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It’s that exhilarating time of year again—festival season is officially kicking off, and the lineup for Lost In Dreams 2025 is here. Mark your calendars for Friday, July 11, and Saturday, July 12, 2025, because LA State Historic Park will transform into a vibrant wonderland of music, art, and dance beneath the iconic Downtown LA skyline. Moreover, this year’s lineup is bursting with talent, featuring a stacked lineup of feel-good artists playing a variety of sets. Some headliners include Adventure Club, performing a rare K-Pop Idol set, and William Black, who will bestow his pioneering future bass sound. Moreover, ravers can expect a thrilling B2B set from SABAI and Elephante and an electrifying DJ set from San Holo, the king of “existential dance music.” The magic continues with Jai Wolf gracing the stage with two performances, a K-Pop set and a DJ set that will have you dancing all night. Other top acts on the Lost In Dreams lineup are the talented duo Crystal Skies, world-renowned DJ Alan Walker, a special guest performance, and more. With such an incredible lineup, each day promises an exploration of ethereal beats and immersive artistry at a beautiful venue. Tickets for Lost In Dreams are available now; visit their website for more info. The post Festival Season is Upon Us: Lost In Dreams Lineup Announced appeared first on EDMTunes.

Beatport announced new additions to its genre classification by introducing Ambient/Experimental as a new standalone genre and reclassifying Downtempo as its own category, separate from Organic House. These additions reflect the growing influence of immersive, atmospheric soundscapes and slow-groove rhythms within electronic music, providing artists with a more precise platform to showcase their work. Ambient & Experimental highlights music that prioritizes mood and texture over traditional rhythms and melodies. Ambient music creates immersive soundscapes through slow-evolving, minimalistic compositions, while Experimental music pushes the boundaries of conventional structures with abstract textures and unconventional rhythms. Leading labels supporting this movement include Warp Records, Kompakt, Mille Plateaux, Kranky, Erased Tapes, NOTON, and Music from Memory, alongside pioneering artists like Aphex Twin, Max Richter, Tim Hecker, Kaitlyn Aurelia Smith, Autechre, and Kali Malone. Downtempo music emphasizes groove and introspection. Ranging from the organic textures of Balearic and Lo-Fi to the beat-driven sounds of Trip-Hop and Chillout, Downtempo offers a versatile listening experience that resonates on both dance floors and intimate spaces. Prominent labels such as Wonderwheel Recordings, Sol Selectas, Cosmic Awakenings, and Shika Shika have championed this sound, while influential artists like Chancha Via Circuito, El Búho, Kermesse, Rodrigo Gallardo, and Riyoon continue to push the genre forward. Here is what Raphael Pujol, Vice President of Global Curation at The Beatport Group, had to say on the addition of these two new genres for the global leader in music for DJs, producers, and their fans : “Electronic music is constantly evolving, and Ambient/Experimental and Downtempo have become essential parts of the ecosystem. These genres offer artists a space for deep sonic exploration and provide listeners with immersive, boundary-pushing experiences. By introducing dedicated pages, we’re making it easier for fans to discover these sounds and for artists to connect with their audiences.” You can visit Beatport’s official website to navigate through all the genres. Stay tuned for more news! The post Beatport Expands Genre Offerings with New Categories appeared first on EDMTunes.

Serving as a sort of hedonistic nightcap for attendees of Coachella's first weekend, leading LA promoter Framework has announced its return to the desert for its annual afterparty series. Situated a few miles east of the storied Empire Polo Club, the three-day series, Framework In The Desert, will once again take place inside the Atlantic Aviation airport hangar in Thermal, California. The unique locale offers a one-of-a-kind experience for partygoers with indoor and outdoor dance spaces, runway-adjacent social spaces and table service. c/o press The 2025 iteration of the event will bring together a roster of talented electronic artists representing genres like techno, house and progressive. Kicking off the weekend on Friday, April 11th is the influential electronic superstar deadmau5 along with house music mastermind Chris Lake. On Saturday, the hangar will welcome Mau P, Max Styler and Interplanetary Criminal before the weekend closes out on Sunday with Francis Mercier, Layton Giordiani and a special set from Alesso's BODY HI project. All of the performances at this year's Framework In The Desert will take place atop the Long Feng Art Car. As a new addition to Burning Man in 2024, the vehicle was designed by a collective of contortionists, dancers and performing artists and embodies the spirit of a circus performer. The structure should elevate the weekend's DJ performances as it utilizes a myriad of rigs, LEDs and state-of-the-art sound systems. Framework In The Desert takes place April 11-13 at the Atlantic Aviation airport hangar in Thermal, California. Get your tickets here. FOLLOW FRAMEWORK:Facebook: facebook.com/thisisframework X: x.com/thisisframework Instagram: instagram.com/thisisframework

After hosting a successful inaugural event, Goldenvoice Surf Club has announced its return to the desert with a stacked two-weekend lineup. The multi-day dance party will once again be hosted at the Palm Springs Surf Club during both Coachella weekends, April 12-13 and April 19-20. The venue offers amenities like day beds, water slides, a meandering lazy river, a swimming pool, and a massive surfing wave pool, which help elevate the dance music experience. Speaking of which, the roster for this year's festivities is brimming with exceptional talent from acts across the electronic spectrum. As part of its first weekend, Goldenvoice Surf Club has tapped UK garage sensation Sammy Virji and house hitmaker Chris Lorenzo to headline on Saturday, April 12th. The following day, expect performances by EDM.com Class of 2024 superstar Sara Landry and chart-topping rapper Rico Nasty. Weekend Two’s Saturday highlights include a DJ set by Parisian duo Polo & Pan and German electronic music virtuoso Ben Böhmer. Closing out the four-day spectacle will be surging techno producer Eli Brown alongside Massano and EDM.com Class of 2025 star Max Styler. Tickets and amenity packages for the 21+ event can be found here. FOLLOW GOLDENVOICE SURF CLUB:Website: gvsurfclub.com X: x.com/gvsurfclub Instagram: instagram.com/gvsurfclub FOLLOW COACHELLA:Website: coachella.com X: x.com/coachella Instagram: instagram.com/coachella YouTube: youtube.com/coachella Facebook: facebook.com/coachella

If sisterhood had a BPM, it might just pulse to the rhythm of Kinder and Coco & Breezy's new single, "Blessed Generation." Equal parts liberation chant and club-ready elixir, this Afro-house anthem arrives as both a meeting of minds and a rare case of sisterhood squared. You can hear the fingerprints of both duos as Kinder's signature Afro-electronic fusion melts into the fluid house sensibilities of Coco & Breezy, who were recently named by EDM.com among 2024's best music producers. “Working with Coco & Breezy was a vibe, as sister duos, we instantly connected—it made the whole process feel natural and exciting,” Kinder said. With festival season looming and both acts poised for major stages, "Blessed Generation" lands as a bold, sun-drenched mission statement: dance first, ask questions later. From the outset, it locks into a kinetic groove through percussion that feels almost ancestral with its hypnotic thrum. As the bassline slinks through and demands movement, warm synths rise and fall like waves catching the light at sunset. Meanwhile, the track's affirming vocals could read as rebellion or simple, unshakable joy. That duality, a balance of euphoria and reflection, is what makes it shine. Coco & Breezy likened the record to "an anthem for all generations," designed for the purpose of bringing people together. "It's amazing and an honor, as sisters, to have worked on this track with other sisters, creating something truly special," the duo said. "With our groovy bassline, signature percussion hits, and amazing moments, the song moves both the soul and the body. The lyrics, 'We are the blessed generation, we are free to do what we want / Don’t give a damn 'bout expectation, we dance with our love on top," capture our spirit as nonconformists, walking through this world purely as ourselves. We brought that same energy into the production, making sure the music reflects the freedom, movement and authenticity we live by." Listen to "Blessed Generation" below and find the new single on streaming platforms here. Follow Coco & Breezy:X: x.com/cocoandbreezy Instagram: instagram.com/cocoandbreezy TikTok: tiktok.com/@cocoandbreezy Facebook: tinyurl.com/87jmx7zp Spotify: tinyurl.com/bp8ckmv3 Follow Kinder:X: x.com/kindersounds Instagram: instagram.com/kindersounds TikTok: tiktok.com/@kindersounds Facebook: facebook.com/kindersounds Spotify: tinyurl.com/3ve2w94u

Ghanaian-Australian duo Kinder team up with DJ/Producer duo Coco & Breezy for their latest release, ‘Blessed Generation’, an Afro House track that blends rhythmic intensity with vibrant melodies. Out now via Sound International, the collaboration brings together two sister duos whose shared energy and creative synergy make for a track that is both powerful and uplifting. For Kinder, this release marks another step forward in a year filled with momentum; following their growing presence in the Afro House scene, the duo continues to attract attention from influential figures, including Black Coffee, Diplo, and Idris Elba. Their ability to fuse their Ghanaian roots with modern Electronic sounds has positioned them as one of the most compelling acts emerging from Australia’s dance music landscape. The collaboration with Coco & Breezy comes at an exciting time for both duos; known for their genre-fluid sound that blends House, R&B, and Afro-Latino influences, Coco & Breezy have built a reputation as DJs, Producers, and cultural innovators. With their Coachella performance set for April and both acts appearing at the Sound International x SXSW London Showcase on June 4th, ‘Blessed Generation’ serves as the perfect introduction to what promises to be a defining year for both projects. Driven by a hard-hitting beat, catchy vocals, layered synth lines and sonic textures, ‘Blessed Generation’ builds on a hypnotic melodic motif, gradually evolving before a dynamic drop unleashes its full impact; the interplay of percussive elements and vibrant details creates a soundscape that feels expansive yet refined, equally suited for peak-time club moments and immersive listening sessions. The track highlights both duos’ distinct artistic identities while finding common ground in their shared vision for emotionally resonant, dancefloor-ready music. When talking about the production process Kinder expressed: “Working with Coco & Breezy was a vibe, as sister duos, we instantly connected—it made the whole process feel natural and exciting.” As Kinder continue to expand their sonic identity and explore new creative territories, ‘Blessed Generation’ reinforces their rising presence in the global Electronic music scene, highlighting their ability to craft music that is rhythmic, expressive, and deeply engaging. ‘ Blessed Generation’ is out now via Sound International and available on all streaming platforms and leading music stores. Stream & Buy ‘Blessed Generation Now Kinder Online Instagram | Spotify | Website Coco & Breezy Online Instagram | Spotify | Website Sound International Online Instagram | Website

The House label welcomes back an old friend for one of her standout sonic journeys. House is in good hands, from what we can see. Toolroom welcomes ESSEL back on the label with ‘Look Back’. A certified club weapon that’s been a highlight in her recent DJ sets, with this new production she once again shows she can go from the ‘feel good’ moments to ‘lights off’ driving club bangers in the blink of an eye. Originating in Liverpool, the acclaimed began her musical journey in a secluded winter workspace, crafting rhythms that would go on to captivate the world. Within a mere five years, she’s secured a spot among the ‘Top 30 Global Producers’ on Beatport, achieved two chart-topping releases on Toolroom with ‘Lennon’ and ‘Sweat’, and has made headlines for being a strong female presence in the industry. ‘Look Back’ Groovy and full of energy, the track features a distorted female voice which leads the way into the song. The instrumental parts are strong yet melodic enough to avoid becoming stale or too monotonous. It’s a track that simply works, and I bet it works even better with a proper soundsystem at a nightclub, with the lights off and lasers on. Listen to ESSEL‘s brand-new ‘Look Back’, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. 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 ESSEL Returns To Toolroom For New Single ‘Look Back’ appeared first on EDMTunes.

According to an article from NBC News, Amazon recently submitted a last-minute bid to acquire TikTok, as revealed by a source familiar with ongoing discussions led by the White House to find a non-Chinese buyer. The New York Times reported the bid, which came in the form of a letter to Vice President JD Vance and Commerce Secretary Howard Lutnick, just days before a Saturday deadline to prevent a potential ban of the social media app. Due to the timing, many observers are viewing the seriousness of the bid with caution, according to the source who provided the details to NBC News (and this source also requested anonymity). Were there any responses regarding the potential purchase of TikTok by Amazon? An Amazon spokesperson declined to comment, and a representative for Jeff Bezos has not yet responded to inquiries. President Donald Trump will soon review TikTok’s offers during a meeting with Vance, Lutnick, and senior administration officials. TikTok has faced uncertainty in the U.S. since last year when the Biden administration signed legislation requiring its Chinese-based owner, ByteDance, to sell to a non-Chinese entity or risk a nationwide ban. No agreement has arrived as of yet, prompting Trump to extend the deadline through an executive order on his first day in office, allowing TikTok until Saturday, April 5. ByteDance has indicated it does not plan to sell and has not confirmed discussions with prospective buyers. While the meeting on Wednesday may shed light on potential buyers, the details remain closely guarded. Trump’s willingness to extend the deadline again has been noted if more time is needed. President Trump is feeling optimistic about an upcoming deal President Trump earlier in the week told reporters about this commenting “We have a lot of potential buyers. There’s tremendous interest in TikTok. The decision is going to be my decision. TikTok is, it’s very interesting, and a lot of people want to buy it.” Interested buyers of the social media app Interest in acquiring TikTok includes the likes of Reddit co-founder Alexis Ohanian, who joined billionaire investor Frank McCourt’s bid; AI search engine startup Perplexity AI; and Steven Mnuchin, former Treasury Secretary during the first Trump administration. @cnbctelevision The post Amazon Becomes a Potential Buyer of TikTok appeared first on EDMTunes.

Ministry of Sound has revealed that a recent alleged break-in and illegal rave at its London nightclub was a publicity stunt. On March 21—11 days ahead of April Fools’ Day—the venue issued a statement claiming the incident had caused “significant damage” and resulted in the theft of “high-value equipment.” Two days earlier, footage showing the break-in had been uploaded to social media. It has now been confirmed that the event was staged as part of a marketing campaign with Lab54, a pop-up event series dedicated to hosting parties “anywhere but a club.” Ministry of Sound and Lab54 will throw a party in the club’s toilets on May 4 as part of the collaboration. Caitlin McAllister, Managing Director of Ministry Group, had this to say: “There’s an irony in a pop-up ‘breaking in’ to a club, but that’s exactly the point—we need to bring new ideas to our spaces” Lab54 founder Joe Gordon added, “What better way [for clubs to connect with DIY party communities] than going back to their roots and pranking the online rave community!“ Call me suspicious, but I think it is a little bit odd for this to come out 11 days after the incident. You would have thought this would have been announced earlier. I guess all the “high-value equipment” wasn’t stolen after all, and it was all just made up. You know what they say, any PR is good PR. The post Ministry of Sound Reveals Break-In And Illegal Rave Was April Fools’ Stunt appeared first on EDMTunes.

On March 29, 2025, downtown San Jose had an unforgettable Block Party that had Australian dance music superstar, FISHER, as its headliner. FISHER threw down a Block Party that showed the music world that the Northern Californian city of San Jose is definitely a dance music hotspot. The promoters of the event were not only Insomniac themselves, but also local SF Bay Area dance music event promoters, 15Utah and DJ Dials, as well as San Jose-based event promoters, San Jose Foos. The event stretched from the intersection of S. 4th Street and E. Santa Clara Street to the intersection of S. 7th Street and E. Santa Clara Street. With the unprecedented number of attendees who attended the Block Party to witness FISHER produce a fantastic set, it is very likely that San Jose will host another similar event, especially if it is in front of City Hall again. FISHER brought out the beautiful and wild vibes at the Block Party in San Jose The event started at 2 p.m. local time, and by then, the fans started to pack the area that is in front of City Hall and surrounding businesses. Before FISHER came on stage, the fans at the Block Party danced nonstop to every rhythm that the opening acts provided, setting in motion the euphoric atmosphere that would come soon. Many fans enjoyed the various food and drink options that were there at the event, especially from the nearby businesses that are in close proximity to the event’s designated zones. Furthermore, for the fans who got to enjoy the event as VIP attendees, they got to dance the night away inside the San Jose City Hall Rotunda, the architectural masterpiece that has a remarkable glass dome and a balcony at the top level where fans can have a better view. Additionally, there was a nearby condominium complex that even had residents enjoying the vibes on a rooftop balcony. When FISHER came on, the collective crowd at the Block Party cheered delightfully and grooved away at every single beat of popular tracks such as ‘Losing It’, ‘Atmosphere‘, his sensational rework of ‘Somebody’, and his latest track, ‘Stay’. Overall, the vibes on March 29th were beautiful and wild, and to summarize the very festive mood, the event became a memorable event in the history of the city of San Jose. @weatherduder The post [Event Review] FISHER Threw Down An Unforgettable Block Party In San Jose appeared first on EDMTunes.

We sat down with a great musician recently. The music industry is a very interesting place. You just don’t ever run out of good music, and it can come from virtually anywhere. That’s what happened to us when stumbling upon Night Breeze, a former Rock guitarist from Los Angeles, who’s turned to Dance music with swift success in just a handful of years. A lover of the Melodic House style, since kicking off his alias in 2023 he’s released on labels such as Where The Heart Is, Krafted, and BeLove, among others. And he’s just released his latest, ‘Wanaka Springs’, which felt like a great time to have a bit of a checkpoint chat with him. Check it out below, as we sat down with Night Breeze for an interview. Where did you grow up, and how did your environment shape your relationship with music? I moved a couple times as a kid but mostly grew up in Jacksonville, Florida. My dad didn’t play an instrument, but he always had music playing in the background, be it classic rock, jazz, or Cuban music (the music of his homeland). So music was always part of my environment in that sense. Additionally, my mom forced me to learn piano when I was a kid. There were times when I really enjoyed it, but also times when I resented having to practice every day and just wanted to play video games. When I was 14, though, I convinced my mom to let me switch to guitar instead. This is what turned music from an activity I sometimes enjoyed into an obsession, as I could actually play the songs that I spent most of my free time listening to. Once that switch was flipped, all I wanted to do was learn and play guitar, and that became the primary way I spent my free time in high school. Since my dad had a huge selection of classic rock CDs, and since classic rock is a natural place to turn when learning electric guitar, I went pretty deep down the classic rock and blues rabbit hole for a few years. What’s the first memory you have of making music? I remember writing a few songs on the piano when I was in 2nd grade. In high school I started forming bands with friends and writing a lot more songs. I also started playing around with GarageBand and made and recorded a few dozen songs probably, both solo stuff and songs with bands. (My friend and I did in fact record a few of them in an actual garage). When I was in college, I formed a more serious band with a friend, and we played a lot of gigs around campus and town. We kind of straddled the line between classic, alternative, and indie rock. There was a recording studio on campus that was free to use and equipped with Pro Tools, so right before summer break one year we recorded a handful of songs. We attempted to hire someone to mix these recordings, but that person had no idea what they were doing, so my dad instead got me a cracked version of Pro Tools from a sketchy site on the internet so I could finish the songs myself. We moved the band to Orlando that summer and spent the summer jamming, playing around town, writing, and recording songs. I became the person in charge of recording, producing, and mixing the band, and that’s when my production journey really got going. When you think back to your earliest projects, what’s something you would do differently now? I should have used sample packs and preset packs more. I used to feel like I needed to create everything from scratch to be unique, and while it’s certainly valuable to learn sound design so you can edit sounds to your liking, I think I could have progressed faster by starting with better tools and simply focusing on finishing as many songs as possible. Related to that, my productivity increased dramatically when I dedicated a chunk of time to cultivating my sound palette and building out a template with a selection of favorite sounds ready to go. Aimlessly surfing presets is the fastest way for me to smother any creative spark I’ve got going. Why do you think persistence is such an important part of making it in the music industry? Well, for one, persistence is the only way to get better. Producing, much like playing an instrument, takes a long time to get good at – you can certainly practice ‘smarter’, but there’s still no substitute for simply putting in the time and effort over an extended period of time. Part of that is because producing requires you to learn and master so many different skills, from music theory to arrangement to drum programming to mixing to sound design. Not to mention that learning to use DAWs and plugins well also takes time and effort. It takes a long time before you can start to make music that actually sounds the way you envision it. I think that’s a point that ends up discouraging a lot of people – if you get into music production, that probably means you love and listen to a lot of music, so you’re probably painfully aware of how much your early tracks don’t quite stand up to the quality of your favorite artists. That’s completely normal, though, and ultimately, you just need to fall in love with the process of creating and not be too tied to the outcome. Related to persistence, I also think an essential skill in the music production journey is developing thick skin, as you’ll frequently deal with rejection and negative feedback along the way. But if you want to improve and get better, it’s essential to try and get honest feedback as much as possible, so you have to be open to receiving difficult feedback at times. And even after you start getting releases and building relationships with labels, they won’t necessarily want to sign every track you send them. And potential collab partners may not like every idea you send them. And released tracks may not resonate with listeners as much as you’d hoped. So there is going to be some amount of rejection every step of the way, so it helps to learn how to take that gracefully and not let it get you down. We naturally get very attached to the art we make, but music is a very personal, subjective thing, and how one reacts to it might be different from day to day or even morning to night, so you have to learn not to take anything too personally. What’s the most unexpected lesson you’ve learned throughout your career? It’s very hard to predict what people are going to like. Sometimes you make something that you’re certain is going to be a banger and no one really vibes with it. Yet other times, people latch onto what you thought was a throwaway track. At the end of the day, all we can do is keep creating and not get too attached to any one idea. What’s a key piece of advice you would give to your younger self at the start of your journey? Try to collaborate / make music with more people and try to find mentors. Music production can be such a solitary activity that you can easily get lost in your own little world for long stretches of time, but bringing other people into your world helps give you perspective and can keep things moving. You can also learn and grow from anyone – even if they’re theoretically earlier on their journey, we all have different methods and ways of working, and you can pick up little ideas, techniques, and inspiration from anywhere. Final Words Thank you so much to Justin for this one. You can listen to his brand-new ‘Wanaka Springs’, by hitting the ‘Play‘ button on the Spotify player below. Also, 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 [INTERVIEW] Night Breeze Talks Music Origins, Persistence, Career, And More appeared first on EDMTunes.

Black Tiger Sex Machine (BTSM) have carved a unique and powerful space within the bass music scene, becoming one of the most celebrated bass acts in the world. Beyond their hard-hitting productions, they’re renowned for immersive live experiences that fuse cutting-edge visuals, dynamic lighting, and their iconic Tiger Helmets, all controlled live. Their dedicated fanbase, the BTSM Church, is a testament to how their music can inspire, motivate, and bring together a community. BTSM’s global reach is undeniable, with countless shows across continents and performances at major festivals like Lollapalooza, EDC Las Vegas, and Ultra Miami. Their ‘Futuristic Thriller’ and ‘PORTALS’ tours pushed the boundaries of live performance, integrating cinematic storytelling and state-of-the-art motion capture visuals, selling out iconic venues like Red Rocks and Brooklyn Mirage. The ‘PORTALS’ show, presented in 4K Ultra Wide, marked a new era of their live experience, as did their innovative ‘Anime Show’ and the ‘SKULL MACHINE’ b2b with Kai Wachi. Coming up this weekend, they are taking over the Tacoma Dome on April 4 and April 5th alongside Rusko, Reaper, G Jones, and Eprom just to name a few. Night 1 will feature a SKULL MACHINE performance and night 2 will be your chance to catch the OMEN show. Later this year, BTSM will be performing at EDC Las Vegas, Ultra Peru, EDC Korea, Forbidden Kingdom, and ILESONIQ. Tickets for the show and the rest of their tour can be found here. Beyond their own success, BTSM spearheads Kannibalen Records, a leading independent dance music label that has launched the careers of artists like Apashe and Kai Wachi. Kannibalen’s impact extends beyond music, with partnerships spanning Apple, Netflix, Marvel, and more. In this interview, we will delve into BTSM’s latest OMEN EP, upcoming Omen Live tour, and how it all relates to their manga. Hey guys, your latest OMEN EP just dropped and the artwork is amazing! From what we know, it is related to your upcoming manga. Can you share more about the EP and how it connects to the BTSM universe? For the past few albums we’ve really been honing in on expanding our fictional universe and all the lore. With OMEN, we’ve had the biggest addition of new characters including General Taiyō and his followers and more Connected Fighters that will aid our titular character Naomi that’s been a part of our saga since the first Movie Experience tour a few years ago. By expanding on both sides from the heroes to the villains, we’re aiming to make this post-apocalyptic world feel much bigger, complex and ultimately more real. The previous storylines were more intimate and singular, but now we have a lot more to play with that will be fully fleshed out between the new live show, the EP and the upcoming Manga. What can we expect from your upcoming OMEN live show and how will it be different from your previous tours? With our previous tours we’ve tested out a few different avenues regarding how to tie-in our fictional universe to the show. First we had the live action Movie Experiences, then we had the Anime Show. OMEN is a culmination and evolution of each of those, bringing together the stories and characters for the most comprehensive immersion into our world. The Anime show was a great proof of concept for us and helped us to see the crossover between the fans of dance music and anime. With OMEN we really just went all in for a truly original multimedia experience. Your ‘Cheatcode’ VIP dropped in March which has a techno spin on it, can you share more about the track and will we see more techno releases in the future? We’ve been playing a little bit of techno in our shows for a long time and it gives our sets a nice change of pace between the heavier bass and some of the more classic electro we also throw in. For the VIP we wanted to do something different that we could also use as a transition in our sets, so it just made sense to go the techno route. With some of our newer characters in OMEN, we also wanted to give them a sort of sonic ID and “Cheatcode” VIP fit with our mischievous connected fighter Zoe. The dance music industry is constantly evolving with different trending sounds and subgenres, what sound do you think will pop off in 2025? There’s so many incredibly talented artists in the bass world that have been doing some unique things. It’s hard to pinpoint exactly where things can go, but with trap music making its way back to the forefront we think the hybrid trap direction is something we’ll see more of thanks to artists like ISOxo, Kai Wachi returning to his more trap roots in some tracks, and especially with Skrillex’s latest album. From more heavy sounds to melodic anthems, hybrid trap has a lot of potential. Social media is essential in today’s industry to connect with fans and to showcase artist identity. What kind of impact has social media had on your artist careers in the most recent years? Social media has been our biggest community builder. We do a lot to create a sense of community and openness at shows, but social media is really where you build the family. We interact daily with fans and make it a point to be involved in their lives because we wouldn’t be here without our fan’s support. From giveaways, to livestreams, to the fan groups and beyond, we try to do as much as we can to connect to our fans in the most authentic ways possible. From all the venues that you have performed at in the world, do you have any favorites? This is probably the most common answer but we’ll get it out of the way first haha. Red Rocks! Some of our other favorites include Place Bell in Montreal (our hometown), WAMU in Seattle, The Torch in LA and BK Mirage. Do you have anything else that you would like to share with your fans? We’re currently working on tons of new music, several collabs and of course we’re deep in the middle of the OMEN Manga. It’s unlike anything we’ve done before so there’s been a lot to learn and it’s been a pleasure putting this together. We can’t wait for fans to get their hands on it later this year! Stream ‘OMEN” below: Follow BTSM on socials down below! The post [Interview] Black Tiger Sex Machine Talks ‘OMEN’ EP, OMEN Live Show, and BTSM Manga appeared first on EDMTunes.

Tomorrowland Academy is offering aspiring DJs worldwide a chance to perform at Tomorrowland Belgium 2025 through their DJ Competition. Participants can submit their mixtapes at academy.tomorrowland.com for this incredible opportunity to share the stage with top artists. How to Participate The Tomorrowland Academy, Tomorrowland’s educational platform, aims to elevate DJ and producer careers. To celebrate the upcoming 19th edition of Tomorrowland, they are inviting submissions until June 15th. Interested individuals must become members of the Online Tomorrowland DJ & Producing Academy to participate. For the competition, DJs should submit a 30-45 minute mixtape showcasing their unique style. The Academy advises participants to discover unique tracks, ensure smooth transitions, maintain an engaging energy, and most importantly, be authentic. In addition to the mixtape, a motivational video detailing their background and aspirations is required. About Tomorrowland Academy Tomorrowland Academy provides extensive resources for artists at all levels. Their online academy offers in-depth courses for beginners and advanced DJs, enabling skill development, music library expansion, and problem-solving. Producers can benefit from expert instruction, technique enhancements, sample access, and demo feedback. The Academy’s comprehensive approach includes courses, masterclasses, and competitions, focusing on both technical and professional skills essential for a successful music career. Tomorrowland Academy offers: Step-by-step DJ & Producer courses: Covering essential skills like mixing, track production, and software tutorials. Most popular courses: How to Make Afro House, Beginner DJ Course, Beginner Ableton Course, How to Make Techno. Soft skills training: Guidance on finding a personal style, approaching record labels, and networking with A&R professionals. Exclusive masterclasses: Featuring industry giants like James Hype, Agents Of Time, and AFROJACK (Wall Pro Academy). Remix & DJ competitions: Allowing participants to showcase their talent. Livestreams with special guests: Including Tomorrowland Music’s A&R team and Tomorrowland bookers, offering demo feedback and expert advice. ​Over the past year, the Tomorrowland Academy has helped launch the careers of many talented artists. Just last year, The Yard Woman made waves by winning the Perform at Tomorrowland DJ Competition and playing an incredible set at the House of Fortune stage during Tomorrowland Belgium 2024. Last month, AYDEN LOYDE got to open the Reflection of Love stage at Tomorrowland Winter 2025, captivating the audience with his unique blend of melodic techno and indie dance. You can get more info about the Online Tomorrowland DJ & Producing Academy and its monthly membership at academy.tomorrowland.com. A subscription for the Online Tomorrowland DJ & Producing Academy costs €15 per month or €165 per year. The post Submit Your Mixtape For A Chance To Perform at Tomorrowland Belgium 2025 appeared first on EDMTunes.

Following last year’s historic installment, Suwannee Hulaween just unveiled a powerhouse, multi-genre lineup for its 12th edition. Set to return to its beloved home at Spirit of the Suwannee Music Park in Live Oak, Florida, Hulaween 2025 will take place from Thursday, October 30 – Sunday, November 2, 2025. Debut Headliners Hulaween 2025’s masterfully curated lineup brings world-renowned musicians from every sonic corner of the dancefloor, many of whom are playing the festival for the very first time. This year’s debut dance music headliners include LSZEE (collaborative project of bass masters CloZee & LSDREAM), UKG purveyor Sammy Virji, versatile music aficionado DJ Pee .Wee (aka Anderson .Paak, who is bringing his DJ alias to Hulaween after playing the festival in 2016 and 2019 with his Free Nationals band), house DJ/producer Disco Lines, and Tape B b2b Mersiv (playing together at the festival for the first time, and as well as bringing back their vaunted solo sets following previous Hulaween solo performances). Jam Band Favorites Hulaween will also usher in festival debut live performances from Australian electro-pop group Parcels and psychedelic rock outfit Glass Beams. These artists will be accompanied by heavy-hitting Hulaween veteran headliners such as festival-ringleaders The String Cheese Incident, acclaimed indie-jam quartet piece Goose (2x sets), Hulaween staple Joe Russo’s Almost Dead, and Philadelphia-bred jamtronica outfit The Disco Biscuits (2x sets + a rare performance by their all instrumental side project alias, Tractorbeam, late night at Spirit Lake) – a collection of acts that reinforce Hulaween’s roots in band-focused music. Some of the Biggest Names in EDM On the electronic music front, Hulaween is bringing back headliners such as Deadbeats-label bosses / bass music juggernauts Zeds Dead, and Billboard-charting producer ILLENIUM. The Hulaween 2025 lineup also boasts an impressive array of dance music support acts making their festival debut, such as genre-blending master ATRIP, Parisian afrohouse artist Alex Wann, Dutch electronic music duo Tinlicker (DJ set), infectious electronic producer Odd Mob, G-house producer Dr. Fresch, bruising bass music artist YDG, tech-house guru Westend, genre-blending house maestro it’s murph, melodic house duo Sultan + Shepard (DJ set), electronic experimenter Jade Cicada, melodic house expert Le Youth, and Latin-infused tech-house producer Maz. Dance music acts returning to Hulaween include beloved UK house duo Gorgon City, dubstep king PEEKABOO, and ABRACADABRA-label boss BLOND:ISH. Live Acts On the live front, acts making their debut festival performances include soulful producer/multi-instrumentalist Arc De Soleil, rock/country jammer Daniel Donato’s Cosmic Country, iconic jazz-infused hip-hop trio Digable Planets, genre-blending New Jersey quintet Dogs In A Pile, and 2 sets from legendary jam rock band moe. Veteran Hulaween live acts returning for 2025 include funky indie-dance duo Franc Moody, virtuosic guitar player Molly Tuttle, funk-jam band Pigeons Playing Ping Pong, and bluegrass outfit The Infamous Stringdusters featuring a rare special guest addition of two-time GRAMMY-nominated artist Sierra Hull during their set. The Hulaween 2025 lineup is rounded out by acts such as BALTHVS, Ahadadream, Baauer, borne, Cole Knight, Colton Bowlin, Conducta, Distinct Motive, Grace Bowers & The Hodge Podge, Jigitz, Linska, Mary Droppinz, Nikita, The Wicked, OkayJake b2b Stvsh, Oma, Parlor Greens, Shadowgrass, Shima, SIPPY, SML, SunSquabi, Susto String Band, Villager, Vincent Antone, WonkyWilla, and more. “With Hulaween in its 12th year, we reflect on the magic that has kept us going, fueled by our belief in this community and experience. Through everything, the heartbeat of this festival remains the same—our love for the culture, the music, the park, and the HulaFam that make it all possible. It’s an honor to keep challenging ourselves, creating, celebrating, learning how to do & be better, and evolving together. This year is going to be special.” -Michael Berg, Hulaween co-founder OFF LIMITS Stage Hulaween is also thrilled to announce that the 360-stage experience OFF LIMITS will be returning for the 2025 edition following a wildly successful debut in 2024. The stage is located at Spirit Lake and features underground dance music programming curated by DEF, as well as fire effects by Incendia and a Funktion-One sound system. Last year’s OFF LIMITS performers included acclaimed names such as Azzecca, Justin Jay b2b Nala, Riordan, Taiki Nulight, Will Clarke, and more. Since its inception in 2013, Hulaween has evolved into one of the country’s most coveted cross-genre affairs. Over the course of the past decade, Hulaween has hosted a plethora of world-class artists at the Spirit of the Suwannee’s idyllic grounds, which serves as the perfect setting for attendees to fully immerse themselves in Florida’s lush, enchanting nature. Spirit Lake Hulaween’s Spirit Lake is heralded as one of the leading immersive art experiences across American festivals, brimming with talented sculptors, fire/metal workers, painters, performance art thespians, and lighting designers. Attendees can revel in lakefront holographic projection mapping, hypnotizing light shows, and interactive installations. Tickets Hulaween offers a variety of ticketing tiers for the 2025 festival, including GA+, which offers a dedicated lounge with a private bar, access to air-conditioned restrooms, and a concierge service. Primitive camping is included with GA, GA+, and VIP ticket options with car/RV camping passes available for an additional purchase. VIP ticketing tiers include VIP admission, indoor bathrooms, VIP viewing areas, swag bags, complimentary golf cart rides, and VIP primitive camping for Mummy and Werewolf. The Witch VIP package (SOLD OUT) also includes a pre-set glamping tent and 2 VIP admission tickets plus catered meals. The Goblin (SOLD OUT) and Vampire packages include VIP amenities plus an RV pass and VIP admission for 2 or 4 people, respectively. The Zombie package includes a VIP cabin on-site at the festival, VIP amenities, and VIP admission for 4 people. Attendees can also opt to purchase early arrival passes to set up their campsites ahead of the festival opening on Thursday. Tickets for Hulaween are available to purchase now at https://hulaween.com/. The post Suwannee Hulaween Unveils Powerhouse Lineup For 2025 appeared first on EDMTunes.

We’ve all been there – that 2AM moment when you lock eyes with someone across the room, and suddenly you’re weighing a lifetime of what-ifs against the certainty of right now. Kode PinK and Parker Matthews’ “What If We” is that internal monologue set to a beat. The track balances uptempo energy with genuine emotion, using layered drums and bold synth bass stabs to create the ideal backdrop for Parker Matthews’ vocals. “What if We” captures that near perfect mix of hope and hesitation we all feel when standing at the edge of something that could be everything. Meanwhile, Kode PinK builds a sonic world around these emotions with intricate percussion that feels like racing thoughts, synth bass that hits like a racing heart, all packaged in production that’s polished without feeling expected. The lyrics nail that universal tension between overthinking and just going for it – the “what if this is real?” versus “what if it’s just for tonight?” debate we’ve all had with ourselves. The post Kode PinK and Parker Matthews ask the question ‘What If We’ appeared first on Dancing Astronaut.

*Featured Cover Image Courtesy: Rockstar Games A bunch of pills with ‘VI’ stamped on them started circulating during Miami Music Week, and now everyone’s buzzing online about when Rockstar might drop Grand Theft Auto VI. A Reddit user named “Lnce_Vnce” posted a pic of these white, round pills on r/ViceCity. The front of the pills has “VI” in a style that looks a lot like GTA VI promo stuff, and the back has some numbers that say “10.10.2025”. If that’s a date, it points to October 10, 2025. Fans are speculating that these pills could be some sort of guerrilla marketing stunt hinting at the release for the much-anticipated new installment, which is rumored to be set in “Vice City”, a fictional city that resembles Miami, showing off a world filled with crime and drug dealings. How the ‘VI’ pills were first found during Miami Music Week In the post, Lnce_Vnce mentioned finding these ‘VI’ pills in a “mini-sandwich bag” outside a “busy nightclub in Downtown Miami” during their “last dance” of Miami Music Week. The post likely suggested whoever placed the pills there, probably did it on purpose. People in the comments couldn’t agree on whether the pills were actual ecstasy or if some local dealer was just trying to ride the hype wave around GTA VI. Some even speculate the pills could be placebos that Rockstar had placed so that the compay can tease the upcoming game ahead of a big announcement. Rockstar has made a name for itself in the dance music scene before, teaming up with CircoLoco to launch a record label and working on the GTA Online After Hours update that features club scenes and DJs like Dixon, Solomun, The Blessed Madonna, and Moodymann. Plus, drug trafficking missions have always been a big part of the series. Release date speculation for the much-anticipated game Last year, the debut trailer for Grand Theft Auto VI hinted at a release in “Fall 2025”. However, nobody really knows the exact date, and many think the release date may have to be in 2026. Take-Two Interactive‘s CEO, Strauss Zelnick, who runs the show for Rockstar, said in a Bloomberg interview that they wouldn’t reveal the date until it’s close to the launch to keep the hype going. He noted, “We do have competitors who will describe their release schedule for years in advance, and we found that the better thing to do is to provide marketing materials relatively close to the release window in order to create that excitement on the one hand, and balance the excitement with unmet anticipation”. Despite the pressure from other Reddit users, Lnce_Vnce passed on trying one of the pills and sharing how it felt and he stated, “”I’m still on a heavy comedown and contracted mild trench foot from the washout at Ultra“. But they did say they “might be up for a nibble” by Thursday after a couple of days of rest. As of the writing of this article, that post is no longer visible on Reddit. The post Pills Found at Miami Music Week Fuels GTA VI Speculation appeared first on EDMTunes.

In a bold move to elevate the nightlife experience, The Vanguard, one of Orlando’s premier nightclubs, has announced the implementation of a no-phone policy starting at the end of April. The venue believes this innovative policy will minimize distractions and encourage guests to immerse themselves in the vibrant atmosphere and pulsating beats. The decision comes as part of The Vanguard’s commitment to providing an unparalleled experience and will go into effect starting April 25, 2025. By banning phones, the club aims to create an environment where attendees can truly connect with the music and each other, fostering a sense of community and shared enjoyment. This innovative policy will minimize distractions and enhance the overall nightlife experience, allowing guests to live in the moment, dancing freely without the urge to capture every second of social media. So far, fans are responding well to The Vanguard’s recent IG announcement about the new policy, showing the mutual desire for this change. Some patrons often focus more on recording experiences than engaging with them. With this new policy, the club hopes to shift the focus back to the music and the live performances of world-class DJs. While guests may initially hesitate to part with their devices, The Vanguard is confident in this change. The club plans to implement a secure and convenient complimentary phone storage system, ensuring the safety of your devices while you dance and get lost in the music. As the nightclub gears up for this new chapter, the excitement is palpable for what promises to be a more exhilarating and connected experience on the dance floor. Photo via Instagram: The Vanguard The post The Vanguard in Orlando Implements No Phone Policy appeared first on EDMTunes.

Tomorrowland Brasil now releases the line-up of artists that will perform in the stunning festival area of Parque Maeda in Itu, São Paulo. Welcoming more than 100 of the world’s finest electronic artists across 6 fabulous stages, festivalgoers can expect performances by Agents Of Time, Alesso, Alok, ANNA, Antdot, Armin van Buuren, Axwell, Bhaskar, Bibi Seck, B Jones, Bora Uzer, Cassian, Cat Dealers, Curol, Da Tweekaz, Dimitri Vegas, DubVision, Fedde Le Grand, Henri PFR, Ida Engberg, I Hate Models, James Hype, John Newman, KASIA, Kevin de Vries, Kevin di Serna, Kölsch, Konstantin Sibold, Laidback Luke, Layton Giordani, Lost Frequencies, Lucas & Steve, Maddix, MANDY, Matisse & Sadko, Max Styler, Maz, Meduza, Mees Salomé, Mind Against, Miss Monique, NERVO, Nicky Romero, Nico Moreno, Odymel, Olympe, R3HAB, Reinier Zonneveld, Samm, Steve Aoki, Third Party, Vintage Culture, VTSS, Yotto, Yves V, Zerb, and many more. Taking place on October 10-12, Tomorrowland Brasil 2025 will embrace the enchanting ‘LIFE’ theme. The Bybit Exclusive Pre-Sale starts on April 4 at 15:00 CEST | 10:00 BRT, the Worldwide Ticket Sale starts on April 8 at 15:00 CEST | 10:00 BRT. Go to your Tomorrowland Account or create a Tomorrowland Account on my.tomorrowland.com and complete Pre-Registration to have access to the ticket sales for Tomorrowland Brasil 2025. Discover the line-up and all ticket info – day and weekend passes, including Global Journey Travel Packages and DreamVille accommodations – on tomorrowlandbrasil.com. ​ Set against the backdrop of Brazil’s enchanting natural beauty, Tomorrowland Brasil 2025 will showcase a diverse and eclectic line-up of electronic music, from progressive and trance to Latin house, hard techno, melodic house & techno, psytrance, drum ‘n’ bass, and much more. With over 100 of the world’s best artists performing across 6 fabulous stages, festivalgoers from around the world will gather in the lush and green scenery of Parque Maeda, Itu, for three unforgettable days in October – offering the ultimate escape from the city to dive into a magical reality, where music unites and dreams become reality. Alok presents Something Else ​Brazilian dance music superstar Alok is set to perform under his new alias, ‘Something Else’. Marking a bold shift from his signature electronic pop sound, this new project sees Alok returning to his roots in psychedelic trance and underground music. With ‘Something Else’, he embarks on an experimental journey, offering fans a deeper, more immersive musical experience. Alok’s highly anticipated set is sure to be one of the festival’s standout highlights, drawing in fans eager to witness this new chapter in his career. Brazil’s finest ​This year’s Brazilian edition will again host some of the country’s outstanding electronic music artists, including Brazilian superstars Alok, ANNA, Vintage Culture and Zerb, as well as Absolem, Aline Rocha, Ananda, Antdot, ATKÖ, Aura Vortex, Bárbara Boeing, Becker, Bhaskar, Bigfett, Blazy, Bruno Be, Bruno Martini, Camila Jun, Cashu, Cat Dealers, Curol, Dang3r, Eli Iwasa, Etcetera, FatSync, Fernanda Pistelli, From House to Disco, GABE, Kiko Franco, KVSH, Liu, Malifoo, Malive, Maz, OMOLOKO, Pedro Gariani, Pontifexx, RHR, Roddy Lima, Sighter, Silvio Soul, Tessuto, Unfazed, V.Falabella, Victor Ruiz, Wrecked Machines, ZAC, and many more. The breathtaking ‘LIFE’ Mainstage travels to Brazil ​Last year, People of Tomorrow came together in Brazil to celebrate the rise of ‘Adscendo’. This year, the Brazilian edition embraces ‘LIFE’, a prequel to the 2016 ‘Elixir of Life’ theme, uncovering the origins of the legendary healing potion. Set in the mythical realm of Silvyra, where nature, creatures, and people coexist in harmony, this beautiful tale will unfold on a the breathtaking ‘LIFE’ Mainstage, bringing another unforgettable chapter to Tomorrowland’s story. First revealed at Tomorrowland’s special 20-year anniversary edition in Belgium in 2024, the spectacular stage will now make its home at the festival grounds of Parque Maeda in Brazil.

Packages weighing 12kg were stashed inside the seat and backrest of the wheelchair Continue reading...

Following the release of his latest single, ‘Underwater,’ Producer, Songwriter, and Live Electronic Artist Mondingo continues to captivate with his unique fusion of organic warmth and intricate electronic production. Inspired by real-life moments and crafted with a cinematic touch, ‘Underwater’ serves as a gateway into the soundscape of his forthcoming debut album, ‘Island.’ We caught up with Mondingo to dive into the story behind the track, his creative process, and what listeners can expect as this exciting new chapter unfolds. Hi Mondingo, how’s it going? Congrats on the release of ‘Underwater’! Hey! Thanks so much. ‘Underwater’ was inspired by a diving experience with your father—can you take us back to that moment and how it translated into music? That dive with my father was one of those surreal, out-of-world experiences. Everything was quiet, weightless, and full of these unreal colors—it felt like stepping into another world. I wanted to capture that sensation in music: the stillness, the vastness, and the deep sense of wonder. That’s why the track flows in waves, with space to breathe, but also moments where everything swells up and pulls you in. The track blends organic warmth with precise synth work—how did you approach balancing these elements in production? That balance is always key for me. I love the raw, imperfect feel of organic sounds, but I also want the track to have that hypnotic electronic energy. I used warm pads and airy textures to keep it human, but I layered them with crisp, evolving synths to give it depth. The key was letting both elements breathe—nothing too polished, but still structured enough to keep the groove locked in. Did you face any challenges during the production of ‘Underwater’? If so, what were they and how did you work to overcome them? One of the biggest challenges was keeping the track immersive without making it too busy. It’s easy to overproduce a song like this, especially when you’re trying to capture something as vast as the ocean. I had to step back and ask myself: does this sound add to the feeling, or is it just filling space? In the end, I stripped some elements back and focused more on creating movement with subtle changes in texture and dynamics. When building the groove of the track, what elements were most important to you in creating that immersive flow? The low end was crucial—I wanted the bass to feel like it was gently pulling you forward, like an underwater current. I also focused a lot on the percussive details: soft shakers, deep kicks, and reverb-washed claps that blend into the space rather than hitting too hard. Everything needed to feel fluid and natural. Your vocals play a key role in the track’s depth and atmosphere. How did you shape them to fit within the sonic space of ‘Underwater’? Do you have any go-to production techniques you use when it comes to integrating vocals? For this track, I wanted the vocals to feel like they were floating inside the mix rather than sitting right on top. I used a lot of reverb and delay but in a controlled way—automating the tails to make them ebb and flow. I also layered whispers and harmonies underneath the lead vocal to create this ghostly, immersive effect. It’s all about making the vocal feel like part of the soundscape rather than just sitting on it. With ‘Island’ on the horizon, how does ‘Underwater’ serve as a bridge to what’s coming next? ‘Underwater’ is one of the most visual tracks on the album—it really paints a picture and sets the tone for ‘Island.’ The whole album is about escape, nature, and reconnecting with something bigger than yourself. This track introduces that world perfectly: it’s deep, reflective, and sonically rich, just like the rest of the album. How did you know ‘Underwater’ was complete? Do you ever find it challenging to step away from a track during the production process? It’s always hard to step away! I’m someone who loves tweaking details forever. But with ‘Underwater,’ I reached a point where every change I made was just different, not better. That’s when I knew it was done. Also, sometimes you just have to trust your first instincts—this track already captured the feeling I wanted early on, so it was more about refining rather than overworking it. What message or feeling do you hope listeners take away from ‘Underwater’? I hope they feel a sense of wonder and stillness—like they’re submerged in a different world, just floating. The track is about taking a step back, letting go, and allowing yourself to be present in the moment. Can you give us a glimpse of what’s next before the album drops? Can fans expect any more releases ahead of its launch? Yes! Before ‘Island’ drops, there’s another single coming—’Rhythm of the Sun.’ This track revolves around the big orange sun above us, carrying a hypnotic energy and featuring acoustic guitar. It still ties into the album’s themes of nature and escape. Plus, there are some exciting remixes on the way, including a stunning rework of ‘Underwater’ by Felix Raphael. Lots more to come! As Mondingo builds towards the release of ‘Island,’ ‘Underwater’ stands as a powerful indicator of the emotive, nature-inspired sonic world he continues to create. Balancing immersive sound design with personal storytelling, he invites listeners to step into a space of reflection and wonder. With more music, upcoming singles, and remixes on the horizon, Mondingo’s journey is only just beginning—and it’s one worth following closely. So, be sure to keep up with his releases and evolution by following Mondingo across social media today. Listen and Buy ‘Underwater’ Here:      https://newsdigital.ffm.to/underwatermondingo Mondingo Online   Spotify | Instagram | TikTok     The post Mondingo Opens Up About the Journey Behind ‘Underwater’ and the Road to ‘Island’ appeared first on EDMTunes.

This groundbreaking release is sure to stir up conversations in the music industry. As its name indicates, Parker Jax AI DJ embraces the transformative power of AI technology in music creation. While some lyricists may be quick to voice concerns about the potential loss of human creative skills. Notably it’s essential to recognize that ParkerJax AI DJ represents an innovative fusion of Tony Schillinger’s original lyrics with cutting-edge AI-generated compositions and vocals. Undoubtedly, this project signifies a monumental shift in the realm of synthesizers and computer-generated sounds, (including the evolution of autotune) marking a new shift in music production. However, it’s essential to recognize that a proficient level of skill is vital in crafting AI-generated results that truly resonate with a human connection. “We take pride in creating music that sparks creativity,” states the artist, whose deep fascination with dark themes is vividly shown in this captivating pop-dance single “Ghosts in Sunlight“. The song profoundly explores the intricate emotions surrounding lost dreams and fractured memories, skillfully intertwining vivid imagery with deeply resonant lyrics. Expressions like “Dreams that slipped away” evoke a poignant sense of longing and nostalgia. Whereas “All we find are broken lines” underscores the disarray and disconnect we often experience. Yet, within this poignant contemplation of sorrow, the song emerges with a compelling sense of hope. Moreover, exemplified in inspiring lines such as “We find our love trapped behind crumbled walls.” This striking contrast powerfully conveys that even in our bleakest moments, love and optimism can prevail. Ultimately, the song transcends mere reflection on adversity. The narrative embodies the resilience needed to cling to joy and hope. Thus, urging us to embrace life fully and authentically, no matter the challenges. Above all, the captivating groove is irresistibly addictive and intoxicating. ParkerJax AI DJ fearlessly explores the cutting edge of electronic pop, showcasing his talent. He masterfully combines driving rhythms with a plethora of enchanting electronic melodic refrains. His artistry is undeniably exhilarating, propelled by a forward-thinking vision, all while deftly steering clear of boundaries. Connect with ParkerJax AI DJ Facebook: https://www.facebook.com/people/ParkerJax-AI-DJ/61568632280367/ Instagram: https://www.instagram.com/parkerjaxaidj/ The post Listen to “Ghosts in Sunlight” by ParkerJax AI DJ appeared first on EQ Music Blog. View the full article

Over 100 performers expected across The Levels, Lonely Hearts Club, Firmly Rooted Soundsystem and Assembly at Worthy Farm this year Continue reading...

Deep house beats and South Asian classical music are coming together in Anvaya to make something truly amazing. Kaushal and Sonia, who are married and work as doctors during the day and as visionary producers at night, have quickly become major voices in the growing Indo House movement. Anvaya is at the center of cultural heritage and cutting-edge electronic music. Their debut EP “Sands Between Us” on Indo Warehouse and a historic show at Coachella are just around the corner. We talked to the duo about their unique journey from medical professionals to musical pioneers and how they’re changing what South Asian representation looks like in global electronic music. They had just come off a sold-out show at London’s famous Roundhouse, and their hypnotic single “Dheere” is still playing in clubs around the world. Before the sold-out showcases and landmark releases, there was the spark—that first moment of connection with electronic music. Can you transport us back to those formative experiences that first ignited your passion for creating rather than just consuming music? We’re both lifelong musicians, so in a way music creation has always been in our lives. It just looked differently in the early years. Sonia is a classically trained singer, and Kaushal has been performing in orchestras and bands, playing every instrument I could get his hands on – tenor sax, French horn, piano, guitar, bass, drums, you name it. In college, I started experimenting with music production in a casual way. When we met, we would play together with Sonia singing and Kaushal on guitar or keys. We tinkered with blending electronic sounds and human elements. When we went to shows together, we would find ourselves oscillating between enjoying the moment and also trying to understand the sound design, energy flow, arrangement within the music we’d hear. That influence naturally flowed into our music production and that led us down this path. The underground electronic scene can be notoriously difficult to navigate. What early barriers did you encounter when attempting to establish your unique sonic identity, and how did you overcome them? Establishing a clear sonic identity is challenging because, to be honest, our sonic identity is not static, and we are constantly pulling from so many sources of inspiration. We are equally likely to pull inspiration from Chemical Brothers, Miles Davis, or AR Rahman. And this reflects in the music we write. In today’s music landscape, emerging artists are sometimes under pressure to have a clear and concise sound when the reality is that most artists have many facets to their inspiration and love for music. We have currently opted to let our sonic identity be an amalgamation of all of our sources of inspiration. We’ve been fortunate to join a label (Indo Warehouse) of producers and DJs who ardently support this authentic approach. Your creative evolution has clearly been marked by distinctive phases. How has your sound metamorphosed from those initial productions to the hypnotic, culturally-infused compositions we hear on “Dheere“? Our sound has gone through and continues to go through an evolution. In the beginning, our productions were more exploratory—finding our footing, experimenting with sound design and arrangement. We were figuring out how to blend our influences in a way that felt authentic, and sometimes, that meant leaning into safer or more familiar sonic territory. With “Dheere,” everything shifted. “Dheere” isn’t a “safe” track by any means, and that’s exactly why it feels so important. It was a moment where we leaned fully into instinct rather than expectation. It’s darker, more hypnotic, and you won’t hear another track quite like it on Sands Between Us. That’s intentional. This track reflects us exploring the edges of what Indo House can feel like. It also represents the kind of creative risks we’re excited to take and the freedom we feel when we trust our own vision. Many artists speak of watershed moments—performances or releases that fundamentally altered their trajectory. Was there a singular turning point that catapulted your career forward, or has your rise been more of a steady, organic evolution? Our rise has definitely been more steady. There was an early defining moment in 2023 that comes to mind, which is when we released Garba Szn 2 on Indo Warehouse. We reimagined Haa Re Ma, a traditional Garba composition originally written by Kaushal’s grandmother. This marked the first time we reached back into our roots and brought something so deeply personal on so many levels into a contemporary context. It was a tribute to timeless cultural traditions and a bridge between generations. The response was overwhelming, and seeing people from all backgrounds connect with the energy of that track and dance to it in both cultural and club spaces meant everything to us. Each show we perform at, whether in the United States or internationally, pushes us to take bigger risks and refine our skills. Now, performing at Coachella feels like a major catalyst. It’s more than a stage—it’s a chance to invite a massive, diverse audience into our world, and that has been an incredible source of motivation. Just the preparation alone has challenged and matured us. We’re excited to see how we grow even more from this experience. The leap from releasing singles to crafting a cohesive EP represents a significant artistic expansion. What unexpected challenges emerged during the creation of “Sands Between Us” that you hadn’t encountered when producing individual tracks? One of the biggest challenges we experienced was deciding which tracks belonged on the EP and which should stand alone as singles. We have a growing collection of music we love, but not everything served the narrative we wanted this project to carry. Cutting some tracks—for now—was tough, especially when we were attached to them emotionally or creatively. Ultimately, we wanted Sands Between Us to feel intentional, not just a playlist of songs we liked. Another unexpected challenge was defining the story we wanted to tell through the EP: one that captured both of our journeys as individuals, our growth, and the emotional landscapes we’ve traveled. It took a lot of joint reflection over numerous cups of coffee to weave our individual experiences into something that felt unified and true to who we are as a duo. Coachella represents electronic music’s grandest stage—a radical departure from intimate club environments. How are you preparing to translate the nuanced emotional textures of your production for such a massive, potentially mainstream audience? Coachella demands a completely different kind of energy than some of the intimate club spaces we have played in. We’ve been carefully reworking our set to bridge that gap—curating live elements and creating moments that invite the audience in, even if they have never heard our music before. The goal is to stay true to our artistry and quality of production while embracing the scale and opportunity of a stage like Coachella. Many artists find themselves pressured to dilute their cultural specificity when reaching broader audiences. Are you feeling any tension between maintaining your authentic South Asian-influenced sound and adapting to Coachella’s more commercial expectations? Not once have we felt pressured to dilute our culture in the music we are presenting on a stage like Coachella. If anything, we’re amplifying it and showing you just some of the best of what our culture has to offer. An hour-long set is not enough. This show is so much bigger than us, and we want the kids, adults, grandparents, uncle,s and aunties all around the world watching us perform to feel pride in our community and feel part of the movement. Festival sets often serve as laboratories for testing unreleased material. Will Coachella attendees be privileged to experience exclusive previews beyond what appears on “Sands Between Us,” and how do you select which unreleased gems to share? Coachella attendees are in for something truly one of a kind. We’ve crafted a set that goes beyond Sands Between Us, both sonically and visually. This isn’t just a DJ set, but rather an experience we’ve built specifically for this stage. We’ve written and produced entirely new, unreleased material just for Coachella. Some of these tracks won’t be found on Sands Between Us and haven’t been heard anywhere else. When choosing what unreleased gems to include, it’s all about energy and emotional impact. Every track in this set serves a purpose, whether it sparks a moment of nostalgia or takes you into the future of Indo House. The duality of your existence—healing bodies by day, moving them by night—creates a fascinating tension. How does the precision and empathy required in medical practice infuse the emotional architecture of your productions? Practicing medicine demands unwavering attention to detail. There is no room for compromise when lives are at stake. Through years of specialized training, we’ve developed a work ethic and nuanced skill sets that naturally inform how we approach music production. Caring for patients keeps us grounded in the raw, unfiltered reality of human experience. We’re constantly bearing witness to moments of vulnerability, resilience, fear, and hope. These encounters leave us with stories—so many stories—and music has become the space where we process, express, and honor them. In that sense, music has become more than an outlet; it has come to be a form of emotional translation. Being able to create through sound allows us to channel the weight of what we carry into something meaningful. In turn, this artistic vulnerability only deepens our empathy. Somehow, we feel more connected to our audience and our patients. The demanding nature of both medicine and music touring seems almost impossible to reconcile. What practical systems have you developed to honor both callings without sacrificing your artistic output or patient care? First and foremost, it comes down to time management and efficiency. We plan our touring and studio sessions around our clinical responsibilities, often months in advance. Shared calendars on our phones are a must! We also lean on strong support systems in both worlds who help make it all possible. Flexibility and communication are imperative. On the creative side, we’ve learned to work efficiently—writing on flights, producing in short windows, and staying inspired even when we’re on the go. Your South Asian heritage pulses through every bass line and melodic phrase in your work. How has your cultural background provided both inspiration and challenges as you’ve navigated predominantly Western electronic music spaces? Our South Asian heritage is an endless source of inspiration—the range, depth, and richness of its musical foundations are truly unparalleled. From intricate rhythms, various styles of singing, and beautiful ragas, there’s a vast sonic landscape that we constantly draw from. We’re deeply inspired by these elements, but we also want to make our music accessible and inviting to a broad audience. Having grown up in the United States, it feels natural and authentic for us to weave together Western and global influences alongside our South Asian roots. We’ve found that when we lead with authenticity, the right listeners, across cultures, respond. And that’s been one of the most rewarding parts of this journey. As our talk comes to a close, it becomes very clear that Anvaya’s dual existence isn’t just an interesting fact about their life; it’s what makes them who they are as an artist. Every beat and melody they make has the same level of accuracy, empathy, and depth that they use in their medical work. In today’s fragmented music scene, many artists struggle to define themselves. Kaushal and Sonia, on the other hand, have accepted the variety of their influences, creating a sound that is hard to put into a single category but is still clearly their own. Follow Anvaya on Instagram and listen to their music on Spotify. The post Let’s Talk About Anvaya appeared first on The Groove Cartel.

Electronic music superstar Dimitri “Vegas” Thivaios is stepping back into Hollywood, confirming via Instagram his role in Amazon MGM Studios‘ highly anticipated holiday action-comedy, “The Man with the Bag.” Thivaios joins an impressive ensemble cast headlined by legendary actor Arnold Schwarzenegger and rising action star Alan Ritchson. “The Man with the Bag,” directed by acclaimed filmmaker Adam Shankman, revolves around Santa Claus (played by Schwarzenegger) who partners with a reformed thief (Ritchson) to retrieve his stolen magical sack and ultimately save Christmas. The film promises a thrilling mix of comedy and action, perfect for the holiday season. Thivaios’ involvement further underscores his successful transition from global electronic music icon to budding film actor. His burgeoning filmography already includes high-profile appearances in “Jurassic World Dominion,” the upcoming “Den of Thieves 2,” and a lead role in the European blockbuster “H4Z4RD.” Despite his demanding schedule on film sets, Thivaios continues to dominate the electronic music scene, recently releasing hit tracks like ‘Thank You’ and ‘Mockingbird’ with fellow EDM titan Tiësto, and the Vin Diesel collaboration, ‘Don’t Stop The Music’. Adding to the excitement, “The Man with the Bag” boasts an all-star cast featuring talents such as Awkwafina, Ken Jeong, and Liza Koshy, making it one of this year’s most anticipated holiday films. Stay tuned for further updates on this festive blockbuster’s release!

It marks the first new music from the Manchester group in 13 years, Continue reading...