Blog - EDM

Bobby Shmurda is making sure the world knows his beat doesn't stop at the block.

The once-unimaginable has become reality after the rapper teamed up with SIDEPIECE to release "Cash Out," a seismic rework of his breakout single from 2014 that launched a thousand “Shmoney” dances. Released today, this fresh take from the Grammy-nominated duo house music duo is a total reinvention that trades hip-hop grit for the pulse of the underground dancefloor.

This is the first time Shmurda has allowed an official reimagining of the track that made his name, a record that hit #6 on the Billboard Hot 100 and became an undeniable cultural moment. A decade later, SIDEPIECE have reanimated it with new ambition, threading the needle between respect for the original and an audacious new vision for the club.

SIDEPIECE bring their potent sound, setting the tone with a slinky, rolling tech house groove. The track's kick drums pulse with low-end muscle as Shmurda flexes his signature bravado. His bars, once soundtracking block parties and mainstream radio alike, suddenly feel equally right at home on the dancefloor.

Premiered live at EDC Las Vegas in mid-May, “Cash Out” signals another major moment in Shmurda’s expanding foray into dance music following last summer's release of “Cool Like That” alongside Loud Luxury.

You can listen to "Cash Out" below and find the new release on streaming platforms here.

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Ninajirachi is dialing up the memories with her new single, "iPod Touch," a vibrant homage to the era of discovering your favorite song via a sketchy YouTube-to-MP3 converter.

The track marks the latest reveal from the Australian producer's upcoming debut album, I Love My Computer, due out August 8th via Nina Las Vegas' NLV Records.

"iPod Touch" pulses with sprightly energy as bubbling kicks and bright, bouncy synths tangle underneath pitch-warped vocals. Reverb floods the mix and washes each drop in a glowing haze, like an after-school rush of serotonin triggered by your favorite beat dropping on a pair of busted Skullcandy headphones.

Opening up about the release, Ninajirachi paints an evocative picture of a track steeped in nostalgia and DIY culture. That balance feels central to her forthcoming album, which reimagines the glimmering sound of Y2K electronic music in a hyper-modern form.

“iPod Touch is about stumbling upon my favorite music online when I was 12 and it cracking my whole world open," she explained in a press release. "None of my friends at school liked electronic music so it felt like a secret or something. I started spending a lot of late nights on the computer trying to soak up everything I could, not realizing how much a random discovery and curiosity would end up shaping my life."

"It’s about high school in Gosford, Supré shorts, sneaking out to smoke, bus to the beach after school, going to the shops, 2nd generation iPod Touch, and it sounds like something I would have loved at that pivotal time which makes me feel soooooo happy."

I Love My Computer is due out August 8th, 2025. You can pre-save the album here.

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DJ HEARTSTRING, the fast-rising dance music duo out of Berlin, have landed on Armin van Buuren's Armada imprint with a new single, "Back To My Love."

A vocal house anthem produced at a breakneck tempo of 140 BPM, the track is an exercise in contradiction. It masquerades as an ecstatic, high-energy anthem—the kind that soundtracks club nights where everyone pretends their problems don't exist—but it functions as a biting broadside against romantic betrayal.

House music has always been about transformation, about taking whatever worries you're carrying and letting the rhythm metabolize them into something else entirely. DJ HEARTSTRING understand this alchemy all too well, wrapping pointed emotional honesty in production designed to make bodies move.

To that end, they remind us that sometimes the dancefloor is the best form of therapy. It's the sort of euphoric, genre-agnostic sound that has catapulted the duo to global stardom, capturing a nostalgic 90s rave energy in modern club and festival settings.

You can listen to "Back To My Love" below and find the new single on streaming platforms here.

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WINK taps into raw emotion and glitchy production on his new single, "let u gooo," out now via NIGHTMODE.

The track is a surefire standout in the growing catalog of the Bay Area-based artist, one of today's most promising electronic music producers.

Fusing elements of trap and wave music, the evocative banger leans into early-2000s angst, opening with vocals that feel ripped from the pages of a pop-punk diary: "I wonder, does it have to change? I wonder, can things stay the same?"

The heart of "let u gooo" is its aching hook, which brings the title to life atop layers of dreamlike, glitch-infused sound design. Its melancholic urgency then dissolves into a misty drop laced with frenetic, textured synths and pulsing percussion as WINK crafts a soundscape that feels both cozy and futuristic.

You can listen to "let u gooo" below and find the new single on streaming platforms here.

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If you don't understand the acronym "LMGABEACSPK," this event isn't for you.

ACRAZE today declared war on Miami's culinary scene, announcing an upcoming pop-up rave inside a New York City bagel shop. The "Do It to It" hitmaker's beef with the city's breakfast game started when he ordered what should have been a simple bacon-egg-and-cheese.

Instead, he received a ketchup-drenched catastrophe. "This is what bacon, egg, and cheese look like in Miami... I'm done," he wrote.

ACRAZE

ACRAZE, who was born in Staten Island, is now mounting a delicious counteroffensive by organizing a rare pop-up rave inside a New York City bagel establishment, combining two of the borough's most sacred institutions: proper breakfast sandwiches and nightlife.

The first 100 attendees, ACRAZE said, will receive complimentary bacon-egg-and-cheese sandwiches, presumably assembled with the reverence they deserve.

The event is scheduled for Sunday, June 22nd. You can sign up for details, including its location, and RSVP here.

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Kaskade is ushering in a new chapter with "undux," a five-date North American tour set entirely in the daylight.

The new show series departs from the sublime nocturnal feel of his beloved "Redux" performances, instead embracing light-filled settings that aim to reframe the experience of live electronic music altogether. With "undux," Kaskade is trading the club for the open air, presenting fans with a "stripped-back" approach in unexpected venues across the US and Canada.

Kaskade opened up about the intention behind the project on the social media.

"With undux, I want to explore connection through subtraction—removing the distraction of sensory overdrive that has become the calling card of stage production for electronic music," he explained. "I want to focus on skylines, murals, art, and I want us to see each other’s faces. Sometimes the most profound experiences emerge not from adding more elements, but from removing them. What happens when we get get a massive sound system, gather in daylight, let the music speak, and watch the world together?"

The concept reflects Kaskade’s ongoing interest in challenging the format and structure of DJ sets. Rather than relying on heavy production or late-night energy, "undux" centers the music in daylight hours to offer a more reflective rave experience.

The tour opens August 22nd atop the Cumberland Parkade rooftop in Toronto before heading to New York on August 31st, when a DJ set at Brooklyn's Under The K Bridge sets the tone for its East Coast leg. From there, "undux" hits Dallas' Joule Eye Lawn on September 1st before heading west for a show at The Ruins at American Canyon near San Francisco on September 13th. The final performance lands in Atlanta on September 27th at Guardian Works.

A pre-sale is scheduled to begin Friday, June 20th at 12pm PT, followed by the general on-sale at 2pm PT the same day.

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Authorities in the Dominican Republic arrested and charged Antonio Espaillat, the owner of the long-running Santo Domingo nightclub Jet Set, with involuntary homicide following a catastrophic roof collapse that killed 236 people, The New York Times reports. 

The charges were filed on June 12th, roughly two months after the April 8th tragedy, which occurred during a performance by merengue artist Rubby Pérez. Espaillat's sister, Maribel Espaillat, who co-managed the venue, was also indicted. The Espaillats reportedly co-owned the venue along with their mother.

Local prosecutors allege that Antonio Espaillat ignored urgent warnings from an employee about the venue's structural issues in the hours leading up to the show. The employee had voiced serious concerns about the roof's condition and advised canceling the event altogether, but that request was dismissed, according to NYT.

In a statement from the Dominican Republic's Attorney General's Office, prosecutors alleged that "both defendants displayed immense irresponsibility and negligence by failing to physically intervene to prevent the club's roof from collapsing, as it ultimately did, causing 236 deaths and more than 180 injuries." 

The office has also reportedly accused the Espaillat family of attempting to influence or intimidate potential witnesses, though no specifics have been disclosed. 

The roof's collapse is now the subject of multiple ongoing lawsuits and a large-scale criminal investigation. Officials say an engineering report on the structural failure has been completed, though its findings have not yet been released publicly at press time.

A class action lawsuit has been filed against the controversial AI music platforms Udio and Suno, Music Business Worldwide reports.

Independent artist and label owner Anthony Justice has taken legal action, alleging that the companies trained their generative music models using copyrighted material without permission. Justice's complaint, which follows an explosive lawsuit filed against Suno and Udio by major labels and the RIAA, aims to represent a broad group of US-based indie artists whose recordings may have been used without compensation or consent.

Unlike the labels' lawsuit, this filing focuses on artists who operate independently and do not have access to the backing of industry giants. Justice argues that these creators are especially vulnerable, since much of their music is widely available online and less likely to be protected by licensing deals.

“Rather than simply license these copyrighted songs like every other tech-based business does, Suno/Udio elected to simply steal the songs," the court filings read.

The suit also references a recent report from the U.S. Copyright Office, which questions whether fair use protections apply to AI training on expressive works such as music. Together with his label, 5th Wheel Records, Justice argues that using copyrighted recordings to develop competing works in the same commercial space is not legally defensible and constitutes direct infringement.

The class action seeks to include all independent recording artists in the United States whose songs have appeared on streaming platforms since January 1st, 2021. It arrives at a moment when Udio and Suno are reportedly engaging in licensing discussions with the major labels, negotiations of which could ultimately exclude independent creators entirely. Justice’s filing challenges that possibility by calling for a broader, more inclusive legal remedy.

Representatives for Udio and Suno have previously stated that their models are designed to generate original content and not replicate existing songs. They have also claimed to implement filters to prevent copying of protected material. However, critics remain skeptical of these assurances, especially in light of growing legal scrutiny.

The suit against Suno was filed in Massachusetts while the case against Udio was filed in New York.

SG Lewis has announced his third studio album, Anemoia, marking his return to the dancefloor with a project steeped in nostalgia.

The title of the album, scheduled to release September 5th, refers to a specific form of longing: nostalgia for times and places one has never experienced.

For Lewis, the album represents his attempt to distill decades of dance music evolution into a cohesive sonic experience that speaks to contemporary club culture. According to a press release, the concept captures his deep connection to pivotal moments in dance music history, from 1970s New York to 1990s Ibiza and the acid house movement. 

"Throughout my career, I've often referenced past eras of music, studying them inside out to understand their cultural and technical history," Lewis explained. "In doing so, I started to question my emotional connection to those times, and why they left such a mark on me."

"More than anything," he adds, "I want Anemoia to be a soundtrack to living in the present—to creating the kind of moments that others might one day feel nostalgic for."

Accompanying the album announcement, Lewis revealed plans for a North American tour beginning September 5th at Austin City Limits. After an extended break from touring, he promises "a completely brand new show, built from the ground up" to showcase the album's material.

You can pre-save Anemoia here.

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We all know Fred again.. speaks fluent internet, translating viral-today-forgotten-tomorrow moments into music that matters beyond the screen. The British electronic music superstar took his digital dreams to new heights last night, joining forces with Twitch to debut "Victory Lap," a new single with grime icon Skepta and streamer Plaqueboymax.

The crossover track, a heavy-hitting blend hip-hop, grime and 140 dubstep, was originally crafted on Twitch back in February prior to yesterday's ballyhooed live debut on the platform. It incorporates a sample of Doechii's verses in "Swamp B*tches," a track released in 2022 by the Grammy-winning rapper alongside Rico Nasty.

Fred and his collaborators performed "Victory Lap" live from a room in New York City. The track then quickly went from computer screen to dancefloor as he took over the Brooklyn Paramount for an electric pop-up rave, which served as an immediate real-world testing ground of the track's dancefloor potential.

"We absolutely love you, New York," Fred said. "Best place in the world."

Check out footage from the pop-rave below, and stream "Victory Lap" here.

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