Ravebot

Brainheart has been creating life-changing music that affects not only the brain and the heart, but the soul as well. You may call it uplifting, motivational, or a spiritual experience, but no matter how you describe it, Brainheart’s emotional songs continue to have an euphoric effect, leaving footprints on his listeners’ lives. Sometimes his songs are like calling me home, and other times it’s like he stepped right into my life with the notes and lyrics. He mentioned, “Whether it’s a track that helps someone through a tough time, a song that becomes the soundtrack to an unforgettable memory, or something that simply makes a listener feel understood, I want to create those moments. If my songs can help people feel less alone, feel empowered, or inspired to follow their own dreams, then I’ve done my job. “ Brainheart, whose real name is Roei Zoar, is an independent music producer, songwriter, and DJ from Israel. EDM was initially his form of escape after he watched the Tomorrowland Aftermovie and discovered how strong a feeling it gave him. I know I can relate to that myself. The 2012 Tomorrowland Aftermovie filled my body with chills and helped me realize there can be so much more to life than I already knew. He didn’t have any real DJ background; he just started by wanting to turn his emotions into something bigger than words. Brainheart debuted in 2019 with Explore The World, a powerful and emotional anthem sung by his own sister, who is featured on a few of his songs as “Sis“. This inspirational track was used on more than one million reels, capturing the perfect sound for those wanting to share their love for traveling and nature with the world. On May 16, 2025, Brainheart released his newest song, A Chance To Bloom, a melodic house collaboration with Sis. The track marks a deeply personal creative union between siblings, delivering a message of healing, self-discovery, and transformation. The atmospheric synths, rhythmic pulses, and uplifting lyrics create an emotional response, urging listeners to reconnect with their inner child, embrace vulnerability, and rediscover what truly makes them feel alive. The track opens with his sister’s voice, “Get out there and change the way you see life / Seek and find what makes you feel alive”, delivered with tenderness and strength. You can understand how cinematic Brainheart desires to be with his electronic music. Bringing energy and emotional depth, there’s a layer of intimacy that elevates the track’s theme of reconnection and rebirth. Check out the incredible single yourself below! The post Brainheart – A Chance To Bloom appeared first on EDMTunes.

Over Memorial Day Weekend, Hart Plaza once again transformed into a sacred site for electronic music devotees as Movement Detroit 2025 unfolded in full force. Celebrating 25 years since its inception, the event reaffirmed its status as a cornerstone of electronic music culture. With over 115 artists spread across six dynamic stages, this year’s edition was a seamless blend of the genre’s storied past and its ever-evolving future . More Than Music: A Full-Sensory Experience Movement has evolved beyond a mere music festival; it stands as a vibrant celebration of community, culture, and creativity. Marking its 25th anniversary, this year’s event was imbued with profound emotion and reverence. Attendees immersed themselves in expansive art installations, live graffiti exhibitions, and captivating lighting displays. A notable highlight was the return of the esteemed “Respect the Architects” exhibit, situated in the Underground Amphitheatre. This exhibition paid homage to the unsung heroes who have been instrumental in shaping Detroit’s electronic music scene. Culinary offerings at the festival were diverse and catered to a wide range of tastes. Festival-goers indulged in Detroit-style pizza, Middle Eastern falafel wraps, vegan Korean BBQ, and refreshing craft cocktails. Prominent vendors included Island Noodles, Byblos, and Zestia Greek Street Food, all providing vegan and gluten-free options . Enhancements to the VIP zones offered attendees shaded lounges, expedited bar services, and exceptional views of the stages. Six Stages, Endless Energy Movement Stage The beating heart of the festival hosted jaw-dropping performances all weekend. Jeff Mills delivered an interstellar Saturday night set, showcasing the 909 wizardry that made him a Detroit legend. Charlotte de Witte took Sunday into overdrive with her signature dark, pulsing techno. And John Summit closed out Monday with an emotionally textured, genre-blending journey. Waterfront Stage Presented by JARS Tucked near the Detroit River, this shady oasis was home to some of the weekend’s most experimental sets. Highlights included a stunning Sara Landry, The Blessed Madona, Shigeto Live Ensemble performance and a rare Goldie B2B Photek featuring Armanni Reign, whose set delivered a drum & bass masterclass. Stargate Stage The spiritual hub of Detroit’s house and funk tradition, Stargate featured the unforgettable Carl Craig B2B Moodymann B2B Mike Banks set that lit up Saturday night with raw soul, vinyl energy, and crowd euphoria. Among other heavy hitters were Mau P, Patrick Topping and Loco Dice B2B Vintage Culture. Underground Stage Industrial, sweaty, and uncompromising, the Underground Stage delivered pounding techno for the purists. Helena Hauff, DVS1, and DJ Nobu were just a few who turned this cavernous space into a dance ritual. By far my favorite stage, the epitome of raw, underground techno was there. Klangkuenstler was the highlight of day 3 closing out this stage. Pyramid Stage A playground for eclectic and forward-thinking acts, Pyramid saw uplifting sets from Seth Troxler, Layton Giordani, Walker & Royce, and Detroit’s own DJ Minx. Detroit Stage A love letter to the city itself, this stage highlighted local talent all weekend. From Brian Kage, DJ Sphinx, Ember Lafiamma, to Shawescape Renegade, Detroit proved it is still growing, evolving, and thriving. The Movement Crowd: Style, Substance & Soul What truly sets Movement apart is its people. The crowd was diverse, vibrant, and decked out in expressive fashion that celebrated both rave culture and Detroit’s gritty elegance. Whether it was their tenth year or first time, attendees danced side-by-side like family. From sun-drenched afternoons to midnight rituals, the unity was palpable. Social moments were also big this year. Viral dance circles formed, spontaneous marriage proposals happened at the Pyramid Stage, and artists like Anfisa Letyago and Boys Noize jumped into the crowd post-set to meet fans. Final Thoughts Movement Detroit 2025 didn’t just live up to expectations—it deepened the festival’s legacy. It honored the past while fearlessly pushing into the future. For those who made the journey, it was more than music. It was connection, culture, and collective excitement. “Movement is techno city. I loved that they had hard techno, acid techno, groovy techno. Different generes of tech house. You can feel the bass in your soul. The festival is in the heart of the city, and it was beautiful. I felt the music in my heart. Detroit really took my heart.” Stephanie Uballe – First time Movement attendee. As the final bassline echoed across the Detroit River and the city lights shimmered behind Hart Plaza, one thing became clear: techno isn’t just alive in Detroit—it leads here. See you in 2026. The post [Event Review] Movement Detroit 2025: A Techno Pilgrimage Through the Heart of the Motor City appeared first on EDMTunes.

Another weekend passes by the embattled Brooklyn Mirage as they were forced to cancel and / or reschedule another round of events with A-list talent. Fortunately, REZZ and her team were able to pivot to Summer Stage in Central Park, an iconic outdoor venue with similar capacity. The resilience of the team showed through and she ended the show with a heartfelt speech and thunderous applause. The show went off without a hitch — and despite an early start time of 5pm and the opening acts receiving a shortened set length of 50 minutes, the fans were out in force and the vibes in the park were immaculate. Throughout the week, there was a rain forecast for Friday that never materialized, providing REZZ and her team with a partially cloudy paradise that was just the right temperature and perfect for an out door show. Despite the quick turnaround, REZZ’s production manager was still able to pull out all the stops and provide fans with the dazzling and hypnotic experience that they had come to expect. 😳😳😳wow pic.twitter.com/o2S7Xd7WHR — RΞZZ (@OfficialRezz) June 1, 2025 The Brooklyn Mirage’s troubles began when its scheduled May 1st reopening with shows by Sara Landry was abruptly canceled just hours before starting, as building inspectors did not grant the newly renovated venue a permit to open. Consequently, all subsequent events at the Mirage have been either canceled or postponed. This situation has also led to a leadership change at Avant Gardner, the parent company of Brooklyn Mirage. Josh Wyatt is no longer the CEO, with Gary Richards, the non-executive chairman of the board, stepping in to manage daily operations for the time being. Despite ongoing issues, the Brooklyn Mirage continues to announce new shows. The post REZZ Dazzles Fans in Central Park appeared first on EDMTunes.

Lost Lands Music Festival has officially announced its full 2025 lineup ahead of its return to the prehistoric paradise of Legend Valley, taking place September 19–21, with early arrival programming set for Wednesday, September 17, and Thursday, September 18. Now in its eighth year, Lost Lands continues to define and elevate the bass music festival experience. With an expanded slate of immersive performances, new stage designs, enhanced fan amenities, and forward-thinking infrastructure, the 2025 edition promises to be its most unforgettable yet. Founded and curated by Excision, Lost Lands has evolved into one of the most influential and celebrated festivals in electronic music—a fully realized realm that brings the global bass community together through towering stage production, prehistoric-inspired landscapes, and a spirit of unity that resonates far beyond the music. Each year, tens of thousands descend upon Legend Valley to witness the most dynamic and boundary-pushing acts across the bass music spectrum—from dubstep and experimental to house and hybrid sounds—during a weekend that has become a rite of passage on the international festival circuit. The 2025 lineup welcomes back standout artists such as Rezz, Illenium, Slander, Crankdat, Tape B, Sullivan King, Wooli, and ATLiens. Fan-favorite performers, including ALLEYCVT, DRINKURWATER, Dion Timmer, Level Up, Mersiv, Peekaboo, Jessica Audiffred, and Zingara also return. Following a standout collaborative performance as MASTERHAND in 2024, Space Laces, Eptic, and SVDDEN DEATH return this year for individual sets, with SVDDEN DEATH delivering two: the crushing return of VOYD and an atmospheric Deadroom experience. A new wave of artists will make their Lost Lands debut, including Andy C, Hedex, JSJTR, Wreckno, Moody Good, Badklaat, Flozone, Nikita, The Wicked, OkayJake, and The Resistance. Groundbreaking collaborations also join the roster with performances from Dab The Sky (Dabin x Said The Sky), Kill Safari (Kill The Noise x Bro Safari), and LSZEE (CloZee x LSDREAM), promising sets that defy genre boundaries and push sonic frontiers. The 2025 early arrival experience begins on Wednesday and Thursday with two nights of curated pre-party programming, featuring performances from Jantsen, Super Future, Bear Grillz, Trivecta, Versa, Beastboi., and more. The early arrival schedule culminates with the annual mega B2B2B2B2B session—a tradition now spanning both the legendary Prehistoric Stage and the fully immersive Crater Stage. This year, Lost Lands is rolling out a broad range of enhancements across the festival grounds. The Village Marketplace will include a new dedicated zone offering a wider variety of health-conscious options, including vegan, vegetarian, gluten-free foods, non-alcoholic and mocktail beverages. A brand-new in-venue dining experience curated by a special guest chef will elevate culinary offerings within the main venue. Additional seating has been installed across key locations including Wompy Woods VIP, Subsidia Stage, and Prehistoric, providing more comfort without compromising views. The post 2025 Lost Lands Lineup Revealed With Over 200 Acts appeared first on EDMTunes.

The major labels, Suno, and Udio are reportedly negotiating possible settlements in their copyright infringement disputes. Photo Credit: Sebastian Herrmann Nearly one year after suing Suno and Udio for copyright infringement, the major labels are reportedly exploring possible settlements with the gen AI music platforms – including a licensing and compensation framework. Rumblings of the potential resolution discussions just recently entered the media spotlight. At the time of writing, however, neither the majors nor the AI-platform defendants had publicly addressed the matter; Suno and Udio didn’t respond to requests for comment in time for publishing. But according to Bloomberg, the settlement discussions are ongoing, with the majors pushing for licensing fees and “small” equity interests in the AI upstarts. Additional details are few and far between, though the same source claimed that the talks “are happening in parallel.” This doesn’t exactly come as a surprise given the cases’ considerable overlap and the fact that both Udio and Suno have tapped Latham & Watkins for representation. (Udio is also repped by Quinn Emanuel Urquhart & Sullivan.) That said, it’s unclear whether there’s weight to the same report’s indication that the dual negotiations are “creating a race of sorts to see which” AI company will settle first. To state the obvious, preventing (extremely) protracted courtroom confrontations can bring inherent advantages. Here, avoiding even bigger attorneys’ fees would certainly qualify as one such advantage. Meanwhile, the majors would have the opportunity to invoke the resulting terms in licensing talks with other AI platforms, and Suno as well as Udio would put an end to an apparently thorny discovery process. “Given the complexity of the case, the number of discovery requests at issue—to date, over fifty RFPs from each side— and the number of Plaintiffs and Asserted Works, this process has been a complex one that has required careful attention and compromise on both sides,” counsel for Udio and the majors summed up in an early May update. Plus, “the parties spent several months negotiating the protocols that govern Plaintiffs’ inspection of Udio’s source code and training data,” they wrote. With all this said, the settlement “race” description doesn’t necessarily paint a full picture of the situation. Most significantly, Suno and Udio remain adamant that their training processes constitute fair use. As broken down by DMN Pro, the central argument is deceivingly strong from a legal perspective, and litigation wins aren’t guaranteed for the majors should the cases play out. In other words, it’ll be especially interesting to see whether the rumored back-and-forth resolves the cases and sets the stage for different AI licensing models throughout the wider industry. View the full article

BLOND:ISH has shattered both gender barriers and attendance records at one of the world's most prestigious nightclubs, Pacha Ibiza. The Canadian DJ and house music artist made history this season as the first woman ever selected as a resident DJ at the fabled Pacha Ibiza club. On May 28th, her headlining performance drew the venue's largest Wednesday night crowd since it opened over 50 years ago, she announced on social media. "Just got word that we broke all records and had the biggest Wednesday night in the history of Pacha!" BLOND:ISH wrote on Instagram. "Thank you to everyone involved, you have no idea how much work it is being the new girls in town in ibiza, we out here on the hustle." View the original article to see embedded media. Italian house legend Marco Carola joined her for a groove-laden b2b DJ set that electrified the packed venue. Pacha has not disclosed specific attendance figures for the event. BLOND:ISH, who is also a sustainability advocate and environmental entrepreneur, is set to take over the club every Wednesday through July 30th with her beloved "Abracadabra" party series. Her residency will feature additional performances by Diplo, LP Giobbi, Mau P, Vintage Culture and SG Lewis, among other prominent DJs. "I've been going to Ibiza since I was 17, so you can imagine that I’ve been dreaming about a residency, and what I can bring to the island that’s unique," BLOND:ISH said in February after signing on with Pacha. "Energy is everything, and you can be sure that we will bring fresh energy to the island. It’s something you need to experience in person on Wednesdays at Pacha Ibiza with Abracadabra." You can purchase tickets to BLOND:ISH's residency here. Follow BLOND:ISH:Instagram: instagram.com/blondish X: x.com/blond_ish TikTok: tiktok.com/@blondish Facebook: facebook.com/blondish Spotify: tinyurl.com/3ubp7xjz

The Teddy Killerz are back, and they have conjured up a new arsenal of razor-sharp, mean teeth. Albeit with a slightly more welcoming grin… It’s the gift that keeps on giving – but reassembled inside-out, and poised to set the bar for a new era. As for the occasion to kick-off this brand-new chapter: their upcoming second album, Cooked, on Souped Up, drops on Friday June 13. A whole lot of heat to expect there. So much so, it’s safe to say the kinetic energy those 14 tracks on the LP will generate is enough to power a small country for a year. What’s more, besides the state-of-the-art sound design, as well as the knack to create bangers that truly stick, Cooked is a salute to (the roots of) rave culture. And above all: it’s a statement of intent for what the future holds for the Teddy Killerz – becoming something way broader in the drum and bass genre, than the Neurofunk they’re mainly recognized for. We caught up with Grigory Cherekaev, one-third of Teddy Killerz, to give you all a personal taster of what they’ve been brewing lately. So read on for insights into the conception of the album, the challenges involved, some advice on writing music, and much more! Congratulations on the upcoming album Cooked. We went through tons of bangers to cause a proper dance floor frenzy. How does it feel to have it done? Grigory: It feels like the culmination of a significant project is on the horizon. This is our second album; the first one was on RAM Records almost a decade ago. Releasing an album today is a completely different experience. Previously, you’d deliver the music, and the label would handle all the marketing magic. Now, preparing an album demands a tremendous amount of additional work, especially on the social media front – creating videos, promotional content, and so on. It felt like the workload was easily two or three times what it used to be. But I think we’re managing it well. So how long have you guys been working on this one, from the initial idea to this point? And when did the decision to make an album come about? It all began about two years ago. We were deep in experimentation, trying to find that perfect synthesis between neurofunk and jump-up. Our discography from that period, with releases on Souped Up, Monstercat, and others, clearly reflects this exploration. We had this idea to create a 90s-inspired, ravey EP. Crafting that EP was a lengthy process, because we were very specific about the elements we wanted: those big, Prodigy-esque intros, rave stabs, funky vocals – it all took time to get right. By the time we were nearing finishing that EP, we found ourselves with not just four complete tunes, but an additional eight demos that we were also really excited about. That was the “aha!” moment, like: “Maybe this should be an album”. We approached Souped Up, as that was our primary label home at the time, and we had a fantastic relationship with them – big shouts to Serum and Ed Priest for their incredible work and for just being amazing people. We pitched the album idea to them about a year and a bit ago. A crucial factor in deciding to pursue an album was also our desire to shift the broader perception of Teddy Killerz. Before Cooked – and I truly hope this album changes things – many people saw us as a purely neurofunk act that occasionally dabbled in weird dubstep, jump-up, breakbeats, or other genres. But we’ve never felt confined to just neurofunk. That’s interesting, you never felt like a purely neurofunk act. Is that more reflective of your foundational tastes? I think it was a natural evolution. When we started producing music, say some 14 years ago, our heroes and biggest inspirations were undeniably from the neurofunk scene – artists like Noisia and Spor. Our early music was heavily influenced by them. However, as time went on, we never wanted to be pigeonholed or stamped with a single genre label. Our interests expanded to other bass music genres and various subgenres within drum and bass. This album, for us, became more than just a creative statement of where we are sonically today. It also serves a utilitarian function: to clearly communicate, “Hey, we’re not just a neurofunk act; we’re about the broader spectrum of drum and bass”. When you release singles, that message isn’t always obvious. People might see a different-sounding track as a one-off experiment. But with an album, when listeners can hear a dramatic and consistent shift in sound across multiple tracks, it becomes a definitive statement, a borderline. That realization solidified our decision: we absolutely needed to make this album to showcase our current inspirations and direction. Looking at the bigger picture of making a whole album, many artists describe it as telling a longer story. Was there a specific approach to showcase this new direction and create a cohesive whole? What glues it all together? Initially, the album had a different working title, inspired by Tom Wolfe’s “The Electric Kool-Aid Acid Test,” a legendary book from the 60s about hippie counterculture. I’m a big fan; I studied journalism and my thesis was on counterculture and alternative journalism, figures like Hunter S. Thompson. So, we envisioned something like “The Electric Ravers’ Acid Test,” aiming to revisit and reimagine 90s rave sounds with a modern twist – incorporating elements like big, nostalgic rave textures but making them incredibly dancefloor-friendly, all while leveraging the sound design expertise we’ve developed. We even had ideas for a cartoon involving time travel. However, as we started shaping the album, we realized we didn’t want to strictly limit ourselves to the 90s sound. Other ideas emerged that didn’t quite fit that initial concept, but we still felt strongly about including them. That’s when the “Cooked” idea surfaced. The process of making this album felt like cooking – experimenting, blending diverse ingredients. What we’re “cooking” is fresh; it represents our current state, who we are today. So, the concept shifted to this culinary theme. It’s not a conceptual album with a linear narrative journey in the traditional sense, like some space travel epic. Instead, it’s about showcasing what’s happening “in the studio,” behind the individual tracks. It’s a declaration: “This is our sound now. This is what we’re cooking”. It’s a collection of different dishes, but they all work together as part of a singular chef’s vision. It’s akin to a tasting menu at a restaurant where the chef curates the entire experience, from starter to main to dessert. You’re not just choosing individual items; you’re immersing yourself in someone else’s complete vision. Beyond the marketing and content creation, what was the biggest challenge in switching to this new direction and making the album? The most persistent challenge, given that we’re based in three different countries, is simply staying on the same page and coordinating our efforts. Sometimes, there can be quite long breaks between sessions or in-depth discussions about our plans. During the album’s creation, for instance, Oleg (Cholovskyi) was in Poland, then moved to the US, then back to Poland. I’m still in Slovakia, and Anton (Mashevsky) is based in Russia. Finding common time, especially with Anton having a baby a couple of years ago and Oleg last year – children rightfully take up a lot of time – was the main logistical difficulty. Conceptually and sonically, however, I believe we were ready to make this album and finalize this new sound direction for a long time. Obviously, there’s some collective momentum, and that carries you in the creative process. Is it from experience that you can be more assured that, even if it’s not always going quickly, you have the patience to find the moments and reap the creativity together? Yes, absolutely. We’ve been friends for a long time and know each other incredibly well – our strengths, our weaknesses. This understanding deeply informs our creative process. When it comes to patience: we can have a track that’s perhaps only 30% or 40% complete, but if the core idea is strong, we’re comfortable leaving it untouched for six months, even eight months, until the right moment or inspiration arrives to complete it. We don’t force things creatively just to meet deadlines. When it comes to the music itself, I’d much rather postpone a release date, than rush a track to completion with subpar solutions like copy-pasting. Is that something you also appreciate from working with the guys from Souped Up? Yes, definitely. They are very patient as well, which has been invaluable. Talking about this new creative direction, is this something we can expect more from Teddy Killerz in the future? Is this the first chapter of a new era? Definitely. Without a doubt. We feel we’ve genuinely found a new sound for ourselves on this album, something that truly excites and inspires us. So, we absolutely intend to continue moving in this direction. This album marks a proper new chapter for us, not just sonically but also visually. We’ve stepped back from our previous visuals and developed a completely new aesthetic for Cooked. We’re working with an amazing new designer and illustrator who is creating everything – from animations to cover art to overall concepts. As you might have seen from the singles, the new visuals are more funky, bright, and less dark and aggressive than our older style. We wanted to strike a balance. My initial, somewhat whimsical, reference point for the visual vibe was “Mr. Pickles,” that insane cartoon about a seemingly sweet dog who is secretly a satanic overlord. It’s incredibly bloody and cruel, but also hilariously funny – like a wholesome family dog aesthetic meets pure evil. While our visuals aren’t that extreme, the idea was to have something that felt funky and nice on the surface but still retained an edge. I feel we now have a perfect balance between our sound and our visuals. We’re also developing special visuals for our live shows once the album drops, properly time-coded. We’ve always wanted to do this, but finding the right illustrator, someone who truly gets your vision and can support it consistently, is a real challenge. And, frankly, custom animation can be incredibly expensive. Luckily, the demand now is more for shorter, social media-friendly clips, which has made it somewhat more affordable. Most importantly, we found the right person, Natalie, who you can find on Instagram as shevshaker. She feels like a fourth member of our team, crafting the visual storytelling. Do you have a personal favourite track on the album? If so, why does it stand out? It’s genuinely hard to pick just one. I really like “I Got Love,” which isn’t drum and bass; it’s more in line with that new-old dubstep sound. It’s a style we’ve always appreciated, but never heavily focused on, so including it on the album felt right. “Smash It Up” is another favorite because, to me, it’s the most authentically 90s-sounding track, with that classic rave stab intro and a great four-on-the-floor section that takes the energy to a more techno-infused level, evolving from what we did with “Night Train”. I also have a real fondness for “Sadece”, which is a Turkish title. This collaboration came about very naturally through an Instagram connection with Billur Battal, a singer from Istanbul. When we discussed the track, she asked what language she should use for the lyrics, assuming English. I suggested she sing in her native Turkish, believing it would be cool and add a unique flavor. The result is a song I really love. For so long, English has been the default language for international music, but luckily, that’s changing. We’re hearing more diversity, like songs from Brazil in Portuguese, and different languages appearing in drum and bass. Each language has its own inherent melody and rhythm, its own unique way of sounding. Having this linguistic diversity on the album, and her fantastic contribution, is something I really appreciate. Do you have any shows planned for the upcoming months you want to mention, maybe standout festivals? We’re still finalizing the full album tour, which will officially kick off around the end of summer. We’re planning dates across Europe, while working on Australia, New Zealand, and significantly: aiming to return to the UK after years of visa-related challenges. For this summer’s highlights, Let It Roll is always special; it feels like a homecoming, and massive thanks to their crew for having us for six or seven years running. We’re also playing Tomorrowland in Belgium, which is a huge one for us – I played Tomorrowland Brazil last year, so the main event is very exciting. And we’re thrilled to be returning to Boomtown, one of our absolute favourite UK festivals. Those are definitely key moments for us this summer. Back to the album: as for the technical side – with the fusion of genres on the album, did you introduce any new software or VSTs into your toolbox? Our core setup has remained pretty consistent. Anton is a Reaper maestro; if he were here, he’d undoubtedly highlight the Kilohearts bundle and Phase Plant as his main tools. Kilohearts are actually celebrating their sixth anniversary soon. We had a chat with Stu from Kilohearts about how much Phase Plant was used on our tracks, and it’s probably around 20% to 30% of the sounds on the album. One of our earlier tracks on Souped Up, “Techno,” was made almost entirely using Phase Plant – literally every sound. It’s an incredibly flexible and powerful synthesizer, and their whole plugin bundle is state-of-the-art. We appreciate their tools immensely. Perhaps some people don’t know what really makes those punchy Teddy Killerz drums. Any tips on layering or processing? Our approach to drums hasn’t changed drastically and is fairly standard now: layering a body, a click, and then applying distortion, compression, and so on. It’s difficult to convey effectively in text. We actually have multiple tutorials and presets for Serum and Ableton on our Patreon, including ready-made, adjustable drum sounds where you can swap out samples. Some of those tutorials are also available on our YouTube channel, as we usually post Patreon content there after a period. We don’t see the point in keeping them private indefinitely. More mindset-wise, for aspiring producers, what common mistakes do you see them make early in their productions, and what advice would you give? I think the biggest blocker for new producers is trying to get overly technical from day one. We have a limited tier for students on our Patreon, with monthly classes for a small group, and we frequently see people diving into highly complex technicalities before they’ve even finished their first demo. They might spend hours synthesizing drums, for example. Personally, I believe you start making music because you want to make music, not necessarily to become a sound design expert immediately. These days, it’s so much easier to get started. You can go to Splice, find high-quality, ready-made sounds for any element you need, and construct an entire track from samples. The sheer joy and satisfaction of actually finishing something is incredibly motivating. So, instead of getting bogged down in advanced techniques and trying to create everything from scratch initially, start with samples. Make something. Finish it. Create something you can show to friends, family, or just play for yourself. Then, you can begin to learn and delve deeper into specific sound design, mixing, and mastering as subsequent steps of improvement. But initially, the primary driver should be the satisfaction of creating music that grooves, that makes you want to move. It’s also a matter of having the right habits, like not constantly being too zoomed in and taking a step back, because tunnel vision can set in, right? Exactly. If you start a session focusing solely on drums, six hours later, you might still be working on those same drums. But if you start with a loop or an idea and focus on building the arrangement, in six hours, you could have at least half a track, or the core idea fleshed out. A practice that has worked exceptionally well for us over the years is to separate music writing sessions from dedicated sound design sessions. We try not to spend excessive time on sound design when we’re in the flow of arranging a tune. One day, we might sit down and focus purely on creating sounds – experimenting with different bass patches in Phase Plant or Serum, trying to deconstruct how other producers achieve certain sounds, or just exploring new sonic territories – and then save these creations to build our personal sound library. The same applies to drums and any other element. Then when you sit down to write a track and an idea strikes, you already have an arsenal of custom sounds to draw from. You might recall, “Ah, I made a bass sound like this a few weeks ago”. You can then pull it up, tweak it to fit the current idea, and it allows for a much more organic and faster workflow. Diving deep into synthesis during an arrangement session can be an instant inspiration killer, because it’s so time-consuming and shifts your mental focus, often causing you to lose the initial vibe or idea. You often hear that aspiring artists should find their “own sound” rather than just emulating others. Yet, creatively, you often need to learn the rules before you can break them. How do you see this? I very much agree with the sentiment that you need to know the rules before you can effectively break them. I watched a great documentary about guitar players, and there was a segment on John Frusciante from Red Hot Chili Peppers. It explained how he sometimes plays in a way that might seem technically “unprofessional” or overly relaxed, not strictly adhering to conventions. But this works, precisely because he possesses such a profound mastery of “proper” technique. When he deviates purposefully, it sounds cool and intentional. The same was true for Nirvana and many other bands. This principle applies across all music; I think of jazz chord progressions, where playing something “wrong” can sound fantastic if it’s done with an understanding of the underlying harmony. Regarding an artist’s “signature sound,” I believe it’s largely a collection of ingrained habits. The more music you make, the more you develop habitual ways of constructing drums, designing sounds, structuring tracks, and so on. These repeated processes and preferred techniques carry over from one track to another, and that’s how listeners begin to recognize your work. Of course, unique sounds and innovative ideas play a part, but habits are foundational. For new producers it’s virtually impossible to find a signature sound, without simply putting in the hours and working with any kind of sound. Initially, it’s perfectly fine to copy other artists. When you try to emulate someone, you’re essentially reverse-engineering their process, which helps you understand how things work. Through that process, you might stumble upon a new technique by thinking, “What if I try this differently, or turn this knob instead?” That’s how you can discover your own happy accidents, a unique tone, or a sound that becomes distinctively yours. I studied journalism, and during a short course on creative writing, our teacher advised: “If you want to write stories or novels, spend the first year or two just writing for your drawer”. What he meant was that for the initial period, you’ll mostly be regurgitating ideas and styles you’ve absorbed from other authors. You need to clear that out, to let all those collected influences pass through you. Only then, after much practice and developing an understanding of structure and craft, can you begin to deliver something truly your own, something unique. I believe this mirrors music production perfectly. So, I see nothing inherently wrong when people say a track “sounds like someone else”. In the grand scheme, especially today, most music bears resemblance to something that has come before. I think, especially in this age with the overwhelming accessibility and sheer volume of new music, it’s less about inventing something entirely new from scratch and more about creatively rethinking or reinterpreting existing ideas in a novel way. It’s always been like this to some extent, but now it’s often about blending old and new elements, or combining two older ideas to create something fresh. This isn’t necessarily a lack of creativity, but rather a new mode of creative thinking. You see it everywhere, not just in music. Look at movies – sequels, remakes, and established franchises dominate. What’s your biggest lesson ever since you started with Teddy Killerz? What’s the biggest lesson for you as a person, perhaps a producer as well? I think if you genuinely want to achieve something, you have to pursue it, without letting other things distract you. If you are truly passionate about what you do and what you love, that passion is the key to success, progress, and everything else. And crucially, don’t let criticism derail you. You should be able to perceive and process critique, but ultimately, staying true to yourself is the main thing. So how do you stay creatively inspired after all those years of making so many releases? What feeds you? Maybe some other styles or some other activities as well? Music-wise, a huge source of inspiration is simply listening to other music – all genres, it doesn’t matter. Sometimes you’ll hear a chord progression, a specific element in a track, or an entire piece that sparks an idea for something new. Watching streams and tutorials from other producers is also incredibly inspiring. Firstly, it helps you progress and avoid getting stuck in your own sound; you can always discover something interesting. That’s why we subscribe to, I think, almost all producers’ Patreons and watch videos or streams related to music production. We watch a lot on YouTube, not just drum and bass. I’m personally a massive fan of Disclosure’s streams; they are insane musicians, and it’s fascinating to watch how they develop ideas creatively, especially in terms of arrangement and musicality, which are areas where I feel I’m not as strong. Those guys are just gifted musicians. For me, watching their streams is like ASMR; I sometimes watch them before bed, and it’s pure pleasure. What’s next for Teddy Killerz after the album? Obviously the tour, are there any new ideas already brewing for upcoming EPs? One of our “problems” is that we tend to produce a lot of music, perhaps too much for a single act, because it’s not always a collective effort where all three of us are involved from start to finish. Sometimes one of us starts something, another finishes it, or one person handles the entire process. So yes, we have plenty of new music ready even after the album. We’re planning a remix project – I’m not sure if it will be the entire album remixed or perhaps an EP featuring remixes of select album tracks. That’s already in progress, and we have some really good names, artists we admire, working on remixes for us. And then, as you mentioned, the tour, and of course, more new music. It’s an ongoing journey of putting out new material. Wonderful. Last question. The name Teddy Killerz, how did you come about this? What’s the meaning here? Many, many years ago, I was in the UK for a while, and that was when we wanted to form a trio, a band. It sounds really stupid now, and I feel so cringe saying it, but we were hanging out with Jonas from Blokhe4d (hi, Jonas!), and I mentioned I was trying to find a name. He joked, “You Russians, you have to use something with bears and stuff”. We were just fooling around. I wanted something anti-pop, counter-cultural, because, as I mentioned, I was a big fan of figures like Hunter S. Thompson, “Fear and Loathing in Las Vegas,” Tom Wolfe, and that whole counterculture scene. I was looking for something that was “counter” to the mainstream. We considered names like “Barbie Killers” or something similar – taking a symbol of, let’s say, “shitty” pop culture and creating an antithesis to it. Then Jonas suggested, “Yeah, but what if you put a teddy bear instead of Barbie?” And that’s how we arrived at Teddy Killerz. Technically, grammatically, it’s not correct; it should probably be “Killers of Teddies” or something like that. But “Teddy Killerz” just sounded better, so we decided to go with it. Also, from day one, we envisioned having cartoon-style art and visuals. Huge inspirations for this came from Gorillaz, Feed Me, and Kill The Noise with his early cartoon work. I’m a big fan of animation, and “Teddy Killerz” fits perfectly for an animated concept. If you have a more abstract name, it’s harder to create a strong visual identity, but with Teddy Killerz, we had that image right from the start. Follow Teddy Killerz: Instagram / SoundCloud

Photo Credit: Olympus Projects The partnership between Too Lost, Olympus Projects, and On the Radar Radio marks a pivotal moment for international music professionals—particularly those invested in the cross-pollination of genres and markets. This initiative is not only a showcase for Brazil’s vibrant music scene, but also a case study in how strategic alliances between distribution, label, and media platforms can redefine global music discovery. The following is in collaboration with Too Lost, a proud partner of Digital Music News. Too Lost is a leading music distribution company, recognized for delivering releases to over 450 platforms globally. Their infrastructure ensures same-day delivery of music, making them a preferred partner for labels and artists seeking rapid, global reach. Too Lost is the backbone of this initiative, providing the infrastructure for Olympus Projects’ expansion. Olympus Projects operates as both an independent label and a global music strategy company. Their core mission is to build bridges between international markets, with a particular focus on cross-cultural collaboration and genre expansion. Olympus Projects plays a multi-faceted role in this strategic partnership. They facilitated the partnership between Too Lost and On The Radar and led talent coordination, creative direction, and on-the-ground production in Brazil. The flagship campaign is the Brazil Initiative. This initiative aims to spotlight over 100 emerging and superstar Brazilian artists across genres—inncluding trap, funk, and other local styles. Olympus Projects’ team spent two weeks in Brazil, filming in São Paulo and Rio de Janeiro, capturing original freestyles and performances that reflect the country’s musical diversity. The group currently has three tracks charting on Spotify’s Brazil Viral Daily 50 playlist, including Franco, The Sir!’s On The Radar Freestyle debuting at #6. Remixesare dropping this summer with artists including Cash Cobain, Bay Swag, and 41—with fans able to expect notable UK and Latin names to appear. Since launch, OTR’s Spotify has increased 500% in monthly streams. It has also been featured on over 10 different DSP editorial playlists. “I don’t think we ever get used to life’s surprises,” Brazilian singer Grelo told Digital Music News. “Back when I was writing my first songs, I never imagined I’d be recognized by such an incredible international project. Everyone should have the opportunity to make their dreams come true like this—even the dreams we never imagined having.” Grelo has achieved 10 million monthly listeners on Spotify in the Seresta genre. Seresta is a Brazilian domestic music genre that is characterized by romantic and nostalgic feelings. Now over 100 original freestyles and subsequent videos are being released across all major platforms—powered by Too Lost’s distribution engine—every Thursday and Friday. The group also filmed more than 10 in-depth interviews with top Brazilian producers. These interviews are scheduled for release on Saturdays, giving insight into the creative forces behind Brazil’s biggest hits. Meanwhile, a Brazil-themed event in collaboration with Live Nation is set for July at Irving Plaza in New York City. Too Lost’s distribution capabilities ensure that Brazilian artists and their content are accessible to a worldwide audience. Too Lost helps break down historical barriers of language and geography for music fans. The campaign’s structure with regular content drops and strategic remixes is designed to sustain engagement and streaming growth over time. As a result, this collaboration is more than just a marketing campaign—it’s the launchpad for global expansion strategy. Too Lost serves as the distribution backbone for the effort. On The Radar’s Brazil initiative is the first step in a planned rollout to every major music market worldwide. Meanwhile, Olympus Projects and Too Lost are poised to replicate this model of cross-market collaboration and content distribution. Combining Too Lost’s digital infrastructure with market expertise creates new opportunities for artists. Influential media platforms like On the Radio also help reshape the international music landscape for fans across the globe. View the full article

Vintage Culture and Layla Benitez‘s song Nirvana was built from dramatic builds and melodic-techno synth work. Now we have an official release with a new variant. Hot Since 82 created their remix of Nirvana. It keeps much of the original feel, but with a focus on movement. As you listen, you’ll hear more textured drums tied in with their commanding house rhythm. Max Milner’s vocals on the track brings the emotion and sucks in any listener even more. Hot Since 82’s version further heightens the hypnotic feel. Elevating the original track with more powerful house chords that straddle the line between contemporary and classic. This release is on the horizon of the summer’s brightest sounds. The song is out now, released on May 30, 2025. Give it a listen now. The post Vintage Culture & Layla Benitez – Nirvana (Hot Since 82 Remix) appeared first on EDMTunes.

Over 400 items that belonged to filmmaker David Lynch are due to go up for auction this month, including unique musical instruments and audio equipment from his home studio. The auction is being hosted by Julien’s Auctions and Turner Classic Movies, and will take place on 18 June live and online from Julien’s Studios in Los Angeles. Lynch was behind famous works such as Twin Peaks, Eraserhead, The Elephant Man, and more. He died in January 2025. READ MORE: Warm Audio WA76-A and WA76-D2 review: The most versatile ‘76-style compressors ever? Among the collection is a 1997 Parker Fly electric guitar and a Roland VG-8EX guitar synthesiser system with original manual, 13 pin cable, and expression pedal. Both were heavily played by Lynch while producing numerous musical projects including his solo debut album, 2011’s Crazy Clown Time and its follow up, The Big Dream (2013). Also listed is an unusual Danny Ferrington Custom five neck guitar, plus a Yamaha Motif 7 synth keyboard and a Korg Micro X. A number of Bang & Olufsen audio systems are also listed – namely a pair of Beosound A9 speakers, one with a limited edition David Lynch cover featuring his “Paris Suite” artwork. Other listings include a 1980s E-Mu Systems E III Model 6083 keyboard sampler workstation, Audio-Technica microphones and accessories, a personal collection of his own music, and numerous effects pedals from the likes of Boss, MXR, DigiTech and more. Catherine Williamson of Julien’s Auctions comments, “These historical and cherished pieces reflecting David Lynch’s singular artistic vision, as well as his passions and pursuits ranging from his director’s chair, espresso machine to his guitar, record collections and Twin Peaks style decor, come directly from the home of the visionary artist whose enigmatic films stirred our most imaginative and collective surreal dreams.” To view the full David Lynch collection, head over to Julien’s Auctions. The post Unique instruments and equipment from David Lynch’s home recording studio to go up for auction appeared first on MusicTech. View the full article

Ricky Tinez, an artist and music production educator on YouTube, is stepping back from his channel for a new career with Apple. Tinez has also stepped down from his role as brand manager at Elektron for his new career move, though he assures all was left on a good note. He will be joining Apple’s worldwide product marketing team. Tinez’s YouTube channel spans videos from across nine years, and features content on production tips and tutorials, gear reviews, and more. READ MORE: Apple Logic Pro 11.2 and 2.2: Stem Splitter, Flashback Capture, ChatGPT and everything else you need to know Tinez will be the new product manager on the music creation apps team with Apple, which means he’ll be working on Logic, GarageBand, Voice Memos, and MainStage. In his new YouTube video, he says, “What’s really nuts about this position is when I read the description of it, the first thought that came to mind was, ‘did I write this description?’ Because it was so in line with what I want to do and the original purpose of this YouTube channel. “The whole reason this channel even exists [was] for me to be able to help as many people as I could make more music by providing information, some inspiration, and explaining the tools available to help you make more music you could be proud of.” He adds, “I’ve been an Apple user forever so to actually be able to help shape the direction of these products and know that they’ll have an impact for many creatives like you and myself is just freaking cool. So with all that being said, what this all means is I’m going to take a pause from the channel for now. I think you can appreciate I’m going to be pretty damn busy.” Tinez says he still may try to upload content “a little here and there”, but doesn’t make any promises. He concludes, “This dream probably wouldn’t have come true without the help of you and your support, your viewership, just being an awesome community of people. I am forever grateful to you… This isn’t goodbye, but maybe so long. See you later oscillator.” You can watch the full video below: The post “See you later, oscillator”: Ricky Tinez steps back from his YouTube channel to work at Apple appeared first on MusicTech. View the full article

Neversea Kapital, the newly developed Romanian festival by the creators of UNTOLD in Europe and Dubai, and Neversea Festival, drops a wave of artists for its first celebration in Bucharest, the gem Capital of Romania. Alok, Axwell, Don Diablo, Kaaze, KSHMR, Lost Frequencies, Nervo, Salvatore Ganacci, Sickick, Steve Aoki, Claptone and MËSTIZA will heat up the mainstage from July 4 to 6 on the National Arena. The Temple stage welcomes the world’s No. 1 techno DJ, Charlotte de Witte, in Bucharest for the first time, previously playing UNTOLD Festival in Romania. One of the most influential in modern techno, she is known for her dark, intense, and minimalist sound. With hypnotic sets and signature tracks like “Selected” and “Doppler”, she’ll perform at Neversea Kapital, delivering a pure, authentic experience. The Temple adds more power and BPM to its techno stage with Deborah de Luca, Korolova, Nina Kraviz, and Mau P. Axwell, the legendary Swedish DJ and founding member of Swedish House Mafia alongside Steve Angello and Sebastian Ingrosso, has shaped the global EDM scene with iconic tracks and electrifying sets. His worldwide hits include “One (Your Name),” “Save the World,” and “Don’t You Worry Child” with SHM, as well as “Sun Is Shining” and “More Than You Know” with Ingrosso. He’s been nominated for five Grammy Awards and has twice won “Best House DJ” at the DJ Awards. Salvatore Ganacci, a fan favourite for his eccentric performances, is a must for Neversea Kapital’s debut in Bucharest. The Bosnian Swedish DJ and producer is known for his eclectic musical style and wildly unconventional, humorous, and unpredictable performances. Every set he plays becomes a spectacle, and he has a special connection with the crowds of Neversea and UNTOLD. Lost Frequencies, the Belgian DJ and producer Félix De Laet, is one of electronic music’s most charismatic stars. With over 32 million monthly Spotify listeners and more than one billion streams on the platform, his success is unmatched. Lost Frequencies will take over the main stage with his unique style. MËSTIZA blends music, fashion, and female empowerment with a sound that fuses flamenco rhythms with melodic techno, afro house, and Latin, Arabic, and African influences. In 2023, they released their debut album “Quëreles”, Spain’s best-selling album in its first week. More acts will be revealed soon. The festival will have 3 stages, the third with urban rap, trap, hip-hop, and multiple music spots with DJs. Neversea Kapital is a pilot edition inspired by the spirit of Neversea, one of the biggest beach festivals in Europe, and reimagined for the city. It is where music meets culture, street art, style and fashion, a food festival, creative energy and connection, all fused into one unforgettable urban playground. Tickets are available on neversea.com. Neversea Kapital will continue to grow into its own identity from 2026, becoming a major new addition to the global festival scene. Next year, Neversea Festival will return to the beach in the beautiful coastal city of Constanța. Neversea Kapital marks UNTOLD Universe‘s first music festival in Romania’s Capital, Bucharest. The team is preparing for the 10th anniversary of the iconic UNTOLD Festival in Cluj-Napoca, from August 7-10, and the second edition of the biggest festival ever held in the United Arab Emirates, UNTOLD Dubai, from November 6-9. The post Neversea Kapital debuts in Bucharest with Charlotte de Witte, Nina Kraviz, Axwell,Lost Frequencies, Don Diablo, Salvatore Ganacci, Mau P, Sickick, and more appeared first on EDMNOMAD. View the full article

Global dance music DJ, producer, and innovator Don Diablo joins forces with the iconic singer and songwriter Nelly Furtado for their highly anticipated new single “Doing Nothin’,” out May 30 via Casablanca Records. As a celebration of carefree energy and summer escapism, the song pulses with a classic four-on-the-floor beat, playful percussive flair, and a bright piano melody that nods to the ’90s house while embracing a fresh, contemporary feel. Nelly’s effortlessly sassy vocal performance adds a catchy, tongue-in-cheek charm, elevating the feel-good anthem into certified summer soundtrack territory. With two trailblazing artists at the helm, “Doing Nothin'” is poised to ignite dance floors and playlists worldwide. It follows Don’s stream of high-profile releases and collaborations with the likes of MK, Jamiroquai, Robbie Williams, Major Lazer, and more. “Working with Nelly has been high on my wishlist for many years! She’s an absolute icon on so many levels – and now, she’s the voice on a record we crafted together to soundtrack this year’s summer. ‘Doing Nothin’‘ brings back that 90s piano house energy with a modern twist. It’s been a long time in the making, and we’re beyond excited to finally share it with the world.” – Don Diablo “I had so much fun working on ‘Doing Nothin” with Don Diablo. After all these years, it’s exciting to still be part of something that feels this fresh and full of energy. Collaborating with artists who push things forward keeps it all evolving – and that’s what I’m here for.” – Nelly Furtado Don Diablo Currently the world’s #15 DJ on the prestigious DJ MAG Top 100, Don Diablo has long been a trailblazer in electronic music, known for pushing genre boundaries. The sought-after Dutch producer has collaborated with and remixed an eclectic roster of global superstars, including Dua Lipa, Justin Bieber, Gucci Mane, Ed Sheeran, Mark Ronson, Travis Barker, Miley Cyrus, Rihanna, Madonna, The Chainsmokers, Coldplay and many more. A true visionary, Don‘s creative output spans far beyond music – his hybrid physical-digital fine art pieces have broken records on SuperRare, been auctioned by Sotheby’s, and exhibited at the Venice Biennale, Art Basel, and beyond. In fashion, he helms HEXAGON‘s streetwear line, releasing capsule collections with the likes of Disney, Lucasfilm, and Netflix. Just recently, as a true innovator, he also struck a partnership deal with NVIDIA. Don has hosted his globally syndicated Hexagon Radio show for over 8 years, currently broadcast in over 68 countries. His label HEXAGON, launched in 2015, remains a powerhouse in championing new talent. He is also one of the world’s top-selling crypto artists, making history with the release of his GΞNΞSIS NFT and the groundbreaking digital concert film NFT DΞSTINATION HΞXAGONIA. Nelly Furtado With over 20 billion streams, 35 million albums sold worldwide, and multiple #1 hit singles, Nelly Furtado is an undisputed icon whose innovative songwriting shaped an era and transformed pop music. Her unique “Nelly sound” has earned her Grammy and Latin Grammy Awards, 10 JUNO Awards, Multi-Platinum certifications, and millions of fans around the world. Effortlessly maintaining her place at the forefront of culture, the multi-talented musician and songwriter has landed three #1 songs on the Billboard Hot 100, five within the top ten, has charted #1 on the US Latin Billboard chart, and has sold-out arenas around the world. Download / Stream Here The post Multi-platinum Selling Artist Don Diablo and Grammy-winning Superstar Nelly Furtado Are “Doing Nothin'” On Their New Single. Out Now via Casablanca Records appeared first on Electric Mode.

Global dance music icon R3HAB returns with one of his most anticipated releases to date – “All My Life,” via Polydor/Universal. The track opens with delicate piano melodies and a breathy, intimate female vocal, gradually unfolding into a euphoric, deep house anthem laced with shimmering synths and uplifting energy. Written during a songwriting camp in Thailand, the single captures a raw emotional current – freedom, surrender, and escapism – making it a contender for the soundtrack of summer 2025. “‘All My Life‘ means a lot to me,” R3HAB shares. “The lyric ‘Parachute when I free fall‘ came from a moment of complete surrender… that feeling when you let go, drift into the unknown, and somehow feel safe in it.” With hopeful lyrics and a soaring soundscape, “All My Life” is both a personal revelation and a universal invitation to let go, live fully, and chase what’s calling you. “‘All My Life‘ means a lot to me. I wrote it during a camp in Thailand, and there was this real energy in the air – like everything was flowing. The lyric ‘Parachute when I free fall‘ came from a moment of complete surrender… that feeling when you let go, drift into the unknown and somehow feel safe in it. It’s about wanting to fly away, be fully in the moment, and forget about everything else for a while. The song holds that emotion for me – a sense of freedom, peace, and a quiet kind of nostalgia from a life spent moving, creating, and connecting. 2025 already feels like a powerful year. I’m more inspired than ever, and I can’t wait to share this one with the world.” – R3HAB Multi-platinum DJ and producer Fadil El Ghoul, better known as R3HAB, has been trailblazing his way through dance music for the past fifteen years. From his breakthrough remixes for Rihanna, Drake, Taylor Swift, Calvin Harris, to anthems such as Platinum-certified “All Around The World (La La La)”, “Rock My Body” and “Lullaby,” to his collaborations with the likes of Ava Max, ZAYN, Jason Derulo, Luis Fonsi, and more, R3HAB has proven to be one of the most forward-thinking artists in the game. His work has collected over 12 billion streams to date, including more than 1.1B in 2024 alone. R3HAB founded his label CYB3RPVNK in 2016, which has passed 4B streams across platforms since its inception. R3HAB continues to evolve and diversify his sound by working with artists around the globe, pushing the boundaries of dance music as he collaborates across genres and languages. He is Spotify’s Most Discovered Artist, one of Spotify’s top 350 most streamed artists, ranked Top 20 consecutively since 2017 on the prestigious DJ Mag’s Top 100 DJs chart, and has earned over 100 Diamond, Platinum, and Gold certificates. R3HAB has embarked on multiple sold-out worldwide tours and was the first dance music artist to sell out 15 consecutive shows in China. On top of that, he performed at the world’s top festivals, such as EDC, Ultra Music Festival, Tomorrowland, Balaton Sound, Coachella, Summer Sonic Festival, DWP Jakarta. With his combination of innate artistry and innovative attitude, R3HAB has earned his place as a household name in dance music. More info on R3HAB / Polydor Records / Universal Music: R3HAB: Facebook | Instagram | X | Spotify Polydor Records: Facebook | Instagram | X | Website Universal Music: Facebook | Instagram | X | Website The post Multi-platinum Artist R3HAB Soars Into Summer with Meaningful New Single “All My Life.” Out Now via Polydor Records/Universal appeared first on Electric Mode.

Acclaimed French DJ and producer HUGEL unveils his latest single, “Las Avispas”, on May 23rd, delivering a bold and electrifying reinterpretation of the legendary Juan Luis Guerra classic. Released via his own imprint, Make The Girls Dance Records, the track features powerhouse collaborators BRØDER and Spijker, uniting French, Dutch, and Afro House influences into a global sonic celebration. A trailblazer in the Afro-Latin House movement, HUGEL has become one of the most influential names in electronic music. With over 4 billion streams, multiple multi-platinum certifications, and a string of #1 hits on Beatport, his sound dominates clubs and festivals around the world. His label, Make The Girls Dance Records, has become a hub for cutting-edge Afro-infused dance music. “Las Avispas”, originally penned by Dominican icon Juan Luis Guerra, is a joyful anthem of faith, resilience, and divine protection. Released in 2004 on the Grammy-winning album “Para Ti”, the original fused merengue with gospel elements and earned critical acclaim, including Latin Grammy Awards for Best Tropical Song and Best Christian Album, along with Billboard Latin Music Awards for Gospel-Pop and Tropical-Merengue Song of the Year. In this 2025 reimagining, HUGEL injects the track with an energetic Afro House pulse while honoring its soulful essence. He is joined by BRØDER, the French electronic duo of brothers Thibault and Arnaud from Marseille, known for their cross-genre innovations, high-profile remixes, and over 60 million Spotify streams, and Spijker, a rising Dutch DJ and producer whose Afro-Tech fusion and global performances, from Burning Man to Brazil, have marked him as one to watch. “Las Avispas” is more than a cover, it’s a tribute to a legendary artist, reinterpreted through a modern, global lens. The post HUGEL, Brøder & Spijker unveil electrifying single “Las Avispas” appeared first on Electric Mode.

Award-winning, platinum-selling producer and artist Martin Wave returns with his latest single, “CONTROL,” featuring Grammy-nominated, British-Ethiopian singer Izzy Bizu and electro-pop artist/writer CAPPA, out on May 30th. The track is part of the soundtrack for the F1 game alongside artists like Jamie XX, Diplo, Austin Millz, Sofi Tukker, and others, launching the same day, and in a national Apple TV campaign airing June 20. The catchy, electronic track exudes confidence and showcases Martin’s signature cinematic production style. Known for his work with artists like Post Malone, BTS’s Jin, and Suki Waterhouse, as well as major campaigns for Marvel, Star Wars, and Apple, Martin continues to blur the lines between pop, film, and electronic music. “CONTROL” is the first release on Parasol Music, the label, creative sync agency, and community Martin launched with his wife, Grace Hong, in 2024. “Parasol is becoming a hub for purpose-driven artists and represents a new model representing the next wave of the music industry,” Martin shares. “CONTROL” is inspired by themes of female empowerment, celebrating strength and the ability to overcome obstacles, even when the odds are stacked against you. Martin Wave, traditionally known for his work as a producer, will be releasing his debut album in 2025. The post Martin Wave Releases “CONTROL feat. Izzy Bizu & CAPPA” appeared first on Electric Mode.

Multi-platinum singer, songwriter, and producer Shibui returns with her highly anticipated new single, ‘Ai Koi Ai’, set for release on May 30 through Tankfloor / Warner Music Italy. Known for her genre-fluid style and remarkable vocal versatility, Shibui continues to shape the future of European electronic and pop music with a sound that effortlessly bridges mainstream appeal and underground edge. With over 1.6 million monthly listeners on Spotify and more than 1 billion total streams, Shibui has become one of the most sought-after voices in the industry. Her collaborative portfolio includes high-profile names such as Dimitri Vegas & Like Mike, R3HAB, Prezioso, Gabry Ponte, LUM!X, VINAI, Afrojack, Blasterjaxx, Scooter, Marnik, Mariana Bo, LIZOT, Shanguy, Stefy De Cicco, Vini Vici, and Paolo Pellegrino, underscoring her versatility and creative influence across genres. Her music has consistently charted in Spotify’s Top 50 across multiple countries and has appeared on the Global Viral 50 as well as the Billboard Dance Charts. In addition to chart success, her tracks have featured in global brand campaigns, international television programming, gaming content, and major digital campaigns, broadening her reach far beyond the streaming world. Shibui has earned critical acclaim from influential outlets including Billboard, DJ Mag, MTV Italy, and Rolling Stone. She is widely recognized for her unique ability to craft music that resonates both with mainstream audiences and niche tastemakers, a balance that has become her signature. Shibui has made a remarkable mark on the international music scene, earning widespread acclaim and numerous certifications for her vocal and songwriting contributions. Her work on ‘Désolée (Paris/Paname)’ with Shanguy achieved triple Platinum status in Poland and garnered over 16 million views on YouTube. In France, she scored three Gold-certified hits, ‘Superstar’, ‘Kings & Queens’, and ‘Hurricane’, all of which dominated the airwaves on NRJ and Fun Radio. As both the singer and co-writer of the global hit ‘Thunder’ by Gabry Ponte, LUM!X & Prezioso, Shibui contributed to a song that achieved multi-Platinum certifications across Europe and beyond, including Diamond in France and triple Platinum in countries like Sweden, Norway, and Finland. These accomplishments were further recognised with prestigious honours, including the 2023 SIAE Music Award for ‘Thunder’ and recognition from the Estonian Music Industry Awards for her international impact. With ‘Ai Koi Ai’, Shibui opens a bold new chapter in her evolving artistry, delivering a sound that promises to captivate audiences once again and reinforce her status as a global music powerhouse. The post Multi-platinum songwriter Shibui returns with highly anticipated single ‘Ai Koi Ai’ appeared first on Electric Mode.

Pyramid Ibiza is ready to ignite its 8th season at iconic nightclub Amnesia with an explosive opening party on the June 8th featuring Ricardo Villalobos, Deborah de Luca, Raresh, Nina Kraviz and many more. The Opening Party marks the start of a new and exciting season, once again bringing the sounds of the underground to the island for the most organic Sunday party. This summer the experience for clubbers will be elevated even more with the renovation of the iconic glass terrace ceiling which maintains its original magic, but incorporates cutting-edge technology that elevates sound quality to unprecedented levels, offering clarity and depth that redefine the standard on the island and strengthens the connection between DJs and attendees. Opening Party Line Up: The Start of a New Season Returning to the Terrace for the opening party and as resident for the season is the one and only Ricardo Villalobos. A significant figure in the minimal techno scene, Villalobos is renowned for his infectious energy and ability to connect with the crowd and he will bring his unique blend of hypnotic minimal and microhouse to Pyramid. For the opening party Ricardo Villalobos will go b2b with Raresh, Josh Baker b2b Rossi and Mar-T adding to the vibrant soul of the Pyramid Terrace with rhythms oscillating between house, microhouse and melodic techno, creating a hypnotic atmosphere where energy flows without barriers and the connection to music becomes pure magic. The Main Room is the most intense side of Pyramid and home of the darkest and most powerful sounds, where techno and hard techno push the experience to its limits. The opening party will see Nina Kraviz serve up her signature big room techno sound, seamlessly mixing a wide range of techno tracks and often dropping something dynamic and unexpected to create a unique and memorable experience. Joining her will be Deborah de Luca with a dynamic blend of hard techno, minimal techno and melodic elements, Marco Faraone with his cool underground rhythms and tech house talent Luca Donzelli, promising a night full of energy and powerful rhythms. The immersive staging, combined with a sound system designed to shake every pillar of the club, transforms this room into an unparalleled sonic temple. The heart of Pyramid always beats across two legendary spaces, designed to offer different experiences to a diverse audience eager to explore new sounds and connections on the island and every Sunday, these two rooms become the epicentre of underground music, hosting the most influential national and international artists for truly unforgettable nights. Not to be Missed in June The opening party is a taster of the unparalleled lineups to expect every Sunday throughout the season at Pyramid. From the punch of the Main Room to the immersive atmospheres of the Terrace, every space is an opportunity to discover the unexpected and the June line up does not disappoint – filled with energy, musical diversity, and an artistic selection that combines legendary icons with new rising talents from the electronic scene. From June 8th to 29th, Pyramid will host every Sunday a hilarious lineup full of eclectic music that brings new sounds to Ibiza’s island. Some names you could see this month come from Azyr, Dr Banana, Enzo Siragusa, Regal, Daria Kolosova, Klangkuenstler or Marco’s Birthday Party, hosting amazing talent such as Nicole Moudaber, Ben Sterling, Clara Cuvé and 9999999. This summer, Sundays at Amnesia are for those looking for more than just a party. Check out the full line-up and get your tickets now on Amnesia’s official website. The post Amnesia Announces Pyramid Opening Party with Ricardo Villalobos, Nina Kraviz, Raresh and more appeared first on Electric Mode.

Ibiza, 29, May 2025, Pacha Ibiza will serve up one epic final weekend after a record breaking 2025 season when Rüfüs Du Sol plays an exclusive DJ set on 11 October and Roger Sanchez headlines on 12 October 2025. Pacha Ibiza’s bold line up for the current season has already proven to be a huge success. Both returning favourite residencies and red hot new additions have all set a new standard across the worlds of house, techno, garage, disco and plenty in between. Pacha Ibiza has reaffirmed its place as the White Isle’s premier place to party with its legendary cherries, crystal-clear sound system and immersive production – all of which offers an experience like no other. This will be the case, once again, for one last time this Summer when Australian electronic trio Rüfüs Du Sol stop by on 11 October 2025. They are known for their emotive blend of house, indie, and atmospheric electronica with soaring vocals, cinematic soundscapes and deep grooves. They’ve built a global following through albums like Solace and Surrender and their live shows are a fully immersive experience, but for this event they play a unique DJ set that allows you to experience a different side of their sound. On 12 October 2025, New York house innovator Roger Sanchez will be at the helm. Ever since shaping the early US house sound in the 90s, Sanchez has led the underground from the front with a steady stream of standout singles, a Grammy for his remix work and DJ sets across the world that join the dots between deep, jacking and vocal grooves. He is one of the true greats of the scene and always delivers electrifying sets that unite the dance floor. These are unmissable chances to be part of the final chapter of summer 2025, so do not miss out. Tickets are available here; Rüfüs Du Sol Tickets | Roger Sanchez Tickets Instagram | Website | TikTok Rüfüs Du Sol Tickets | Roger Sanchez Tickets The post Pacha Ibiza Announces Grand Closing Weekend with Rüfüs Du Sol (DJ Set) and Roger Sanchez appeared first on Electric Mode.

The Warehouse Project announces a celebration in collaboration with one of Manchester’s most influential underground imprints, You&Me. This September, the mighty Depot Mayfield will host an unmissable showcase as You&Me celebrates its 10th year anniversary. Taking place on Saturday 27th September 2025, the show will be a full-scale takeover featuring six stages, including Depot, Concourse, Archive, the Roof, the Plant Room, and Star & Garter pub. Since its inception in 2015, You&Me has grown from a Manchester club night to one of globally acclaimed party series. Celebrating 10 years of You&Me in the UK’s house and techno scene, the show takeover will welcome Seth Troxler, Enzo Siragusa, Kerri Chandler, Max Dean, Rossi, and more alongside You&Me founder Josh Baker. The full line-up for 10 Years of You&Me at The Warehouse Project is announced below. Pre-sale ticket sales go live on Friday 30th May from 9am. General ticket sales go live on Friday 30th May from 12pm. Sign up at www.thewarehouseproject.com/event/youme-10th-birthday for pre-sale access. You&Me 10th Birthday Saturday 27th September Times: 16:00-04:00 DEPOT JOSH BAKER SETH TROXLER MAX DEAN ROSSI. L.P. RHYTHM SALOMÉ LE CHAT JWAVE HAYLEY ZALASSI CONCOURSE KERRI CHANDLER ENZO SIRAGUSA LUUK VAN DIJK SAOIRSE B2B MELLA DEE GASKIN MARSOLO ALEXANDRIA LOCAL DUB ARCHIVE OBSKÜR LUKE DEAN LOCKLEAD PARAMIDA NATALIA ROTH JAMIE FIELDING B2B JENTZEN THE ROOF (A-Z) LAIDLAW MOXIE PACH TRISTAN DA CUNHA THE PLANT ROOM M-HIGH DENNIS QUIN B2B JOB DE JONG NAUTICA OBP (JELSEN B2B SIMMO B2B STOCKED UP) STAR & GARTER – YOU & ME LABEL PARTY (A-Z) BECK ROLLINS DANNY SNOWDEN DYL POOLE J6 KAI SAUNDERS KEIRAN MORGAN TATE The post You&Me Announce Takeover at The Warehouse Project for its 10th Anniversary appeared first on Electric Mode.

Radiohead frontman Thom Yorke is the latest artist to speak out against the rise of AI in the music industry, slamming its lack of “genuine original creative thought” and the way it “steals” from human artists without proper credit. In a recent chat with Electronic Sound magazine, Yorke offers a scathing critique of Artificial Intelligence’s creative limits – and the exploitative systems behind it. “As far as I can tell in music and art and all creative industries, Al is so far only able to ‘create’ variations on genuine human artistic expression, and those are obvious,” says Yorke. “Is Al capable of genuine original creative thought? I have yet to see that.” READ MORE: Snoop Dogg embraces AI in new music video — and, yes, it’s kinda weird He adds that AI “analyses and steals and builds iterations without acknowledging the original human work it analysed”: It creates pallid facsimiles, which is useful in the same way auto-accompaniment is useful, or a screensaver of a beautiful natural landscape in a billionaire’s bunker is.” The musician also condemns the wider tech industry and its apparent disregard for human labour and authorship, saying, “The economic structure is morally wrong… the human work used by AI to fake its creativity is not being acknowledged. Writers are not paid.” “It’s a weird kind of wanky, tech-bro nightmare future, and it seems this is what the tech industry does best. A devaluing of the rest of humanity, other than themselves, hidden behind tech. In the US right now, we are witnessing this spilling over into politics.” As Yorke explains, AI’s rise is only the latest step in a long trend of reducing art to mere “content.” “We are, in modern parlance, ‘creatives,’” he says. “Which is a term I find deeply offensive because it arrived around the time that art morphed into ‘content’ for devices.” The Radiohead singer is also among 10,500 signatories (which also included The Cure’s Robert Smith and ABBA’s Björn Ulvaeus) of an open letter from the creative industries protesting the unlicensed use of their work by AI companies. “The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted,” the statement read. AI’s rapid advancement and the ethics surrounding how it’s trained has become the subject of fierce debate in recent months. Nick Clegg, former UK deputy prime minister and ex-Meta head of global affairs, recently argued that requiring companies to seek artists’ express permission before using their work to train AI models would “basically kill the AI industry in this country overnight.” Sir Elton John, meanwhile, has branded the UK government as “absolute losers” over its plans to allow AI companies to train their models using copyrighted content. The post “It’s a weird kind of wanky, tech-bro nightmare future”: Radiohead’s Thom Yorke says AI does nothing more than “steal” from human artists appeared first on MusicTech. View the full article

From 30 May to mid-September, Moonlit Dinners will take place at Beachouse every Friday, Saturday and Sunday from 7pm. These evenings offer the chance to slow down and savour the island’s rhythms, indulge in refined Mediterranean cuisine, and witness one of Ibiza’s most captivating moonrises from the island’s southern coast. The beachfront setting provides the perfect backdrop for lingering nights filled with sharing plates and soulful sounds. Curated DJ sets and live performances guide the mood, taking guests on a sonic journey from golden hour to midnight. The opening weekend welcomes Be.lanuit, Tupac Peralta, Cecilia Abularach, and Marta Chandra performing live on 30 May, followed by Devanagari (live) and Joselito on 1 June. This season also sees the debut of LUNAR, a soulful new full moon gathering curated by Beachouse. Rooted in the Balearic spirit of transformation and connection, LUNAR launches with three dates this summer (11 June, 9 August, and 7 September), blending ritual, rhythm, and elevated dining under the full moon. Each LUNAR gathering pairs Beachouse’s barefoot luxury and signature Mediterranean menu with performances from visionary music artists, including Ape Chimba Collective, Medusa Odyssey & Bahramji, and Bruz on Wednesday 11 June, followed by Afrosideral Trio, Valentin Huedo, and Camilo Franco on Saturday 9 August, with the final line-up for Sunday 7 September to be revealed. Whether it’s a Moonlit Dinner with toes in the sand or a full moon ritual at LUNAR, Beachouse Ibiza continues to define the art of island living. Book your place at beachouseibiza.com. The post Beachouse Ibiza Unveils a Summer of Moonlit Dinners and LUNAR Gatherings appeared first on Electric Mode.

Photo Credit: Live Nation / Capital Pride Alliance Shakira cancellations are piling up with yet another show this week. Complications prevented her team from getting her set in Washington, D.C. ready in time. Colombian singer Shakira was scheduled to perform at Fenway Park in Boston on May 29 and May 30, but was forced to cancel just hours before showtime on Thursday due to production issues. Then, Shakira was slated to perform on May 31 at Nationals Park in Washington, D.C., for World Pride 2025. However, her production team ran into some snags related to the Boston show, leading to yet another cancellation. “Due to complications with the previous show in Boston, Shakira’s full tour production cannot be transported to Washington, D.C. in time for her scheduled performance at Nationals Park on Saturday, May 31,” read a message by the official Nationals Park account on Instagram. Refunds will be issued automatically for purchases made through Ticketmaster and Nationals Park’s official website, with no further action required. Those with tickets purchased through third-party resellers are encouraged to contact the point of purchase directly. Shakira shared her own message on her Instagram Stories shortly after the second cancellation. “Nothing more painful for an artist than having to cancel two sold-out stadium shows like Boston and DC for reasons beyond one’s control,” she wrote. “Thank you for being there in the good times and the not so good. We’ve cruised together through every bump in the road, and you always take me to the other side.” But some fans aren’t as understanding. “You need to stop hiring friends as tour managers,” wrote one user on Instagram. “That’s enough cancellations for the first leg. Enough!!” “And yet Beyoncé’s concerts are way more intricate and has a lot more production and she never has any issues,” another commented. “Does Shakira understand how disrespectful these cancellations are to her fans and to the people who spent thousands of dollars to come see her?” asked someone else. Shakira still has over a dozen additional tour dates scheduled through the end of June. Her next scheduled appearance is in Atlanta on June 2, followed by stops in Orlando on June 4, and Miami on June 6 and 7. View the full article

Photo Credit: Fox Broadcasting Alf Clausen, the legendary composer who penned songs for “The Simpsons” for over 27 years, has passed away at age 84. Alf Clausen passed away on Thursday, May 29, at his Los Angeles home. His daughter, Kaarin Clausen, told The Hollywood Reporter that her 84-year-old father was diagnosed with progressive supranuclear palsy eight years ago. Clausen received 21 Emmy nominations for his work on “The Simpsons,” securing wins for two of them. He ranks among the most-nominated composers in the history of the Emmy Awards, with 30 across his career. Clausen also won five Annie Awards for his musical contributions to the long-running animated series. Born in Minneapolis, Minnesota, and raised in Jamestown, North Dakota, Clausen took a correspondence course in big-bang songwriting through Boston’s Berklee College of Music. He eventually transferred to the school from North Dakota State University, where he had been studying when he signed up for the course. At Berklee, he became the school’s first French horn player. His songwriting career began in Los Angeles, where he worked as a freelance composer, ghostwriter, and arranger. Eventually he found work on television shows, including “Donny & Marie” and “The Mary Tyler Moore Hour.” In the 80s, he served as composer for the detective series “Moonlighting,” for which he received six Emmy nominations. Later that decade, he fittingly composed music for the sitcom “ALF.” He also composed music for some well-known films of the decade, including “Weird Science,” “Ferris Bueller’s Day Off,” and “The Naked Gun.” Clausen joined “The Simpsons” in 1990, for the show’s second season. His role involved creating songs, music cues, and reinterpreting Danny Elfman’s theme with the help of a 35-piece orchestra. Scoring seasons 2 through 28 of the Matt Groening-created series, Clausen scored over 560 episodes. Of the 21 Emmy nominations he received for his work on “The Simpsons,” he won twice: for 1997’s “We Put the Spring in Springfield,” and 1998’s “You’re Checkin’ In (A Musical Tribute to the Betty Ford Center).” In 2015, during an interview with the Television Academy for their “The Interviews” series, Clausen said he was reluctant to take the job that would ultimately define his career. “I said, ‘I just got off of four years of ‘Moonlighting,’ and I really want to be a drama composer. I’m more interested in doing long-form feature films.’” But “Simpsons” creator Matt Groening was the one who ultimately convinced the composer, telling him, “We look on our show as being not a cartoon—we look upon it as a drama where the characters are drawn.” Clausen left the show abruptly in 2017, filing a lawsuit against Disney and Fox in 2019 with claims that he was fired because of a “perceived disability.” He revealed he had been diagnosed with Parkinson’s disease and claimed both companies had treated him unfairly since his diagnosis. Fox producers claimed he was fired for delegating work to others without permission. Clausen ultimately dropped his wrongful termination suit in 2022. His role on “The Simpsons” was replaced by Bleeding Fingers Music, a production company co-founded by Hans Zimmer. In a 1996 profile of Clausen published in Berklee Today, Matt Groening called the composer “one of the unacknowledged treasures of the show.” View the full article

Photo Credit: CBS | AMAs The American Music Awards (AMAs) drew the largest audience since 2019—thanks to the move to CBS. The 2025 AMAs were hosted by Jennifer Lopez, with the two-hour prime-time event attracting 4.86 million viewers. That’s a 38% increase over its last live broadcast in 2022, which aired on ABC. This year’s awards show reclaimed the top spot as the #1 broadcast of the night—demonstrating the growing impact of multi-platform distribution. These ratings include both traditional live viewership and live streaming figures from Paramount+, reflecting the change streaming video is having on live event viewership. The 2022 AMAs, which aired on November 20 on ABC had significantly lower viewership. The resurgence in audience numbers signals renewed interest in live music award shows—perhaps with a boost from Swifties. Taylor Swift fans speculated that the singer may use the AMAs to announce her next Taylor’s Version album—but that didn’t happen. Instead, Taylor Swift announced last week that she had re-acquired the rights to her original masters from Shamrock Capital. This year’s American Music Awards outpaced several recent prime-time specials, too. They were 26% higher than ABC’s CMA Country Christmas on December 3, which achieved 3.87 million viewers. It was also 39% higher than NBC’s SNL 50 Years of Music broadcast on January 27, which achieved 3.49 million viewers. Perhaps most impressive, the AMAs outpaced ABC’s CMA Fest by 52%, which aired on June 25, 2024 with 3.19 million viewers. CBS also estimates that the AMAs drove 9.2 billion potential impressions and 816.6K mentions on social media as the world discussed the broadcast. It boasted growth across all key demos versus the 2022 broadcast as well. This year was up 91% among the 18-34 age cohort, 23% among the 18-49 cohort, and 16% among the 25-54 cohort. Highlighting the importance of social media, CBS reveals that the 2025 AMAs social accounts garnered over 100 million video views within the first 24 hours of airing across Instagram, TikTok, X/Twitter, and Facebook. Meanwhile, the AMAs Twitch live broadcast peaked at 205.5K during the appearance of YouTube star Kai Cenat’s appearance. View the full article