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All good things must come to an end. For LSZEE, the groundbreaking collaborative project between LSDREAM and CloZee, that ending is finally here.

LSZEE will play its final show on Friday, with one exception: a one-off reunion at Bonnaroo next summer to make up for this year’s weather-interrupted set. What began with their debut at Electric Forest 2024 quickly outgrew expectations as they evolved into a festival headliner, along the way embarking on a U.S. tour and dropping a self-titled debut album, one of the year’s best electronic LPs.

Closing the book on such a successful project may seem odd, but the reason sits between the five letters in their name. At the center of LSZEE are LSDREAM and CloZee, two solo artists with their own paths.

“We have journeys. We have to get back to our missions,” LSDREAM told EDM.com at this year’s Same Same But Different festival in Southern California.

LSZEE was never meant to be permanent. It was conceived as a temporary “moment-in-life container,” as LSDREAM puts it, a joint thesis from two artists experimenting in the lab.

“It’s an exploration. We wondered what would happen. That’s exciting as an artist,” LSDREAM said. “She wanted to explore different sounds and get out of her routine. I wanted to do the same. We came together to do that, but ultimately we want to get back to our solo paths. This is the end.”

Watching LSZEE unfold in real time felt like magic. Their sounds merged so naturally that you could trace elements of both artists without ever labeling it a collaboration. LSZEE wasn’t a spin-off of their solo work, but rather a world unto itself.

Their onstage chemistry matched their sonic connection. Typically a calm, composed performer, CloZee let her guard down around LSDREAM, showing a more playful side.

“She also brought out more playfulness from me. She’s so funny,” LSDREAM countered, noting the pressures of touring alone. “Being together invited a sense of play. I brought that out of her, and she brought it out of me. We were wearing wigs on stage. ‘Bust out the wigs, it’s time to be silly and have fun!'”

The collaboration also refined LSDREAM musically. Working closely with CloZee taught him how to construct sets with more maturity and intentionality.

“What she does that I’m amazed by is how she creates an open space for your heart and vibe to come out and do its own thing,” he said. “She doesn’t have that ADD approach that’s very common in bass music.”

“For me to incorporate my sound into that style, and be in that energy, bouncing our sensibilities off of each other, I feel more elevated or refined with my tastes. She added an elevated lens that I can look through. ‘How would CloZee think about this?’”

Their camaraderie echoes a quote from Terence McKenna, the philosopher often tied to rave culture: “It’s all about love. Making someone else’s existence just a little easier… nothing else matters.”

Ironically, what stands out most about LSZEE has little to do with music. Sharing the creative bounties and burdens became a stirring reminder of why life is worth living.

“It really taught me where joy comes from,” LSDREAM said. “Amazing things have happened for my music career, and those are all joyous things, but they come and go… I’d categorize them as embodied things that remain on paper.”

“Whereas the joy of connecting with someone through friendship fills you permanently. With her and me, that was the fuel of this collaborative project. How cool is it to do this with one of your best friends?”

The LSZEE experience mirrors life: two journeys intersecting briefly before continuing down their own paths. The project may be finite, but the imprint they left on each other is not.

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The post LSDREAM Confirms the End of LSZEE: “We Have to Get Back to Our Missions” appeared first on EDM.

Not all ghosts haunt you. Some stay to guide you. For Alison Wonderland, reconnecting with her past self meant sorting through which spirits still served her and which ones to exorcise. 

Her latest album, GHOST WORLD, documents her soul search. Much of its tracklist conveys her inner monologue: “Lost & Found,” “Floating Away,” “Again? Fuck.” It’s rare for an electronic artist to speak with such vulnerability, but it’s likely why she shares such kinship with her audience.

“It’s so funny, a lot of people have told me they’re feeling the same way in their own lives,” Wonderland tells EDM.com. “I’ve felt this way since high school. Maybe I need to see my therapist more. I really, truly feel I don’t know where to fit in.”

She wrestled with some brutally honest questions while writing the album, including whether or not her career should continue at all. “Is This The End?” closes the project, and listening back is still difficult for her. The song became a conversation with herself about feeling replaceable, no longer “the shiny new thing,” and experiencing what she calls “an ego death.”

“I definitely struggled thinking if I can do this anymore…” Wonderland said. “I wasn’t feeling very encouraged, to be honest. But I kept going, and I’ll keep going. I’ll keep making music because I can’t imagine myself not doing it.”

“It was more about how much of myself I can give to it anymore, and what am I getting back? Sometimes when you’re emptying the cup, and it’s not refilling, it’s mentally and emotionally a lot.”

Wonderland’s best work comes from a transcendental place. It’s an almost hypnotic state where instruments plucked from her psyche color and shade a blank canvas. Reaching that heightened concentration became challenging with intrusive souls crowding those creative corners. 

“I like to zone out and get in a flow state,” she said. “It was getting interrupted a lot in the past.”

Success complicates things. People are happy to let you experiment in peace when you’re unproven, but once a breakthrough like Run happens, the noise gets louder. Wonderland found herself spending more time filtering out opinions than following her instincts. It was those outside voices, the ones she didn’t respect, that made past albums feel like creative battles.

“Eventually, what I put out is what I wanted,” she said. “But it was a much more strenuous experience.”

GHOST WORLD became a medium for Wonderland to connect with the 29-year-old girl who made Run, before pressure, commentary and expectation took root. She made a pivotal discovery through this séance: how can imagination ignite when blowhards take up all the oxygen? 

“When I was thinking of writing another album for Alison, I asked, ‘Who is she now? I feel really lost. I don’t feel like part of anything.’ I said, ‘f— it! Channel that. Have fun as you did with the Whyte Fang album. Shut out all the other voices.’ It felt really fresh again.”

“To be able to put out a body of work that means something and translates, it must come from a place where I’m really excited, and I truly mean. So many people have said that it’s reminiscent of Run. It’s the energy I had when I made Run… I think that’s a good thing.”

Her 2023 Whyte Fang project became the unlikely catalyst. Free from expectations tied to the Wonderland name, she rediscovered what it felt like to create without restraint. That freedom carried directly into GHOST WORLD, and exposed which “ghosts” in her artistic orbit should stay. 

For GHOST WORLD, she removed every outside influence she could. “I A&R’ed the album myself and got the people I really thought understood me, and who I wanted to collaborate with, involved,” Wonderland explained.

Major labels aren’t exactly known for encouraging artistic risk, but Wonderland’s team insisted she chase whatever excited her. No metrics, no trend-chasing.

“It was the coolest thing they’ve said to me. It’s how I feel any artist should feel,” she gushed. “You can hear it in what I’ve been releasing. I feel fresh and free.”

Taking back control also forced her to confront a haunting truth: she often feels like a lonely soul adrift. It used to bother her. Now, she’s finding comfort in her own lane, building her own ecosystem instead of trying to fit into someone else’s.

“Sometimes I get really sad that I don’t have a clique or collective to big-up me in the scene,” Wonderland said. “I never felt like I had that.”

“I had to become more comfortable with that. In the past, I never knew where to fit in or how to define myself as an artist. I stopped thinking about it more with this album. I’m making my own album for it.”

When the weight of that solitude feels heavy, she’s reminded who really hears her: the fans. 

“Even if one person comes up to me and understands the album, or they’ve listened to it properly, it makes me feel like I’ve reached someone,” Wonderland said.

Moments like her recent meet-and-greet made her feel seen in ways the industry never has, and reminded her why she’s “so grateful” for her fans.

“They need to know part of the reason I kept going and kept making this album and working through my own little ego death was because of them,” Wonderland said. “They believe in me.”

Life is a complex endeavor: constantly challenging, yet remarkably beautiful at each turn. Like Wonderland says, “Everything comes in waves.” So while her soul is sometimes restless, she’s often reminded of the warm, whimsical spirits floating alongside her. In GHOST WORLD, those waves carry her somewhere freer.

“Do I have more fuel in the tank? Yes,” she affirms. “So I would be stupid to stop putting myself out there.”

You can watch our full interview below.

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The post Inside Alison Wonderland’s “Ego Death” and Rebirth Behind New Album, ‘GHOST WORLD’ appeared first on EDM.

Get your passport ready.

DJ Snake is back with his third studio album, Nomad, a 17-track collection born out of his travels and experiences around the globe. It’s his first full-length album in over six years, and it proves that dance music has no boundaries or genre restrictions.

To fully understand the conception of Nomad, we must look back to the early days of Snake and the cultural fabric that ignited his passion for electronic music. “I grew up surrounded by people from India, the Caribbean, Africa and the Middle East,” he said in a statement. “That mix shaped everything I heard. Nomad is a tribute to that upbringing… always moving, always learning, always blending what the world has to offer.”

“Nomad goes beyond an album tracklist. It’s a cultural statement.”

The album functions as a microcosm of the many of diverse cultures and backgrounds that have firmly positioned his versatility as an artist. But more than that, it showcases his never-ending hunger to pursue artistic growth and chase the sounds that make Snake who he is: dance music’s own sommelier, pairing sounds and rhythms in a way that appeals to tastes we didn’t know we had.

Ease into Nomad with “Paradise,” a rework of Phil Collin’s 1989 classic “Another day in Paradise.” Snake reunites with his “Middle” collaborator Bipolar Sunshine, who delivers aching vocals that explore the familiar pang of longing in the face of loneliness: “She comes home at the start of the night / All her fears turn to anger / Takes her phone out before she can cry / Just to find someone near her.”

Snake turns things up a bit with “Noventa,” teaming up again with his “Loco Contigo” collaborator J Balvin to cook up all the ingredients needed for the sort of sultry summer stunner whose title derives from the Spanish and Portuguese word for “ninety.” Evoking nostalgic 90s elements, Latin-inspired street sounds set the tone with a bassline that can’t be ignored and causes an unconscious head-bob.

More star power comes with “Tsunami,” a massive track with collaborators that need no introduction. Future and Travis Scott team up to spit verses that bring the hype while Snake delivers a melody that resembles a circus on Halloween eve. Future kicks off with his signature cadence before Snake slithers in with a woozy beat reminiscent of “SICKO MODE” and “STARGAZING.”

Elsewhere, he dials up the energy with “Bring The House Down” and “RELOADED,” both of which harken back to Snake’s side project, THE OUTLAW. The former brings the bass and resurrects his chemistry with “Get Low” co-producer Dillion Francis alongside breakout dubstep producer TRXGGX. The latter finds him joining forces with the virtuosic producer Space Laces to rework Marlyn Manson’s 2003 metal anthem “This Is the New Shit,” packing a punch with wonky trap and dubstep elements before the track’s second drop sends you skyward into the stratosphere.

“Cairo Express” brings the Middle Eastern energy right from the jump with a bassline and melody that transport you directly into the streets of an Egyptian night. “KIKI2000” is destined to be a festival-favorite, with an earworm of a lead synth and chest-thumping bass.

The album slow things down a bit with “In The Dark,” a long-awaited collaboration with K-pop sensation Stray Kids. The track hypnotizes with its vapory, synthwave-inspired beat and lyrics evoking those nostalgic summer nights chasing love late-night around town.

Snake ties a bow on Nomad with “Final Fantasy,” a collaboration with his OUTLAW alias. This track crackles with a rising tension, foreshadowing the heavy-hitting drop we all know is coming. Finally, the energy boils over into blistering hardstyle drops before we’re brought down to earth through a haunting coda that serves as a respite to decompress the mayhem you’ve just experienced.

You can listen to Nomad below and find the new album on streaming platforms here.

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When most electronic music artists talk about breaking the ice with their audience, they mean it metaphorically. Not DJ duo Polar Bears, who have announced the debut of "Frozen Frequencies: An Ice Skating Dance Music Experience."

This isn't your typical rave or concert where fans are stuck in the crowd like sardines, battling for elbow room. Polar Bears are literally taking their act to the ice, performing their full DJ set directly from the rink while encouraging attendees to lace up and skate during the performance.

Scheduled for September 6th at the Mullett Arena in Tempe, Arizona, the event is described by its organizers as the first of its kind. While most DJs stick to solid ground, Polar Bears ready to glide into uncharted territory.

"We've always wanted to break the mold of how people experience our shows," said Zero, the duo's producer and visual designer. "Performing on the actual ice while the crowd skates is something completely new—we’re building a full production designed specifically for this space."

With skate rental included in every 18+ ticket, Polar Bears are betting that fans are ready to trade their typical concert stance for something more fluid. The event, they said, is designed to be immersive by featuring "snow machines, dynamic laser effects and a one-of-a-kind production built around the ice surface."

You can purchase tickets to "Frozen Frequencies: An Ice Skating Dance Music Experience" here.

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Hopes of the Brooklyn Mirage reopening in 2025 are continuing to dwindle after an anonymous Avant Gardner employee told BKMAG that the venue "definitely isn’t opening this year, and it's looking very likely it won’t open next year either."

The famed East Williamsburg electronic music venue recently filed for Chapter 11 bankruptcy and has remained shuttered since undergoing a $30 million redesign earlier this year. Safety inspection failures and unresolved permit issues have kept the venue closed through what was supposed to be its marquee summer season.

"The decision to file for Chapter 11 relief follows several months of financial distress, culminating with Avant Gardner being unable to open its newly constructed Mirage event space for the 2025 season," reads a statement shared on the venue's Instagram.

Since the ousting of former CEO Josh Wyatt in May, the company has largely maintained public silence, instead primarily relying on artists and ticketing platforms to communicate a rolling series of cancellations. Those include performances by high-profile acts like Alesso, Subtronics, The Chainsmokers and EDM.com Class of 2024 star Sara Landry.

Now, after months of speculation and a steady drip of canceled shows, the reopening appears even farther away than anyone expected. A recent filing for a Temporary Place of Assembly Certificate requests activation beginning June 1, 2026, suggesting the venue won't relaunch operations for roughly another year.

"The whole thing is a disaster," the unnamed employee added.

Christian Wade/EDM.com

For fans who once considered Brooklyn Mirage the cynosure of New York’s EDM scene, its precarious status raises concerns about whether the venue can ever regain its footing. The event calendar on Avant Gardner's website is now defunct, effectively cancelling all future scheduled shows.

In the meantime, Avant Gardner has installed Gary Richards as its new CEO "to stabilize the company's finances and bring the Mirage back for 2026 and beyond."

"The Avant Gardner event complex is a truly special music venue that has provided cutting edge experiences over the years for artists and fans from all around the globe," said Richards, the founder of the beloved HARD Events brand, who also tours as the renowned DJ and producer Destructo. "Everyone I speak to has had the best sets and very special memories at the Brooklyn Mirage."

"Two months ago I was brought in as CEO to rebuild the Company's culture and turn the business around. I believe this Chapter 11 restructuring is the most viable path forward - it will allow us to stabilize Avant Gardner and focus on building for the future."

You can read the Brooklyn Mirage's full statement below.

GRiZMAS is returning to Detroit in a big way this year as GRiZ celebrates the landmark 10th anniversary edition of his beloved holiday event series. 

The two-night run will take place December 19th and 20th, 2025 at the city’s storied Masonic Temple, with GRiZ headlining both nights. Friday night’s lineup features Whethan and Austeria before Saturday brings sets from Vincent Antone and Motifv ahead of GRiZ’s closing set.

It’s the latest major milestone in a comeback year for the sax-wielding producer, who returned to music this spring after stepping away from the spotlight in 2023. He's now gearing to launch his brand-new curated music festival, Seven Stars, October 10-12 in Virginia.

First launched in 2014, GRiZMAS has grown from a single hometown show into a celebrated charity initiative that has raised more than $500,000 for local causes. This year's event sold out quickly.

"I love Detroit and this tradition we’ve built together, can’t believe it’s been 10 years," GRiZ wrote on social media.

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In a scene where competition is often the default, house music brands could seem like they're battling for the same territory, chasing similar fans, bookings and market share. But for Dirtybird's Label Manager and Talent Buyer, Deron Delgado, and Home Bass' Founder, Brian Thomas, a shared vision is an open door—not a dividing line.

That ethos laid the foundation for this year's Dirtybird CampINN, a resort-takeover festival happening over Labor Day Weekend in Orlando, Florida. As Dirtybird celebrates its 20th birthday, CampINN will offer stage takeovers to Defected, Desert Hearts and FriendShip.

Delgado said the collaborations reflect Dirtybird's goal of reclaiming one of EDM's core values: inclusivity. After two decades in the scene, he sees that value slipping away, replaced by a culture of competition driven by industry giants like Live Nation.

In a landscape where independent events are becoming an endangered species, Delgado says community and collaboration matter now more than ever.

"Dance music in general has always been inclusive, but sometimes in this world of festivals and concerts, it's like, 'I have my radius and you can't play within it.' It can be very competitive and exclusive," Delgado tells EDM.com. "But independent festivals can kind of do what they want. We can all live in the same universe together. It doesn't have to be so competitive. And that's where these takeovers came in."

Delgado, who cut his teeth in the San Francisco scene with Dirtybird originators Barclay Crenshaw and Justin and Christian Martin, calls this collaborative mindset "expanding the flock": the brand's mission to unite fanbases and foster cross-brand partnerships.

With roughly 60 artists having released music on both Dirtybird and Defected, Delgado said it was "a natural thing to work together." That same synergy extends to FriendShip, whose offbeat energy and roster often overlaps with that of Dirtybird. When it comes to Desert Hearts, Delgado put it simply: they're "two peas in a pod" who share West Coast roots, a loyal following and a flair for the wild.

While some may view these brands as competitors, Delgado believes their shared DNA is precisely what makes these partnerships work so well.

"While the branding might be different, the vision is still the same," Delgado explained. "When you peel the layers of the onion back, you'll see we're all cut from the same cloth. For us, it’s trying to go back to the roots of being inclusive and making it about everyone, rather than, 'we need to have our section of the pie, and you can't have any bite of it.'"

Don Idio

For Thomas, who first pitched the resort-takeover concept to Crenshaw over dinner pre-pandemic, the freedom to curate truly diverse lineups is another reason why boutique festivals like CampINN have such an edge.

"That's what's so great about independent festivals: we get to create things how we want," he said. "We have that flexibility and we really think about the community. That's what I love."

Anchor festivals like Ultra and EDC often serve as a gateway for new ravers, but once fans get that first taste, they start looking for something more personal. That’s where independent events like CampINN shine.

"We get a lot of people who are exploring new music," Thomas said. "Once people get hooked on festivals, they ask, 'what else is out there?' [CampINN] is what else is out there. This is where we get to deliver that experience to new people who want to do something different."

With the creative freedom comes a sense of responsibility, and a deep trust between the community and the talent buying team. But that trust hasn't been built overnight—it's been 20 years in the making. 

Known for curating genre-bending lineups that merge house, bass, hip-hip, techno, trap and more, Dirtybird has long embraced its role as a tastemaker. Instead of following trends, the label focuses on uplifting emerging talent and betting on sound over status.

"We've always been the underdog in a sense, and people dismiss the silly guys," Delgado says. "For our festivals, we don't go and sign artists who are the number one person on Beatport right now. We just feel the music is great and we want to give that shot."

Many of Dirtybird's tracks come from artists who have never had a release before, Delgado explained, and that same spirit carries over to their event bookings. Instead of recycling the same ticket-selling names weekend after weekend, Dirtybird lineups rarely repeat.

"It's not one big bird at the top of the helm. It’s more about giving people the opportunity to to be a part of something, and to use that brand power to lift people up, rather than chasing hits," Delgado explains. "The power of what people feel is important to us. We've been lucky, after 20 years, to still be able to have that freedom to put people on, and to be known as a curator, in the sense that people trust the brand."

As CampINN prepares to make its return after a two-year hiatus, it is once again leaning on the trust and loyalty of its fanbase. For Thomas, who secured a new, larger hotel venue 2025, staying true to the festival's "original values," including their iconic summer camp-themed activities, is an essential part of the process.

"It's crucially important to keep the core: the team leaders, the Gator Gangs, the Flamingo Fams, and the Scuba Squads, while not changing too much else of what the community values," Thomas explains. "We're enhancing the environment, the venue, the staging, the production, and all those pieces correlate with the experience. But, it's the community that enhances it so much more."

Striking the balance of staying true to CampINN's quirky roots while delivering something fresh and exciting is paramount for the organizers. As EDM culture expands beyond the club into daytime parties in coffeeshops, pizza joints and other unconventional spaces, the music landscape and fan desires are quickly evolving. 

Delgado embraces this shift, recognizing the need to "create something that's unique, that people are going to want to spend their hard-earned dollars on."

"In times like these with uncertainty, high prices and recessions, people are like, 'why would I want to go have the same experience, when I can have something different?'" he reflects. "What we're trying to do is create an experience, because the fans now want more out of their ticket price."

Dirtybird has always had its feathers on the pulse of evolving fan expectations, from hosting barbecue parties to delivering their signature summer camp-style games, all in the name of serving up truly unique experiences. The brand’s color-wars activities were born from a desire to push the boundaries of what a festival can be, beyond the music.

Of course there will be music programming all day and night, Delgado explained, but what about the downtime? What happens when fans need a break from dancing for three days straight? That question sparked the creation of Dirtybird's now-iconic games, which are playful, ridiculous and designed to deliver a heavy dose of childlike wonder.

Thomas said he appreciates how the games encourage fans to "meet somebody new, have fun and let loose, and do something new that you wouldn't have tried if you hadn't come to CampINN."

"The music is what brought us together, but the games and activities is what grows the community deeper and better," he says.

In addition to the playful absurdity of speed-walking contests, sack races and egg tosses with festival-goers, the games also involve the artists themselves. Instead of a typical meet-and-greet with artists signing merch behind a table, Dirtybird takes a different approach.

Fans could find themselves playing dodgeball with Sacha Robotti or teaming up with Will Clarke in archery. By weaving the artists into the games, the experience transcends beyond a handshake and a hello, to shared laughter and genuine connection.

Keiki-Lani Knudsen

Delgado said Dirtybird fosters "community and camaraderie between the fans, the artists and the production team" throughout every aspect of their festivals. This sentiment extends all the way to their stage design. Rather than building towering, unapproachable stages that starkly separate artists from the crowd, Dirtybird intentionally invites fans closer.

"We like people right there, where you can touch them and shake their hands, instead of fans looking up in awe and worship," Delgado says. "It’s more like, 'we’re on the same team here. I can't perform without you guys dancing, and you can't dance if I don’t perform. So how do we break that barrier down?"

This immersive, up-close experience is part of CampINN’s magic. The festival’s signature wackiness contributes to a vibe that feels both wild and deeply personal, a natural extension of the festival's commitment to breaking down barriers and keeping things human.

In a time when fans are craving experiences that feel fresh and unique, CampINN delivers. When you mix all that freedom with floaty races in the pool, comedy shows and all-night resort chaos, the result is some truly unforgettable memories.

For Delgado, one of the top highlights was seeing GRiZ—just ahead of his hiatus—playing a b2b DJ set with Justin Jay at CampINN 2023 after their solo performances. While the contrast between their respective artistries is striking, the unexpected performance worked perfectly. To Delgado, it was “the epitome of exactly what we’re trying to do and accomplish."

Thomas, who has a particular love for CampINN's playful prank culture, shared a standout memory when he was on the receiving end.

"I got a call on the security radio to go to the women’s restroom because there was something going on over there," he recalls. "I walk in, and it's the Flamingo Fam dressed up as shrimp, handing out shrimp cocktail. It was one of the wildest experiences, seeing people singing, cheerleading and eating cocktail shrimp in the bathroom."

While the festival landscape is increasingly dominated by the predictable, CampINN is proof that events can still surprise you, especially when they're built on inclusivity, diversity and pure silliness.

Scheduled for August 29th to September 2nd, Dirtybird CampINN 2025 will feature performances by Destructo, VNSSA, Eats Everything, Kevin Saunderson, TroyBoi, Rusko, The Glitch Mob, Mikey Lion and EDM.com Class of 2022 star ACRAZE, among many others. Tickets are available here.

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Flume and Emma Louise have returned with "Shine, Glow, Glisten," the second single from their upcoming collaborative album DUMB, due out August 22nd.

Flume serves up his signature cocktail of crystalline chaos while Louise's haunting voice drifts through his labyrinthine production like smoke through a broken ventilation system. Invoking biblical temptation ("eat the apple," "animal desire," "pleasure paradise") Louise's lyrics point to a sort of horny mysticism that makes you wonder if she's channeling a prophet or seducing one.

Meanwhile, Flume crafts distorted, claustrophobic trap beats that crackle with texture. The arrangement shifts and morphs with the restless energy of someone trying to tune a radio in a thunderstorm, never quite settling into predictable patterns. Between his hyperkinetic production and Louise's ghostly detachment, the track is genuinely unnerving.

"Shine, Glow, Glisten" arrives alongside a trippy music video developed in collaboration with Flume's longtime visual collaborator, Jonathan Zawada. You can check out the video below and stream the new single here.

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The electronic music community is constantly evolving with new sounds. EDM.com's weekly Fresh Picks series discovers the new tracks that will help define the underground dance scene.

You can submit tracks for consideration here.

ILLENIUM is back with a pair of brand-new singles, "Refuge" and "Ur Alive," out now via Republic Records.

The bundle format is worth noting since the tracks appear on streaming platforms alongside "In My Arms," his recent collaboration with HAYLA. Whether an album is on the way remains to be seen, but it's a safe bet considering ILLENIUM "has tirelessly been working in the studio crafting his most ambitious project to date," Republic said in a press release shared with EDM.com.

ILLENIUM's latest original music marks a fascinating evolution for the beloved producer, who has spent years perfecting the art of making festival crowds weep through soaring bass drops. "Refuge" and "Ur Alive" find him trading his signature melodic bass theatrics for anthemic house music, a compelling departure for the Grammy-nominated artist.

Anchored by Norma Jean Martine's crystalline delivery, "Refuge" builds like a Christopher Nolan dream sequence as ILLENIUM's hypnotic production swells like vapor. Meanwhile, Martine stuns with aching lyrics about finding solace in the arms of a loved one after careening through "dark clouds" that threaten to break her.

"Ur Alive" finds WYLDE lamenting the lost freedom of childhood, questioning why we've forgotten the simple pleasure of sun on skin. The track's repeated reminder to slow down and remember you're alive is a welcome one, beautifully cutting through the euphoric sheen of ILLENIUM's production.

You can find Refuge / Ur Alive on streaming platforms here.

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