Yo Ma, and Hans Zimmer. Despite rumors of job cuts, the label announced just last week the signing of 23-year-old Russian pianist Alexander Malofeev to an exclusive agreement. Malofeev has performed with orchestras like the Philadelphia Orchestra, the Boston Symphony Orchestra, the Orchestra of the National Academy of Santa Cecilia, the Lucerne Festival Orchestra, and Orchestra Filarmonica della Scala. “Alexander Malofeev is undoubtedly one of the most exciting pianists of his generation,” said Per Hauber, President of Sony Classical. “Despite his young age, he can already look back on an impressive career on stage.” At age 13, Malofeev won the International Tchaikovsky Competition for Young Musicians in 2014, and garnered the Grand Prix at the First International Competition for Young Pianists Grand Piano in Moscow. In 2017, he was announced as the first Yamaha Young Artist, and he has been a guest at numerous festivals, including Tanglewood Music Festival, Aspen Music Festival, and Verbier Festival. “In Sony Classical, I have found the right place to bring my personal recording vision to life — with genuine trust, openness, and a shared sense of artistic curiosity,” said Malofeev. “Recording for me is about capturing a moment that feels magical and honest. It’s an exciting beginning.” Malofeev’s debut album with Sony Classical is set for release this fall. View the full article

Photo Credit: Lil Nas X / Instagram Lil Nas X has shared a health update with fans after he was hospitalized with a mysterious illness that paralyzed the right side of his face. Sharing a picture of himself, the rapper writes, “This is me doing a full smile right now by the way. It’s like, what the f**k? Bro, I can’t even laugh right now. Oh my god!” A few hours later, the rapper shared another video zooming in on his face showcasing the difference between the two sides. “We normal over here, and we crazy over here!” He asked his fans not to worry about him, stating “stop being sad for me. Shake your ass for me instead!” The “Old Town Road” rapper isn’t the only high-profile celebrity to deal with facial paralysis—usually diagnosed as Bell’s Palsy. In June 2022, Justin Bieber shared an update with his fans stating he was diagnosed with Ramsay Hunt syndrome, a rare neurological disorder caused by the same virus that causes chickenpox and shingles. That condition led to the singer’s face being paralyzed and leaving him unable to blink, smile, or move his nostril. Bieber documented his journey publicly by sharing photo and video updates on social media with his fans. He showcased the symptoms and showed the side effects of facial paralysis while describing how the virus resulted in loss of facial movement. He also emphasized why he was taking time off to prioritize his health, which led to the cancellation of several of his upcoming tour dates. While Lil Nas X has not disclosed any official diagnosis, he is taking the same path by updating his fans on his progress. Continued photos and videos showcase improved movement with Lil Nas X stating that his smile is “getting a little better.” He says he can now voluntarily close both of his eyes, though he continued to struggle to wink with his right eye. He shared another video of himself rollerblading and stated, “it’s getting better y’all I promise. It’s gonna take a lot more than that to keep a bad b*tch down.” View the full article

A live performance from Sheila E., who, along with Shaboozey and others, is featured in a new NBA playoffs spot. Photo Credit: Justin Higuchi Monster sync alert: The NBA has licensed Aerosmith’s “I Don’t Want to Miss a Thing” for a new playoffs advert campaign featuring Shaboozey, Sheila E., and others. The NBA officially launched this campaign, aptly called “Don’t Miss a Thing,” today. Though the league’s playoffs are scheduled for the coming weekend, a “play-in tournament” is beginning tonight to round out the postseason match-ups, the NBA explained on X. Consequently, then, the spot and the involved professionals are poised to receive plenty of additional views during the approaching weeks. In the advert’s 92-second YouTube upload, Shaboozey, Sheila E., actor Rob Lowe, and several others can be seen making time to tune in for the playoffs. For Shaboozey, that refers to watching from the studio. By contrast, a more laid-back Lowe is situated in a comfortable-looking chair while taking in the on-court action. In any event, both are working not “to miss a thing.” Of course, it’s unclear how much the two (as well as NFL vet Jerry Rice, TikToker Khaby Lame, and YouTuber Fede Vigevani, to name some) pocketed for their appearances. But at least on the music front, the spot’s benefits might extend beyond straight paychecks. Bearing in mind sync’s well-documented potential to fuel streaming boosts, Shaboozey (perhaps not coincidentally) dropped a single entitled “Blink Twice” last Friday. (Technically, Shaboozey’s work wasn’t synced here; nevertheless, logic suggests that there’s some sort of commercial upside for artists featured in big ads.) Meanwhile, Aerosmith certainly scored a nice payday for lending “I Don’t Want to Miss a Thing” to the campaign. However, as pointed out by some disappointed fans – “How can you have Aerosmith’s song and not the band itself in this ad?!” reads one YouTube comment – Aerosmith’s members didn’t find their way into the promo. Regarding the size of the advert’s reach and paychecks, it’s worth highlighting the NBA’s reported audience-size falloff. According to SportsEpreneur, the league’s overall viewership plummeted 48% between 2012 and last year. Even so, 2024 saw the NBA secure a reported $76 billion in media-rights deals spanning 11 years. Separately, despite the NBA’s music-focused playoffs advert, various teams have yet to move past their copyright-litigation woes. Music publishers sued over a dozen teams for alleged social-media infringement last year. While some of the defendants have settled or are attempting to do so, the still-active cases remain entangled in a multifaceted discovery dispute, legal documents show. View the full article

ASCAP and BMI have officially responded to the Copyright Office’s performing rights inquiry, which was set in motion after lawmakers raised transparency concerns last year. We covered those concerns – extending to the accuracy of public performance payments, the “increased costs and burdens imposed on licensees,” and more – back in September 2024. Then, the Copyright Office in February 2025 kicked off the mentioned inquiry and set an April 11th deadline for comments. Unsurprisingly, ASCAP and BMI (besides others yet) provided responses as part of this initial feedback window. And in the follow-ups – BMI’s comments span 30 pages, compared to 40 for ASCAP’s – the PROs touched on a number of overlapping points. Most notably here, both consent-decree-bound entities made clear their opposition to bolstered public performance regulations in the States. “In sum,” Broadcast Music, Inc. wrote, “BMI strongly believes the U.S. market for the licensing of the public performance right benefits from free and fair competition.” “ASCAP firmly believes that legislative action or regulatory action with respect to these issues is unnecessary and would ultimately disserve music creators,” echoed the American Society of Composers, Authors and Publishers. “We believe the free market and open competition benefits music creators and users alike.” Similarly, the respondents addressed lawmakers’ concerns that small businesses are grappling with heightened licensing costs and burdens due to the growing collection of stateside PROs. In a stance that’s unlikely to resonate with the congressmembers who requested the inquiry, ASCAP and BMI in more words urged public establishments to “program around” licenses. “All venue owners have the right to choose whether or not they play any music and can similarly choose the music they play,” ASCAP added. “If a music user wishes to limit or reduce its PRO licensing fees, the music user can do so by programming around the need to take a given PRO’s license.” “[M]ost other music users—including the vast majority of small businesses—do not need the ability to perform all musical works available in the United States and, therefore, need not secure licenses from all four domestic PROs,” BMI weighed in. “Businesses that perform a limited amount of music can elect, for example, to secure only a BMI license and limit their playlists to musical works in BMI’s repertoire.” As for the fractional-licensing considerations at hand, ASCAP and BMI emphasized their jointly developed Songview database. The same PROs “are currently exploring the inclusion of GMR and SESAC data” in Songview, per the text. With all that said, ASCAP and BMI each covered unique angles as well. The latter, for instance, dedicated several pages to pinning some of the possible licensing-confusion blame on “new entrants” Pro Music Rights and AllTrack. “Based on a review of the publicly available information regarding two new entrants—AllTrack and Pro Music—and their respective repertoires,” the for-profit PRO communicated, “BMI appreciates these concerns and the difficulties faced by music users in determining whether to obtain a license from these entities and at what cost.” And on the usage- and payments-accuracy side, ASCAP defended its practices and called out concert promoters’ approach to reporting. “Where logging music usage is not a traditional process by music users or technology is not efficiently available,” ASCAP relayed, “we may see more data omissions and ASCAP will be required to exert more resources to fill those gaps. For example, as is most relevant to this NOI, live concert promoters have generally placed the burden on ASCAP to obtain that information.” When it comes to monitoring establishments’ music usages with new devices in real time, ASCAP rattled off considerations pertaining to “tracking reliability,” “guardrails to prevent fraud,” “the cost of acquisition and implementation,” and a whole lot else. View the full article

Tomorrowland, the globally celebrated music festival company, is boldly going beyond its ephemeral EDM roots with the launch of MORPHO. The groundbreaking collection which debuts at Milan’s prestigious Salone Del Mobile fair, is a fusion of art, architecture, and functionality. It aims to bring the Tomorrowland experience to new leisure projects and revolutionize the design industry, sparking intrigue and excitement among design enthusiasts. Moreover, the MORPHO collection is the brainchild of Great Library Design Studio under the visionary guidance of Antwerp-based architect Dieter Vander Velpen. The brand will collaborate with three acclaimed Belgian companies for the first installment in MORPHO. First is Ethnicraft, a brand that brings furniture designs from abstract ideas to concrete reality. Second is Atelier Vierkant, which specializes in handcrafted ceramics. And third is RVB, a Brussels-based manufacturer of high-end faucets. Leveraging their expertise and experience from successful projects such as the Tomorrowland headquarters, the Lab of Tomorrow in Boom, and the Mesa restaurant, MORPHO aims to extend the Tomorrowland philosophy into everyday living spaces and leisure venues. Additionally, MORPHO showcases an impressive array of home and garden furniture alongside stylish planters, kitchen elements, and bathroom fixtures. Each piece celebrates the festival’s vibrant spirit, providing users with unique, high-quality items that enhance their living environments. As Tomorrowland innovates and expands, MORPHO marks a significant step in creating an enduring connection to the festival’s ethos. Visitors to the Salone Del Mobile can look forward to experiencing Tomorrowland’s new direction; get more info here. The post Tomorrowland Debuts Innovative Furniture Brand: MORPHO appeared first on EDMTunes.

Photo: Joshua Sortino As someone who has spent years navigating the complexities of digital music, I’ve seen firsthand how crucial it is for rightsholders to take control of their content and data. The ability to manage your assets independently isn’t just a matter of convenience – it’s a strategic advantage that unlocks new opportunities, reduces operational headaches and gives you the flexibility to work with the best partners for your needs. In an increasingly complex digital landscape, direct control over your intellectual property, data and assets is the key to maximizing your income, minimizing costs and simplifying your business. In this partner op-ed Digital Music News, Edward Ginis, CEO and co-founder of OpenPlay, explores why music rightsholders must take direct control of their content, data and assets to maximize revenue, reduce costs and stay agile in a changing digital landscape. Too often, I’ve seen rightsholders struggle because their content is tied up in systems they don’t control, making it difficult to switch vendors, optimize distribution or even access their own metadata. As consolidation in music distribution continues, there are fewer and fewer truly independent options to manage deliveries. Now more than ever, maintaining independence is critical. If we want to future-proof our businesses, we need to prioritize control. Here’s how you can do it: Own your Content Management System One of the most common mistakes rightsholders make is relying on distributors to manage their content within their own proprietary systems. While these platforms may be convenient, they ultimately limit flexibility. If you ever need to change partners, retrieve your data or adapt to new industry standards, you could find yourself stuck. Instead, invest in a content management system (CMS) that you own and control – one that allows you to manage your metadata and assets independently. By having a CMS separate from service providers – one that can generate market-ready digital data exchange (DDEX) files for digital service providers (DSPs) – you give yourself maximum flexibility to use whatever delivery mechanism best suits your needs. With an independent CMS, such as OpenPlay, you’re not locked into a single vendor and you can deliver your music wherever you choose, ensuring seamless collaboration with any distributor, DSP or marketing partner. This was one of the drivers behind our recently announced OpenPlay Reach, a new service that allows labels and publishers of all sizes to select the distribution option that best fits their objectives. Establish a single source of truth Metadata inconsistencies can be a nightmare, leading to missed royalties, incorrect credits, and operational inefficiencies. The best way to avoid this is by maintaining a centralized, authoritative repository – a “single source of truth” for all your assets and data. This ensures that your entire team is working with accurate, up-to-date information, reducing errors and making collaboration more efficient. Everyone knows where to find approved masters, metadata and assets, eliminating confusion and improving workflow. By keeping data and assets in sync, updates happen in one place and are reflected everywhere they need to be. Storing only the highest resolution, approved assets – while allowing ancillary systems to generate necessary variations – ensures the best quality control. Additionally, logging every update or change simplifies troubleshooting, making it easier to maintain accuracy across your entire catalog. When your data is consistent across all platforms and partners, you gain confidence in your reporting, royalties and overall business decisions. Deliver your content on your terms The way you distribute your content should be intentional. Rather than sending everything to everyone, focus on delivering only what’s needed, when it’s needed and in the correct format. This allows you to work with different distributors for different markets, negotiate better deals and explore new revenue opportunities without any unnecessary restrictions. Maintaining control over your delivery process ensures that you can switch vendors seamlessly, scale efficiently and stay in command of your own content strategy. It also means you avoid being forced into vendor-specific formatting that can create long-term dependencies. By ensuring your content is always accessible in industry-standard formats, you can quickly adapt to new opportunities and partnerships without additional hurdles. Build a future-proof infrastructure As your business grows, so does the complexity of your operations. Royalties, licensing, analytics and finance systems all rely on a core set of metadata, and if that data isn’t properly managed, inefficiencies start to creep in. By integrating systems through automation and APIs, you can ensure data consistency, minimize manual work and reduce errors. A well-organized infrastructure allows you to scale your business without being bogged down by data management challenges. When your systems work together seamlessly, you’re free to focus on what really matters – building and monetizing your catalog. Stay agile in a changing industry The music industry is evolving faster than ever. New platforms, revenue streams and business models are emerging all the time. To stay competitive, rightsholders need the ability to pivot quickly, experiment with different partnerships and optimize their distribution strategies without unnecessary barriers. When you control your content and data, you gain the agility needed to respond to industry shifts with confidence. Whether it’s exploring new licensing opportunities, entering new markets or leveraging emerging technologies, maintaining independence gives you the flexibility to adapt and thrive. Owning and controlling your content gives you ultimate independence and allows you to position yourself for long-term success in a changing digital landscape. By taking control of your CMS, centralizing your data, refining your distribution strategy and future-proofing your infrastructure, you create a business that’s not only more efficient but also more resilient. I’ve spent my career helping rightsholders navigate these challenges, and one thing remains clear: control is power. When you own your data and content, you open the door to new opportunities, better partnerships and a more sustainable future in music. View the full article

Photo Credit: Morgan Wallen and Blodin Ukella Blodin Ukella and Morgan Wallen’s Ryl Company receives $15 million in Series B funding, marking $30 million in growth equity in total. Created in 2022, Morgan Wallen and Blodin Ukella’s Ryl Company held a Series A funding round in 2024, netting $7.5 million. The new funds will help fast track the tea company’s expansion, marketing campaigns, and product creation. The funding will also get Ryl Tea into over 40,000 stores by the end of the year, including major chains like Walmart, Kroger, Albertsons, Costco, Publix, HEB, Meijer, 7-Eleven, and more. Further, these investments will help Ryl expand its team to over 100 employees by year’s end; the company started with just nine employees when it launched in 2023. “The Ryl Company is surging into an exciting phase of hyper-growth, and this capital raise will assist us in scaling to new heights, especially as we expand our retail presence and national distribution,” said Leigh Feuerstein, Chairman of the Ryl Company. “Under the direction of Founder and CEO Blodin Ukella, the team’s deep connection with consumers has set the stage for great success. Blodin is a remarkable leader with a clear vision and indefatigable energy, and we’re backing him with unbridled confidence in his ability to fuel Ryl’s expansion.” The Series B funding round included investments from Morgan Wallen, Get Engaged Media’s Cam Fordham, Alex Dermer, Ben Hiott, Austin Neal of Sticks Management, and Seth England of Big Loud Records. “I’ve been a believer in Ryl Tea from the beginning and keep them stocked at home and while touring out on the road,” said Wallen. “It’s exciting to see the brand continue to expand and grow, and I’m proud to be a part of it.” Ryl Tea’s leadership team has extensive experience in building and scaling beverage brands. Ukella, former Chief Strategy Officer at OWYN, which was acquired by The Simply Good Foods Company, is a former Data Scientist at Bai. He is joined by President Ken Kurtz, known for his leadership as former President of Bai, which was acquired by Dr Pepper Snapple Group, and is a former SVP of Fiji Water. Chief Operating Officer Ruben Rafaeli previously served as COO at Crook & Marker, and SVP of Operations at Bai. “This round isn’t just a financial milestone — it’s a signal of confidence in our mission, our momentum, and our belief that Ryl Tea is on track to redefine what a modern beverage brand can be,” says Ukella. “We are in the ‘leap’ phase of our business journey — scaling rapidly with new distribution channels, exciting marketing initiatives and product development. This investment will help us expand our offerings and expand our distribution by 4x, all while maintaining the same level of quality and commitment to our customers’ health and well-being.” View the full article