Blog - EDM

Adventure Club have revealed a "Throwback Tour," a series of 2025 shows that's set to transport fans straight back to the golden era of melodic dubstep.

The influential duo first made waves at the turn of the 2010s, when dubstep was beginning to evolve and cross over the Atlantic to court a new North American audience. With breakout tracks like their haunting remixes of Yuna’s "Lullabies" and Flight Facilities' "Crave You," they struck a rare balance between emotional catharsis and heavy-hitting electronic music.

Adventure Club's signature fusion of cinematic melodies with thunderous, rushing synths became a cornerstone of the genre's melodic wave. The tandem's more recent work has pushed their sound into new terrain, but the "Throwback Tour" is a deliberate celebration of the blueprint that first made them festival mainstays and global fan-favorites.

The tour will kick off August 8th in Houston and hit a slew of major US cities including New York City, Philadelphia, Chicago and Nashville before wrapping in Tampa in late-December. Adventure Club will be supported by Borgore, Delta Heavy and EDM.com Class of 2025 artist Jessica Audiffred, among others.

Fans can register for a pre-sale scheduled for 10am local on Thursday, June 5th before tickets release the following day at the same time.

c/o Adventure Club

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There are places you go to see in Ibiza, and there are places you go to feel it.

Island Hospitality's portfolio of destinations belongs firmly to the latter. With venues spanning from barefoot beachfront bliss to velvet-lined intimacy and slow-food sanctuaries, this network of scene-stealing spots has grown into a favorite among electronic music enthusiasts visiting the legendary party island.

Here's why the renowned hospitality firm's venues are essential stops on any musically minded Ibiza itinerary.

c/o Island Hospitality

If Ibiza's nightlife scene is a Marvel multiverse of superclubs, Chinois is the independent Academy Award dark horse. Tucked inside the Ibiza Gran Hotel, the club is among the most intimate venues on the White Isle, and this summer will feature one of the island's best rosters of DJ residencies.

Chinois trades the cattle-herd chaos of larger clubs for something more luxurious but no less unrelenting, an intoxicating room built from the dancefloor up and soundtracked by deeply influential electronic artists. The 2025 season will feature performances from Claptone, Honey Dijon, Âme, Bedouin, The Blessed Madonna, Kerri Chandler, Francis Mercier, Shimza, Mahmut Orhan and many others.

The sun-drenched Beachouse is what what shows up in your Balearic daydreams when the minutes on the clock aren't ticking fast enough at work. Perched on Playa d'en Bossa's gilded edge, it's the rare venue where "wellness" and "DJ set" aren’t mutually exclusive.

By day, think sunrise yoga, barefoot brunch, sea-to-table cuisine and friends gathering over grilled octopus and citrus-infused cocktails. But after the sun dips, Beachouse transforms with the signature BOHO Experience on Thursdays and Moonlit Dinners every Friday to Sunday, with time-stretching live music to capture the sublime soul of Ibiza's culture.

Nestled like a well-kept secret in Santa Gertrudis, Finca La Plaza is housed in a rustic finca that feels equal parts The White Lotus and a Pedro Almodóvar film. While there’s no dancefloor here, make no mistake: this masterclass in Mediterranean dining grooves in its own way, especially on summer nights, when live music fills the open-air courtyard restaurant every Tuesday, Wednesday and Thursday. You may also see your favorite DJs dining.

The weekly musical lineup offers the perfect backdrop to Finca La Plaza's sustainably crafted Mediterranean menu, which reflects the venue's commitment to farm-to-table cuisine, celebrating local flavors. Finca La Plaza also features one of the most extensive wine cellars in Ibiza, with over 500 labels from leading European vineyards, including rare vintages from Spain, France and Italy.

With panoramic views of Ibiza's UNESCO-listed Old Town, Mikasa Ibiza is a boutique hotel in a league of its own. Every room's design is inspired by the island's lunar cycles, which is perfect, since your sleep schedule will likely be ruled by them.

There’s morning yoga. There’s a lush café. The shores of Talamanca Bay and a bevy of renowned restaurants are just a few steps away. And from June to September, the rooftop transforms into a sunset gathering where cocktails flow and DJ sets elevate the golden hour into something magical.

Massa Coffee is where your days turn into actual parties of one: your brain, a cold brew and a laptop if you want to produce music with breezy marina views.

Tucked into Marina Botafoch, Massa is a go-to spot for DJs pre-gig, travelers pre-beach and everyone in between. Its menu is all clean fuel: refreshing smoothies, fresh juices, energy-packed breakfasts, nourishing bowls and craft coffee.

Calling all Pokémon masters: your weekend plans have arrived.

A Poké-rave is taking over Orange County this Saturday June 7th, transforming Bleu Nightclub into a nostalgia-packed combo of electronic dance music and all things Pokémon. Dubbed the "Pocket Monster Rave," the party invites fans of the iconic franchise to throw on their best Pokémon outfits (optional but highly encouraged) and dance the night away to a soundtrack fit for a late-night Poké Battle. 

Organized by Mayhem Events, the night promises Pokémon-themed visuals, lasers and surprise elements still under wraps. The "Pocket Monster Rave" follows in the footsteps of other pop-culture party spin-offs like Shrek and It's Always Sunny raves, carving out a growing lane within nightlife culture where nostalgic fandom is the driving force. 

Whether you're a diehard gamer fan or just love a good themed party, "Pocket Monster Rave" promises an unforgettable late-night adventure into the world of Pokémon. Entry is free before 10pm with RSVP.

You can RSVP and find tickets via Eventbrite. 

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A unique collaboration between music production companies and a geography-based gaming platform is offering aspiring producers an epic prize package including an official release with UMG, the world's largest music company.

The aptly-titled "Legendary Remix Challenge," launched by Audeobox in partnership with GeoGuessr and FL Studio, invites music creators worldwide to rework "Legendary," the official anthem of the 2025 GeoGuessr World Championships. The original track, performed by Mapei and written by Niki & the Dove with production by YARO, serves as the soundtrack for GeoGuessr's annual competition.

The online game, which challenges players to identify real-world locations using Google Street View imagery, has attracted over 90 million players since its 2013 launch.

Winners of the massive remix contest will see their work officially released by UMG and receive an all-expenses-paid trip to Denmark for the championship finals. The GeoGuessr World Championships are scheduled for August 29-30 in Copenhagen.

"GeoGuessr has always been more than just a game—it’s a global culture powered by an incredibly creative community," said Mikael Falgard, Head of Esports at GeoGuessr. "By partnering with Audeobox, we’re inviting remixers worldwide to put their own spin on our anthem and become part of this championship moment. We’re excited to hear the sounds our community creates."

Participants can download the song's official stems through Audeobox, a platform that connects music producers globally, and submit remixes with a deadline of June 18th. A month-long public voting period follows and a winner will be announced July 22nd.

For Audeobox, which bills itself as "the world's only online beat battle platform," the collaboration offers participants crucial exposure to international audiences.

"This is your shot to flip it, flip the script, and make a name for yourself on the global stage," said Young Fyre, Audeobox's co-founder and CEO.

Here's how to enter the "Legendary Remix Challenge":

1. Create a free Audeobox account at audeobox.com/geoguessr
2. Download the official "Legendary" remix stems
   
3. Submit your remix via the official GeoGuessr Challenge page
   
4. Submit your music by June 18th, 2025

The same black holes that tear apart stars and bend reality have become unlikely collaborators of NASA after the space agency released musical compositions formed through telescope data.

NASA recently released sonifications—translations of digital data to sound—drawing from observations made by a number of its most powerful telescopes, including the Chandra X-ray Observatory, the James Webb Space Telescope and the Imaging X-ray Polarimetry Explorer.

For astronomers, sonification offers a new way to analyze data that might reveal patterns invisible to traditional visualization methods. For the rest of us, it's a reminder that the universe is full of phenomena so extreme and beautiful that they can literally make music, even in the vacuum of space.

NASA has been experimenting with turning space data into audio for years as both an accessibility tool and a way to help scientists identify patterns in complex datasets, but these black hole compositions represent some of the most sophisticated examples yet.

The first piece captures WR124, a massive star located 28,000 light-years from Earth that may be in its final stages before potentially collapsing into a black hole. At the center is a "hot core of the star that may explode as a supernova and potentially collapse and leave behind a black hole in its wake," according to NASA.

In their sonification, the star's surrounding nebula resonates as flutes while background stars chime like bells. The central star itself produces a descending, scream-like sound that begins the piece, with X-ray sources detected by Chandra translated into delicate harp tones as the musical scan moves outward from the stellar core.

The second movement explores SS433, a binary system approximately 18,000 light-years away where a Sun-like star orbits either a neutron star or black hole. This cosmic dance creates fluctuations in X-ray emissions that multiple telescopes have observed. 

The sonification captures these orbital undulations as pulsing sounds while radio waves from the surrounding nebula, which collectively resemble a "drifting manatee," provide a backdrop. The system's location emanates a plucked sound while bright background stars mirror the plinking noises made by water droplets.

The triptych concludes with Centaurus A, a galaxy 12 million light-years away that harbors a supermassive black hole at its center. Creating one of the most dramatic structures in the known universe, it's an "enormous black hole that is sending a booming jet across the entire length of the galaxy," per NASA.

In the sonification, X-ray data from Chandra becomes wind chimes while continuous X-ray frequencies from IXPE produce other wind-like sounds. Meanwhile, the galaxy's stars, captured in visible light by the European Southern Observatory's MPG telescope, are translated into string instruments.

These compositions were developed by the Chandra X-ray Center (CXC), with support from NASA's Marshall Space Flight Center and NASA’s Universe of Learning program. The collaboration was led by visualization scientist Kimberly Arcand as well as astrophysicist Matt Russo and musician Andrew Santaguida along with consultant Christine Malec.

You can read more about the sonifications here.

Swedish electronic music icon Eric Prydz premiered his groundbreaking Holosphere 2.0 production at Ibiza's [UNVRS] club on Monday night, a production characterized by the venue's owner, The Night League, as "the most advanced club show on Earth."

The centerpiece of the show is a massive spherical structure that required every component to be custom-engineered from scratch, according to a press release. The installation achieves what the club describes as a "razor-thin balance between engineering-grade strength and near-total transparency," a feat made possible only by its cavernous main room and arena-scale infrastructure.

The visual content represents a collaboration between Prydz and a phalanx of digital artists, including renowned visual effects artist GMUNK. Working from a Los Angeles studio, the team filmed crystal orbs, plasma balls and burning glass in 360 degrees, then laser-mapped and stitched the footage into immersive holographic environments.

Each visual loop functions as what the creators call "a standalone digital sculpture," with dramatically improved resolution, pixel density and color depth compared to the original Holosphere that debuted in 2019.

Rather than a sequel, however, Prydz positions Holosphere 2.0 as a complete reimagining of his iconic show concept, potentially setting a new standard for immersive electronic music experiences.

"We’ve waited six years for this," Prydz said. "Not because we wanted to, but because we had to. The technology needed to catch up with our vision as every single part of Holosphere 2.0 is bespoke and original. This is what we always dreamed of."

[UNVRS], Ibiza's newest superclub, officially launched Friday night with a spectacular opening party. Watch a video of the debut of Holosphere 2.0 below, courtesy of Prydz.

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Just a year after suggesting Suno and Udio are direct threats to human artistry, the world’s biggest music companies appear to be changing their tune.

Universal Music Group, Warner Music Group and Sony Music Entertainment are now in advanced talks to license their catalogs to generative AI music startups Suno and Udio, Bloomberg reports. If finalized, the deals would not only bring long-standing legal battles to a close, but also mark a dramatic strategic pivot in how the music industry chooses to engage with AI.

The companies behind Suno and Udio have been central players in a heated copyright debate since last summer, when the Recording Industry Association of America (RIAA) sued both startups on behalf of the major labels. At the heart of those lawsuits was a charge of mass infringement alleging that the services copied "decades worth of the world’s most popular sound recordings" to train their text-to-music models. The potential damages, by some estimates, soared into the billions.

Yet in a striking departure from their prior hardline stance, the same music corporations are now reportedly weighing licensing agreements that would not only grant Udio and Suno access to copyrighted works, but also potentially include equity stakes in the platforms themselves.

Sources familiar with the talks indicate that while the labels are pressing for stronger oversight and safeguards, Suno and Udio are seeking flexible arrangements at prices that won’t stifle innovation—especially critical for startups still in their growth phase. Suno recently raised $125 million while Udio secured $10 million in early-stage funding from investors.

Both startups maintain they do not store or replicate copyrighted material, emphasizing that their models are designed to generate original works. Still, in their own public statements, Udio previously acknowledged that their systems “learn from examples" and Suno defended its mission as empowering musicians with “transformative” technology.

Should the talks reach an agreement, the resulting licensing frameworks could set a precedent for how recorded music is integrated into machine learning ecosystems, potentially influencing how artists and rightsholders are compensated across the AI sector.

EDC Las Vegas has never been short on spectacle, but what unfolded in 2025 with Tchami and Malaa was a farewell sermon for the ages delivered by two of dance music's most enigmatic figures.

For the better part of a decade, the duo's "No Redemption" series stood as one of the scene's most compelling live collaborations with equal parts panache and pummel. And on a spring night in Las Vegas, Tchami and Malaa brought that saga to a close with a DJ set that embraced the very duality that's always defined their creative partnership.

Set against the monumental LED walls and eruptive pyrotechnics of EDC's circuitGROUNDS stage, Tchami and Malaa's final "No Redemption" performance took place Saturday, May 17th.

"Almost 8 years of No Redemption ended last night at EDC Las Vegas," Tchami wrote at the time. "Glad we could take it this far with my brother."

The duo leaned into their shared catalog, revisiting the tracks that shaped their distinct alliance. Those include “When The Beat Bang,” “Underground," “N9” and the four-pronged collaboration “Made In France” alongside DJ Snake and Mercer.

One of the night’s most emotionally charged moments came with Malaa’s remix of Linkin Park’s “In The End,” a track that, in the context of this farewell, carried an added layer of poignancy as it echoed across the desert air. And in true Tchami fashion, the set concluded on a note of cinematic clarity with a layered mashup of “Adieu.” 

You can watch the full "No Redemption" finale live from EDC Las Vegas below.

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Somewhere in the UK, a group of audio engineers spent nearly two decades figuring out how to fix a problem most people didn't know they had: their ears are lying to them.

Not in a philosophical sense, but in a very literal, measurable way that makes every song sound slightly wrong. That's the promise of Definition, a new passive in-ear device from Flare Audio that works like acoustic contact lenses for your ears.

The recent recipient of a King's Award for Innovation, Flare says these tiny, non-electric inserts reduce distortion in head-related transfer function (HRTF), which basically refers to the natural ways your ear canals process incoming sound waves. After 18 years of research and development, the company has mastered its patented technology, which somehow does not use electronics to amplify sound.

"I realized that there was a significant problem inside our ears that was not being addressed," says Davies Roberts, Flare's co-founder and co-CEO, who runs the company alongside his wife Naomi.

Instead, Defintion reshapes how music travels through your ear canal, drastically enhancing sound clarity without turning up the volume. Flare's pitch is audacious: slip these discreet devices into your ears, and your bargain-bin headphones will suddenly sound like they cost 10 times more.

However, the real test isn't in pristine listening environments like your quiet bedroom. Flare Audio says Definition excels in the sonic hellscapes where most of us regularly consume music, like noisy coffee shops, crowded streets, janky subway cars and clubs with sound systems that saw their prime when CDs were still cool.

The proof is in the pudding. EDM.com's staff tested out Definition at a recent Tiësto rave in Austin and the enhanced audio clarity was striking, even through The Concourse Project's state-of-the-art d&b Audiotechnik sound system.

Whether Definition can deliver on its promise to let you "hear music as the artist intended" remains to be seen. But in an era when tinnitus and other chronic ear conditions are becoming more pervasive, using good old physics to fight the noise war seems like a solid value proposition.

We caught up with Roberts to discuss the innovative Definition and his lofty goal to "improve everyone's relationship with sound."

Kenny McCracken

EDM.com: Most audio enhancement technologies focus on active noise cancellation or digital signal processing. Definition takes a passive, non-electric approach, which is a bold departure. What inspired this counterintuitive choice?

Roberts: We think of our ears as things that just receive sound so to say that they are distorting it can be a difficult concept. During the R&D for Calmer (our non-electrical alternative to earplugs that leaves you able to hear, but reduces stressful, annoying noise) as well as for our earphones, we learned that our ear canals act like a little echo chamber. When sound enters, certain frequencies bounce around and get amplified, especially the harsher high-end tones. This resonance can muddy details and add unwanted sharpness.

Our mission is to fix that. By designing products that reduce this internal distortion we are stripping away the noise your own ears are adding. The result is clearer, more accurate sound. Not boosted. Not colored. Just honest. A bit like the difference between talking in a cave or talking in a studio.

It’s audio design flipped inside out—treating your ear not just as a listener, but as part of the problem. And maybe, finally, part of the solution.

The technology was so popular with our customers that it was a natural progression to adapt it into a passive (non-electrical) product that can improve all sound.

EDM.com: Definition’s patented technology is a key differentiator. Can you talk about some of the specific advantages the product offers in real-world scenarios that active technologies cannot replicate?

Roberts: Much like shells, the shape of our ears resonates sound (particularly in the 2-8khz area). This creates unwanted distortions when listening to music. All loudspeakers and headphones tune this distortion out, either by design (adding bracing or wadding) or using electronics to apply an EQ to pull out the frequencies that sound unpleasant (that we now know is ear distortion).

The issue with this damage control approach is that by retrospectively correcting sound, it also reduces detail in sound, limiting the advancement in sound quality and making sound more subjective (everyone’s ears resonate sound at a slightly different frequency based on their different individual shape).

Definition’s technology removes ear resonance at source, enabling the wearer to experience greater levels of definition, especially when using headphones that have not had HRTF frequencies removed (these tend to sound overly smooth and less dynamic, with less detail in mid and high frequencies) or in loud sound environments like bars, cafés, restaurants and at gigs, concerts and festivals.

Flare Audio

Flare Audio

EDM.com: The in-ear device market is as crowded as ever. How do you convince both non-technical consumers and skeptics that a passive device can deliver superior results in noisy environments?

Roberts: It’s exceptionally hard to do! And it’s something we’re incredibly aware of. Everyone needs to experience it for themselves in order to believe its effects. We do have a 100 day return policy so people can try out the tech risk-free. We expect the technology to be a slow grower due to this but as more reviews come in we expect awareness and interest to grow.

A couple of weeks ago we found out that we’d won a King's Award for Innovation—that meant an awful lot to us because I felt that it gave our technologies credence and I hope will ease the skeptics minds that our techs work in the way that we say they do!

EDM.com: Flare Audio’s 18 years of acoustic research is a significant foundation for Definition. Can you share a specific breakthrough moment or unexpected discovery from this journey that fundamentally shaped the development of Definition?

Roberts: We’d been designing loudspeakers that produced sound with as little distortion as possible. They’d been used on some brilliant gigs: Skrillex, Mark Ronson, Chase & Status, Pendulum, etc. We often had producers and engineers visit us at Flare HQ and we’d demo them our very fancy and expensive speakers: Flare Zero. Zero produces very little resonance and is made from aluminum plates clamping vortices that surround the loudspeaker driver (you can still hear them at Selfridges Cinema in London). We had a great response to these speakers but people were still asking us to “tweak the 4kHz” and “can you give me a bit more 2kHz?"

It was at this point that I became aware that there was subjectivity—and where there was subjectivity there must be distortion. I discovered that there was much more distortion going on inside our ears compared to that produced by headphones and speakers.

So, over the last 18 years, I’ve developed a unique particle approach to invent our sound technologies as it allows me to visualize distortion issues that have been missed using the traditional acoustic approach. This work led me to explore the human ear in detail and it was during this work that I realized that there was a significant problem inside our ears that was not being addressed.

EDM.com: By minimizing distortion and enhancing clarity, Definition alters the listener’s psychoacoustic experience. Have you conducted studies on how this affects emotional engagement with music or cognitive processing of sound? For instance, does the increased detail lead to measurable differences in enjoyment or even memory retention of musical content?

Roberts: That’s such an interesting question! I’m so glad you asked.

We’re currently working very closely with the brilliant producer Flood and we firmly believe that by reducing resonance in sound we’re giving the listener a much cleaner pathway and connection to the music, in turn increasing enjoyment and immersion in sound.

It’s a similar concept to looking at your favorite piece of art or watching your favorite film through blurred glasses—would you be able to enjoy it as much, would you be able to fully immerse yourself?

The difference to listening to music with and without Definition is night and day. Your favorite tracks reveal even more detail and subtle nuances that you’ve not previously heard are suddenly very present. There is a much deeper connection to your favorite music—goosebumps with every track.

Flare Audio

When we delved deeper into sound we read that noise is the second biggest killer after air pollution. This is because our body is put under stress and releases things like cortisol, which then leads to an increase in heart attack and obesity—conditions linked to stress.

Our theory is that it’s not noise that’s the issue—it’s that our ears are not compatible with our noisy world. This is because of HRTF (head-related transfer function) which distorts and boosts sound between 2kHz-8kHz. This distortion triggers the release of cortisol, which in turn puts our entire body under stress. HRTF is there to stress-respond and alert us to threats. It’s the ear's way of saying "alarm" or "danger." Sounds in the 2-8khz range resonate like a bell inside our ears to make them more prominent. Useful when we lived in nature—not so useful when you fast-forward to present day and our busy towns and cities.

Anyone who has experienced a loud, distorted loudspeaker knows how that feels and it’s even been used in the past to torture people. By removing HRTF inside the ears, even the most distorted sound environments become more bearable and often even enjoyable. (Maybe not the London underground!)

Because everyone’s ears are a unique shape, quantifying the advance is tricky. The easiest way to demonstrate it is to use the product in a loud environment and then remove it. Every user then experiences a significant increase of distortion and becomes aware of exactly what Definition is doing.

It's important to note that Definition is not an ear protector—in simple terms they’re a resonance reducer, and by reducing resonance we’re revealing previously lost detail in sound.

EDM.com: Given that Definition alters how the brain processes sound by reducing distortion, have you explored collaborations with neuroscientists or audiologists to study its impact on auditory processing disorders or hearing health? In other words, could Definition have therapeutic applications, such as aiding individuals with hyperacusis or tinnitus?

Roberts: We’ve sold over 2 million pairs of our product Calmer (which again is a passive, non-electrical device that reduces our stress response to sound) and this has given us incredibly useful insight into who is buying Calmer and for what purpose. We know from the feedback we’ve had from thousands of customers that this technology is particularly helpful for people with sound sensitivities and neurodivergent people. We don’t claim it will help everyone but we’ve been blown away by how many people with these issues have told us it works for them.

We are at an earlier stage with Definition, but we believe that the technology could help people who struggle to hear in noisy situations and those who have sensitive hearing. Traditional hearing aids fail in noisy situations as they amplify sound, which in a noisy space can be detrimental. With Definition being passive we believe that it could be a vital tool for people to use when their hearing aids fail them.

This is an area that Flood is very interested in exploring. It’s well-known that when people lose their hearing and don’t get hearing aids, they’re much more likely to develop conditions like Alzheimer’s due to their isolation from conversations and from integration in society. We believe that by reducing resonance and distortion, we can improve everyone’s relationship with sound.

EDM.com: With the rise of spatial audio and immersive formats like Dolby Atmos, how does Definition fit into the future of music consumption? Does its passive nature limit its adaptability to these technologies, or do you see opportunities to integrate your tech with next-gen audio experiences?

Roberts: We firmly believe that in the future, Definition could be used in harmony with other technologies and that it will become the best way to experience higher-definition music.

Using Definition in a Dolby Atmos room is impressive as sound placement becomes a lot more precise, creating an improved experience both in the studio and in a venue. The patented technology also allows for electronics to be added, enabling the potential for a range of earphones, hearing aids and a range of other devices to improve our relationship with sound.

Flare Audio

EDM.com: Definition claims to let users hear music "as the artist intended." However, artists often create music with specific environments in mind. How do you reconcile this claim with the reality that Definition fundamentally alters the listening experience?

Roberts: For decades, serious compromises have been made to music in the studio so that tracks sound averagely good on average devices. We want to change that so that music production can evolve into greater levels of detail and that compromises don’t have to be made.

A good example of this is a smartphone loudspeaker. Listen to a track on a smartphone played loud wearing Definition, then as the track is played, remove Definition. You will hear that it is not the smartphone that is distorting—it’s your ears. It’s a mad concept to get your head around at first but it’s completely addictive and hypnotizing once you’ve heard it.

EDM.com: Definition seems to be a stepping stone in Flare Audio's broader mission to redefine how we experience sound. What's the next frontier for your team?

Roberts: I love that terminology! It definitely feels like we’re on a mission. Flare was founded back in 2007 to solve the fundamental issues in sound quality. It took just over a decade (and a whole lot of loudspeaker designs) to discover that the fundamental issue was inside of us! Now our focus is to develop a range of products that advance sound quality for everyone.

It’s mad to me that we used to listen to The Prodigy on our speakers as a test track and that now Liam Howlett uses our Flare Studio Master earphones in the studio to produce tracks and scores! I have to pinch myself.

Keep an eye out for our new earphones (currently the Flare Studio range). They feature our unique technology that enables wearers to experience significantly more detail and realism in music.

But aside from that, we’re incredibly excited as to what we’ve got coming. We’re currently working with the Alpine Formula 1 motor racing team to help improve its performance and we’ve got an exciting range of products scheduled for launch in upcoming months. 

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When two producers known for making crowds simultaneously weep and head-bang join forces, you get "Man Down," the new single from Seven Lions and YDG.

Featuring the stentorian vocal stylings of Bella Renee, the collaboration is as emotionally devastating as advertised. Her haunting vocals cut through the mix like broken glass, delivering lines about mirrors and self-reflection with the kind of defiant fragility that suggests she could either save your soul or key your car, depending on her mood.

There's something distinctly post-2020 about this brand of aggression, the way it channels collective exhaustion into dancefloor catharsis. The track's narrative arc follows a familiar trajectory of confrontation and breakdown, but Seven Lions' melodic sensibilities—those trance-inspired arpeggios that have made him the emotional support animal of the electronic music scene—prevent it from becoming pure sonic assault.

Instead, "Man Down" occupies that sweet spot between beautiful and brutal, delivering a festival-ready banger without sacrificing its darker impulses. While deliberately punishing at times, the track's expansive drops strike an uplifting chord with layers of heady bass.

"Had a ton of fun working on this song," Seven Lions wrote on social media. "It's always interesting collabing with new people and bringing different sounds together. YDG and Bella Renee are such a rad team."

"Man Down" is out now via Seven Lions' Ophelia Records. You can listen to the new collaboration below and find it on streaming platforms here.

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