Blog - EDM

As if yesterday's release of a 34-track album wasn't enough, Skrillex has announced a five-hour performance at Colorado's Red Rocks Amphitheatre.

The marathon DJ set follows his first-ever five hour performance at the legendary open-air venue, a scintillating show he called "one of the best nights in my entire 35 years on planet Earth" back on April 29th, 2023. He's now poised to make lightning strike twice on May 13th, returning to Red Rocks after releasing his long-awaited fourth album, F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3.

The set promises another retrospective, unfiltered journey through Skrillex's ageless sound, weaving threads of dubstep, trap, house and other genres he has long bent to his will. He's sculpting a moment, proving once again why he's the Warhol of wubs—whether the graffiti agrees or not.

Skrillex is set to perform from 6:30pm to 11:30pm. Tickets will go on sale Friday, April 4th at 1pm MT and you can register for updates here.

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It started with a simple X post and an RSVP link to Skrillex 5.6 million followers: "If you like my music and you’re in Miami Monday 3/31 RSVP here."

At the top of the form, three words: "FUS W SKRILLEX." Below, a disclaimer—this was a request, not a guarantee. The event was shrouded in mystery, but that didn't stop fans from flooding the link, hoping for a chance to experience whatever Skrillex had in store after Miami Music Week.

If you like my music and you’re in Miami Monday 3/31 RSVP here https://t.co/kayJkZ9anY pic.twitter.com/e9lCSNwnMq

Then, on Sunday night, just one day after his historic return to the storied Ultra Music Festival Mainstage, a select few invitations started to roll in. The details were scarce but intriguing nonetheless: a listening event at Ice Palace, doors closing promptly at 8pm and a strict no-photo, no-video, no-audio recording policy.

By Monday evening, we found ourselves outside the venue alongside roughly 80 diehard fans and fellow industry insiders all eagerly waiting to step foot into what would ultimately unfold as one of the most exclusive and intimate Skrillex experiences in recent memory.

At check-in, our phones were sealed away in plastic bags—no distractions, no documentation, just the music. After stepping inside we were immediately met with a bold visual, a graffiti-scrawled message in bright orange: "F*CK YOU SKRILLEX YOU THINK YOU’RE ANDY WARHOL BUT UR NOT!! <3," a fittingly cryptic welcome sign for an event shrouded in mystery.

Inside, the air was thick with incense and a hazy, smoky glow. A three-tiered platform stood at the center, scattered with oversized beanbags. People settled in, sipping beverages from an iced tea bar as a mellow reggae soundtrack played in the background. The room was palpably buzzing with anticipation.

Once the doors closed, the room fell silent before Skrillex's stunning new album began to play, from start to finish, exactly as it was meant to be heard. Lights and lasers sliced through the haze as the music filled the space. At first, most swayed or nodded along from their beanbags, but as the energy built, it became impossible to stay seated. One by one, people stood up until the entire room was on their feet, moving to the music.

About halfway through, Skrillex appeared, seemingly out of nowhere. The energy in the room spiked and suddenly everyone was dancing around him as the album continued. At this point, it wasn’t just a listening party anymore. It was a moment, a memory and a night that felt like a snapshot of electronic music history. By the final track, "AZASU," Skrillex stood amongst the crowd, taking a moment to thank the artists, creatives and fans who helped bring the album to life.

Once the music wrapped, it was clear that the genre agnostic album was more of a mosaic, a retrospective mixtape stitched together with blog-era producer tags and nostalgic references. The way it was delivered, too, felt like a throwback to a musical era in which Skrillex played an instrumental role.

As the night wrapped up, we walked away with exclusive merch: a t-shirt, poster featuring the album cover and tote bags stamped with, "You’re not supposed to be hearing this right now." And just when it seemed like the experience had come to an end, the email hit our inboxes. Skrillex sent the album directly to his fans via Dropbox, harkening back to the early days of DIY music discovery.

The next day, Skrillex officially released F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3, a sprawling, 34-track album packed with explorative collaborations and groundbreaking bangers that made the intimate first listen feel even more special.

You can listen to the mix below and find F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3 on streaming platforms here.

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Before Karlheinz Brandenburg revolutionized how we store music, he was obsessed with how we perceive it. Now, the engineer who compressed your entire music library into pocket-sized files is expanding sound beyond the confines of physical space.

In the world of audio technology, few figures loom as large as Brandenburg, 70. The German mathematician and computer scientist who helped gift the world MP3—that tiny file format that would eventually upend the entire music industry—is now bending sound waves in even more ambitious ways through his latest venture, Brandenburg Labs.

Its new crown jewel, Okeanos Pro, might look like mere headphones to the uninitiated, but they represent a major leap in spatial audio. Priced at €5,000, a relative bargain compared to the multi-speaker studio setups they're designed to replace, the system is powered by Brandenburg‘s proprietary Deep Dive Audio (DDA) technology to create an illusion so compelling that users forget they're wearing headphones at all.

EDM.com demoed the mind-bending Okeanos Pro system at Austin's illustrious South by Southwest conference, where Brandenburg Labs was a finalist for the 2025 SXSW Innovation Awards in the Audio Experience category. The tech maps your listening space through acoustic calibration and then astoundingly tracks your head's position and rotation in real time, adjusting the sound field accordingly with six degrees of freedom.

For music producers, this means the ability to place sounds with surgical precision in a virtual environment, testing mixes across different speaker configurations without ever leaving their headphones. The system can process up to 16 channels and return immersive binaural audio with latency as low as 10ms, rivaling physical speaker arrays costing multiples more.

Its web-based interface provides a seamless control system and all processing happens on the dedicated hardware, keeping your DAW's CPU meters from having a meltdown. While competitors have attempted similar spatial audio tricks, none have quite yet achieved the Brandenburg Labs team's level of immersion—perhaps unsurprising given the pedigree of its founder.

There's a particular kind of magic in making ears believe what they're hearing—just ask the man who continues to change how the world listens. We caught up with Brandenburg to discuss the future of spatial audio and how his innovative company is influencing it.

Dominique Wollniok/Brandenburg Labs GmbH

EDM.com: The MP3 format revolutionized audio by prioritizing accessibility over absolute fidelity, a trade-off that sparked decades of debate. With Okeanos Pro, you're now pushing the boundaries of spatial audio precision. How do you reconcile your legacy of compression with this new pursuit of uncompressed, high-fidelity immersion?

Karlheinz Brandenburg: While MP3 was a good compromise, I have worked on expanding audio quality for most of my life. AAC as used by Apple, while being even more efficient in compression and using similar basic ideas, satisfies even so-called "golden ears."

25 years ago, I supervised work on Wave Field Synthesis. This enables great immersive audio if you have a room which has dozens of loudspeakers and good acoustics. The problem of achieving a similar experience via headphones had not been solved, until now. Okeanos Pro is the first headphone system that enables a truly realistic and lifelike audio experience.

EDM.com: You've spent your career democratizing audio technology. Do you envision a future where Deep Dive Audio trickles down to consumer-grade headphones, or is this level of precision inherently exclusive to the pro audio niche?

Karlheinz Brandenburg: No, it’s not exclusive to the pro audio niche. Our Deep Dive Audio technology will also be accessible to general consumers. We are developing a headphone system that brings immersive audio into every living room. With Okeanos Home, anyone can have a simulated high-end multi-speaker system via headphones to enjoy music, movies or gaming. We plan to launch these headphones on the market end of 2026.

In the longer run, we envision a headphone technology we call PARty, Personalized Auditory Reality. This will be a game-changer for all of us, doing for our ears what glasses do for our vision. It will enable AI-supported selective noise cancelling and fully adaptive listening to real and virtual sound sources. We estimate that these headphones will be sold in eight-digit numbers, making them accessible and affordable for everyone. Immersive audio is just one feature of these headphones.

EDM.com: The MP3 format fundamentally changed not only how we consume music, but also the music industry's entire business model. Do you see Okeanos Pro's technology having a similar disruptive potential for music production and consumption?

Karlheinz Brandenburg: MP3 freed music from the carrier medium and made it accessible everywhere. The traditional and established distribution channels for music have thus been turned upside down.

Okeanos Pro has disruptive potential in terms of sound quality. It simplifies the production of immersive sound by making traditional and often very expensive speaker setups superfluous. This increases the chance that 3D sound will finally catch on, offering numerous opportunities for the entire entertainment industry. Moreover, spatial audio enables audio augmented reality, which will undoubtedly be a game-changer.

EDM.com: Deep Dive Audio's 6DoF head-tracking and room calibration promise a hyper-realistic loudspeaker simulation, but some engineers argue that binaural audio—no matter how advanced—can never fully replicate the tactile and psychoacoustic experience of physical speakers. What's the one limitation of headphone-based spatial audio that keeps you up at night, and how close do you think Okeanos Pro gets to bridging that gap?

Karlheinz Brandenburg: It is unavoidable that some tactile feedback, like the feeling of low frequencies vibrating the whole body at a live concert, is not reproducible with binaural audio over headphones. Speakers are a great technology to achieve that. However, the true potential of binaural audio lies in the applications which speaker systems can’t easily achieve.

Binaural audio enables us to simulate arbitrary acoustic scenes, which are not limited by any speaker arrangement. Even today, it manages to let people forget they are wearing headphones when set up correctly. The big challenge we're now trying to solve is to make sure this works automatically for everyone and everywhere, with just a pair of headphones and no special knowledge required by the user.

EDM.com: The pro audio market is notoriously conservative and engineers often stick to trusted brands for decades. How do you plan to convince skeptical studio veterans to ditch their monitor setups for a headphone-based system like Okeanos Pro, especially when it challenges decades of ingrained workflow habits?

Karlheinz Brandenburg: All disruptive technologies initially trigger skepticism. Our claim is: "You have to hear it to believe it." And indeed, everyone who tries our system says: "There's never been anything like it."

The biggest advantage of Okeanos Pro is that it allows you to mix multi-channel audio in any studio with unparalleled flexibility, thanks to its independence from physical speakers and room configurations. To communicate this, we exhibit at numerous events, trade fairs or exhibitions worldwide and maintain close contact with music producers.

Initially, our system was just a proof-of-concept—we didn't plan to sell it. However, at trade shows and exhibitions we have been asked several times by audio engineers and producers to release our early-stage technology as a product. This became Okeanos Pro.

Okeanos Pro is a tool that can improve and modernize workflows. Ultimately, engineers will decide how to use it. Veterans with a world-renowned, legendary studio setup and perfected workflow might chose to only supplement their workflow, for instance when working from home or demonstrating the result of their work at a different place. For others, Okeanos Pro may serve as a viable alternative for a full multi-speaker system or even as their only gateway to immersive mixing.

EDM.com: Brandenburg Labs is entering a space where immersive audio formats like Dolby Atmos and Sony 360 Reality Audio are battling for dominance. How does Okeanos Pro position itself in this format war: as a neutral tool agnostic to standards, or as a champion of a specific workflow?

Karlheinz Brandenburg: Okeanos Pro doesn't require or favor any format. Users can configure their virtual speaker system however they prefer, no matter if it is one of the two big names, an emerging format or even a crazy speaker setup that the producer wants to experiment with. Okeanos Pro can simulate it. Even better, Okeanos Pro allows producers to switch between speaker configurations with just a few clicks, offering unmatched flexibility and compatibility.

EDM.com: At €5,000, the system undercuts a full 16-channel speaker setup, but it’s still a significant investment in a crowded headphone market where competitors offer high-end options at lower price points. What's your strategy to justify that premium to cost-conscious producers who might see spatial audio as a "nice-to-have" rather than a must-have?

Karlheinz Brandenburg: Okeanos Pro offers a new approach to mixing via headphones. A key benefit of the system is that it simulates a speaker system inside of the producer's studio, a familiar environment. For many professionals, this is a must-have feature. The prices to compare to are not standard headphones because they can't reproduce immersive audio in the way ours do. The point of comparison is a multichannel loudspeaker system in an acoustically treated room. When we demonstrate our system and talk to potential customers, all the professionals tell us that it is reasonably priced.

At this stage, spatial audio is still an emerging technology. Both producers and customers are still learning the possibilities, limitations and the appeal of the technology, and I am sure the market will keep evolving.

There were also doubts about the introduction of stereo. George Harrison from the Beatles also questioned why two speakers were needed back then. Over time, stereo sound caught on and became the standard. What I'm trying to say is that we're facing a new paradigm shift that will take time for music creators to accept.

The development is also strongly linked to demand. The more 3D audio is used, the more music producers will jump on the bandwagon. Our headphone system can accelerate this process right now. I think the consumer market for spatial audio systems currently doesn’t offer a satisfactory solution for everyone. Bridging this gap will be a key factor in determining whether the current wave of spatial audio continues.

The electronic music community is constantly evolving with new sounds inspired by the scene of yesteryear. EDM.com's weekly Fresh Picks series discovers new music and unearths influential tracks that help define the underground dance scene.

You can find the below tracks on EDM.com's Fresh Picks Playlist. Follow to stay up-to-date and submit tracks for consideration here.

For those who find regular VIP experiences insufficiently exclusive, Miami's Ultra Music Festival offered the opportunity to spend the equivalent of four years at an Ivy League university on beverages consumed in three days.

In what can only be described as the champagne equivalent of a nuclear arsenal, Ultra and TAO Group Hospitality's $425,000 bottle service experience—the aptly named "Fuck You Money" package—proves that some festival-goers prefer their bass drops served with financial devastation.

What does nearly half a million dollars buy at a festival where most attendees are content with $15 beers and good vibes? A champagne armory that would make a crypto bro blush: 200 bottles of Moet & Chandon Nectar Imperial Rosé (the Pharrell Williams Edition, naturally), 100 bottles of Dom Perignon Brut Luminous and 100 Dom Perignon Rosé Luminous. That's 400 bottles of premium champagne—enough to ensure that even the festival's portable toilets will somehow smell vaguely of bergamot and French vineyards.

Ultra returned over the weekend from March 28-30 with sets by Skrillex, Martin Garrix, Zedd, Tiësto, Hardwell and many more of electronic music's biggest names. You can watch their performances here.

Ultra Music Festival 2025 hospitality prices, including $425,000 package

via Mike Majlak pic.twitter.com/HuCQcNzfP0

425,000 for bottle service is wild!

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A package arrived on my doorstep one random Monday. Inside was a handwritten note from Skrillex: "Hope you find some time in your busy life to listen to this album from start to finish. ᥫ᭡ Sonny"

Spoiler alert: I made time. And within just a few minutes of listening, it became clear that this was the sound of an artist who has nothing left to prove—but so much more to say.

Born Sonny Moore, the prodigy who erupted from the MySpace ether has spent over a decade shapeshifting—punk screamer, dubstep deity, pop architect—only to return now with the elusive album his ride-or-die fans could only dream of since the seminal Recess back in 2014. His disciplined Quest for Fire and Don't Get Too Close albums of 2023 were drops of water on a desert tongue, and those fans never stopped aching for the return of that vintage, feral Skrillex growl.

But here it is now—reimagined, reborn and roaring back into our cerebellums. Featuring 34 tracks, the album is his Interstellar, a sprawling, cyclical epic that loops back to his roots while spiraling into the stratosphere. It's Skrillex unchained, a cathartic eruption that finally fulfills his Atlantic Records contract after 15 years and opens the floodgates to a future where his music answers to no one but his own restless genius.

Skrillex in late-2024 revealed his plans to go independent after completing his Atlantic deal by virtue of his next body of work, today's release of F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3. "I've never felt more inspired and in lockstep with my intentions as an artist," he said at the time.

The stakes have never been higher. Few artists wield the kind of influence Skrillex does, and fewer still exit major label deals on their own terms. Going independent means full creative control, and if history has taught us anything, it's that Moore thrives when the rules don't apply.

As he cuts the corporate cord, one truth rings even louder than his ageless dubstep: Skrillex hasn't just come home, but redefined what home can be.

Kelly Knisel/EDM.com

A time capsule finally cracked open, the album features many long-lost tracks that once lived only in online forums and grainy SoundCloud rips, shaping the instincts of today's biggest DJs when they were still kids, wide-eyed and wired to his sound. These unearthed gems now carry with them a sense of both nostalgia and evolution, proving that the music we wait for doesn't just belong to the past, but also to the future it unknowingly built.

But FUS isn't just a trip down memory lane. If it's a museum tour of past glories at times, it's a mad scientist's lab at others, where Skrillex brews up boundary-pushing bangers with reckless creativity.

He tosses convention into a shredder with Virtual Riot on the anarchic "WHILE YOU WERE SLEEPING VIP," producing snarling synths that gnash through a rabid rhythm. Then comes the stunning "RECOVERY," his long-awaited collaboration with fellow music production savant Space Laces, with whom he takes dubstep to the bleeding edge.

That subversive spirit runs roughshod through the album, like in "GULAB XX." Equal parts seduction and destruction, the track finds Naisha's come-hither vocals mutating into a ferocious drop. Skrillex goes even further with his contrarian approach in the sublime "LOOK AT YOU," a haunting cut with Jónsi where distorted textures envelop you like a sensory deprivation tank—claustrophobic yet transcendent.

Kelly Knisel/EDM.com

Amid the pandemonium, we find moments of tortured beauty. "SAY GOODBYE" features a spellbinding lyrical performance from NJOMZA, whose vaporous voice drifts like mist over Skrillex's hypnotic production before fracturing under the weight of a guttural dubstep drop. It's a duality that defines the album—serenity and savagery, woven together with a virtuosic hand.

That duality blooms fully in "VOLTAGE," a mythic beast of a track that fans have chased like a white whale since its early teases back in 2011. Now officially unleashed, it's a reminder that even in his most tender moments, Skrillex is still electronic music's architect of the collision course between clarity and chaos.

It all points to a legacy somehow still in its infancy for Skrillex, who seems to be just warming up, despite already reshaping the sound of a generation. As he severs ties with the label machine, his next chapter feels less like a leap into the unknown and more like a seasoned producer betting on himself after years of navigating the industry's ups and downs in lockstep with a fan base that's stuck with him through every pivot.

To that end, the album isn't some ethereal farewell, but a loud, practical flex of what Skrillex can do when he's calling the shots. Expect more collabs, more risks and a lot more noise, all straight from the source.

You can listen to F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3 below and find the album on streaming platforms here.

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While thunderclouds cracked open above Miami and Ultra Music Festival fell silent due to a flash flooding warning, Kaskade found himself DJing beneath a plastic tarp on the deck of a swaying boat—and made it one of the most unforgettable moments of Miami Music Week.

The multi-Platinum DJ and producer teamed up with Mary Lou's to host a private pop-up party at sea attended by just 150, including members of EDM.com's staff. The intimate event was already one of the week's more sought-after, but it was the ensuing storm that that elevated the affair from exclusive to unforgettable.

As the rain intensified and wind whipped across the deck, crew members and fans quickly threw a tarp over the DJ booth, erecting an impromptu shelter. An unfazed Kaskade leaned into the moment, dropping his 2008 deep house classic "Raining" in a lighthearted nod to the chaos. At one point, he found himself DJing on just one functional CDJ.

The tarp seemingly sagged under the weight of rainwater as fans held it up themselves, transforming the pop-up into a shared memory of what happens when Mother Nature collides with dance music's collective boundless spirit. Somewhere between the thunder and the bassline, the scene turned into folklore.

Watch footage from Kaskade's Sunday boat set below.

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Even in Las Vegas—a city built on spectacle—the demand for Tomorrowland and Insomniac's "UNITY" has exceeded capacity, transforming the event's original three-night debut into the beginning of something bigger.

After a rapid sell-out of its debut dates over Labor Day Weekend, the EDM powerhouses are expanding their collaborative Vegas Sphere event series with six newly announced shows. The immersive "UNITY" experience will now return for encore performances September 19-20, September 26-27 and October 17-18.

"UNITY" marks the first-ever collaboration between Insomniac and Tomorrowland, two of the most influential forces in electronic dance music. The announcement alone sparked a frenzy, with pre-sale tickets evaporating in mere minutes. That momentum has now materialized into three more weekends of shows at the world’s most advanced entertainment venue, which recently hosted its first-ever electronic music residency, Anyma's historic "The End of Genesys."

At its core, "UNITY" is a narrative-driven audiovisual experience. The production fuses iconic visual motifs from Tomorrowland’s dreamlike stages, Planaxis, Adscendo and Orbyz, with Insomniac's whimsical festival properties, including Beyond Wonderland, Escape Halloween and Electric Daisy Carnival. These thematic universes are set to collide by virtue of a cinematic experience inside Sphere, powered by the venue's record-breaking 16K resolution wraparound LED screen. The experience is anchored by an original orchestral-meets-electronic soundtrack that pays tribute to dance music's history.

Presale access for the six new dates opens here on Tuesday, April 1st at 10am PT. The general on-sale begins April 7th.

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In a moment engineered for maximum impact, Subtronics ended his set on Ultra's iconic Mainstage over the weekend by announcing a new album.

Beneath a canopy of lasers and bone-rattling bass, the dubstep superstar unveiled his next project: Fibonacci Part 1: Oblivion, an eight-track EP that marks the first half of an expansive, two-part concept album.

Slated to release April 4th via his own label, Cyclops Recordings, the EP sees Subtronics returning to his signature high-concept world-building. The project leans into the Fibonacci sequence—a naturally occurring mathematical pattern found in everything from seashells to supernovae—as both a blueprint and thematic anchor. 

The first installment leans heavily into his roots and spans eight tracks, a symbolic nod to the number since it appears in the Fibonacci sequence.

"Part 1 of the EP conveys that all of reality, in its complexity and grandeur, originates from nature and the fundamental laws of the universe," Subtronics said in a press release shared with EDM.com. "It emphasizes the Fibonacci sequence and golden ratio as intrinsic patterns that govern nature... not through divine intervention, but through physics."

Fans can now pre-save Fibonacci Part 1: Oblivion here.

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After 15 years of shaking dancefloors and redefining techno with a staggering 25 EPs, Charlotte de Witte is finally ready to release her debut album.

The Belgian DJ and producer today announced the self-titled opus, which is due out November 7th via her own record label, KNTXT. The 11-track album, which de Witte sayd "feels surreal," promises to reflect her evolution, both artistically and emotionally.

"This album is the most personal project I’ve ever worked on," the techno superstar said in a press release. "It's not just a collection of tracks; it’s a reflection of who I am, where I come from, and what continues to drive me: the dancefloor."

"Across 11 tracks, this album tells the story of my journey in music so far," she added. "Every sound, every transition, is intentional. I followed what felt right, what moved me. And that honesty is what makes this album so special to me. It’s raw. It’s real. It’s emotional. It’s who I am."

To whet appetites, de Witte is offering a first taste of the LP with "The Realm," an acid-fueled techno track set to drop on April 10th. The ferocious single has already become a crowd favorite in her DJ sets, including high-profile performances at Tomorrowland Brasil and Lollapalooza's festivals in Argentina and Chile, among others.

Fans can pre-save "The Realm" here.

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