PREMIERE: Damo Cox Delivers Infectious ‘Wub Me’ EP + Interview


Australian DJ, Producer, Audio Engineer, and founder of record label Sorta Kinda Music Damo Cox is a true sonic maven with an unapologetic captivation for all genres of music. Currently residing on the sunny shores of the Gold Coast in Queensland, Damo delivers his tunes straight from the studio to festivals including Splendour in the Grass as well as clubs & bars from Cairns to Sydney.

His music speaks for itself and his latest EP ‘Wub Me’ is yet another gem to add to his toolbelt. It’s a fantastic musical rollercoaster that takes you on a wild journey through the world of house music.

The first track, “Get With Me,” is pure dancefloor magic that offers rumbling bass grooves and seamless sampling that makes this one irresisable. “Deep Wubs,” follows and pans out to be the chill counterpart. It slows things down, giving you a chance to catch your breath and get lost in its mesmerizing melodies. One thing that Damo Cox yet again proves is his ability to create such different yet cohesive tracks.

We had the chance to speak with him about his music and this EP. Enjoy!

Can you share some insights into the inspiration behind the Wub Me EP?

I wrote both at a point when I was going through a tough time with my mental health. It was a bit of a roller coaster! There would be some dark days, and there would be some really good days. I wanted the EP to showcase the light and dark, so ‘Deep Wubs’ has those darker undertones and a deeper vibe, whereas ‘Get With Me’ is on the lighter side, especially with the bouncy bass line.

Around the time I was working on “Get With Me” I came across a video breaking down all the different samples Liam Howlett used in The Prodigy’s album “Jilted Generation” which gave me some ideas to experiment with when I was working on the vocals for the track. I was listening to a fair bit of Paul Karkbrenner which I feel was a bit of an inspiration behind the deeper vibes that came out in “Deep Wubs” and the The XX’s track “The Intro” was what I used to model the sound design for the synth plucks I used in the track.

How would you describe the overall vibe and sound of the tracks on the “Wub Me” EP?

I think the vibe of the EP reflects what I was going through at the time, with the light and dark, I guess you could say. “Get With Me” being the more club focused track, has a fun, bouncy vibe to it. Whereas “Deep Wubs” has that darker, deeper vibe to it.

Were there any specific goals or intentions you had in mind with this release?

I’ve been challenging myself to push my sound into different genres and really let the ideas and creativity flow when I’m producing. So this EP was really about showcasing some of the different sounds I have been creating.

How do you know when a release is ‘done’ and ready for exporting, are there signs you look for or certain feelings you get?

Whenever I talk to other producers, we all say the same thing, that it never really feels “done”! You can drive yourself mad by continually making tweaks and changing different elements in a track. Being an audio engineer as well, I think that makes it even worse at times because the standard has to be very high for me to be happy with it. Giving a track the dancefloor test is usually the best way to know if it is done or not, I think. ‘Get With Me’, for example, I actually hadn’t intended to ever release that track. But every time I drop it in a set, the people on the dance floor love it! So I guess that’s the ultimate way of knowing a track is ready.

What was your creative process like for this release? Was it smooth and quick or perhaps more challenging than expected?

“Deep Wubs” creatively came together pretty smoothly, and I actually held on to the track for a while thinking it wasn’t finished because I felt it needed a vocal to bring it all together, but in the end I ended up bringing the synth forward in the mix and making it the feature of the track.


“Get With Me” was definitely a long process that never seemed to end. I tried and tested it out so many times, and dancefloors love it, but for me, there was always something that felt off. Just before I played at the Initiation NYE 2022/23 Festival, I ended up reworking some of the percussive elements in the track and testing them out in my set at the festival, and when it dropped, the vibe from the crowd was off the chain! So it only took two years, but I was finally happy with the track haha.

Do you prefer being in the studio versus on stage, or you don’t have a preference?

These are two completely different modes for me. I can disappear into the studio for days, totally immersed in a creative headspace, barely making contact with humanity, but in a totally happy place. Being on stage is almost the polar opposite; it’s a shift in gears where it’s all about connection with people through music.

The energies are totally different, but you need that in life, right? Plus, being on stage gives you the opportunity to actually witness how those introverted hours in the studio affect people. It’s hands down the best way to know whether you’ve hit the mark with what you’ve created. Charting and stuff is nice, of course, but the ultimate kick is seeing people vibing with and responding positively to something you’ve created. That’s happiness right there!

What are some industry or cultural changes that stand out from when you started the Damo Cox project until now?

Since I started out, there have been so many changes in the industry. COVID was obviously something that flipped the industry completely on its head, which put a strain on festivals, clubs, and venues in the last few years, especially here in Australia. Despite the downsides, there’s been plenty of positives though. I think it has forced a lot of people to think differently about the way they put on their events and the different spaces in which they are held. Which is cool because I think there is an awesome underground scene building here in Australia that could put us on the map and make Australia a top-notch music destination over the next few years if it continues to grow at the rate that it is.

Another thing that has changed over the years I’ve been in the industry is the rate at which music is consumed and how quickly styles, sounds, and genres become the “current sound” one week and within a few weeks it’s moved on to something else. The industry has always cycled through different genres and sounds, but in the digital age of music and with how closely everyone is connected, it’s crazy how fast it moves now. In a way, it is sad because there is some really amazing music that is getting lost in the noise because of how fast paced it is, on the other hand it is introducing more and more people to different sounds in the electronic music realm.



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Kanye West has wiped his Twitter (X) account clean


Kanye West‘s has wiped his Twitter (X) account clean just days after being re-instated by Elon Musk.

It comes after he was previously banned from the platform three times, the last being on December 2 last year after the rapper tweeted an illustration of a swastika inside a Star of David.

The inflammatory post was one of many West – also known as Ye – tweeted at the time, culminating in Musk confirming that West’s account would be suspended due to violating the platform’s policies “against incitement to violence”.

The rapper previously faced significant backlash after making a series of antisemitic remarks, wearing a “White Lives Matter” T-shirt, and expressing false claims about the death of George Floyd.

Despite his account being re-instated to Twitter earlier this week, West will now not be eligible to monetise his account and advertisements will not appear next to his posts.

His account was reinstated after receiving reassurance that he would not use the platform to share antisemitic or otherwise harmful language.

The rapper has since wiped all his tweets from the account. It is unclear whether he is gearing up to something on Twitter (X) at this stage.

Meanwhile, earlier this week, Twitter users reacted to X’s new tagline and replacement for Tweets by Musk.

Logos of various social media apps including ‘X’ (formerly known as Twitter) are displayed on a phone screen in front of a screen displaying the former logo of ‘Twitter’ (CREDIT Aytug Can Sencar/Anadolu Agency via Getty Images)

The Twitter brand name, and the iconic blue bird logo that was in place for 17 years, is now being retired on the app as phones automatically update.

Tweets, meanwhile, will now be renamed to posts, and retweets will simply be reposts.

The reaction to X’s new tagline comes after video game companies and prominent individuals in the industry took aim at the company’s new name.

Earlier this week, Musk‘s rebrand of Twitter faced another stumbling block as the tech giant was halted while erecting the firm’s new logo on the roof of its headquarters.

According to reports, the firm was asked to pause the building of a new X logo on the roof of its San Francisco HQ on Friday (28 July).

Elsewhere, earlier this month Musk labelled Mark Zuckerburg a “cuck” over the launch of new rival platform Threads.

After it emerged that Twitter were threatening to sue Meta over the launch, Musk also wrote on Twitter: “I propose a literal dick measuring contest.”





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Is Disco Face The Next Daft Punk? TikTok Seems To Think So…


Over the last few decades, the EDM scene has witnessed the rise of enigmatic artists like Marshmello, Zhu, and Daft Punk, who captivate audiences while shrouding their identities. Now, the mysterious figure known as Disco Face is stepping into the spotlight, and the buzz surrounding this anonymous producer and singer-songwriter is hard to ignore.

Debuting on TikTok in mid-2022, Disco Face quickly caught the attention of music lovers with his viral mashups, amassing over 500k followers in just four months. Known for his bright electronic dance music infused with dark, alternative influences, he stands out by using unique samples, often sourced from viral TikTokers who enthusiastically reshare his creations.

The intrigue doesn’t stop there—artists like David Kushner, CeeLo Green, and Angus & Julia Stone have taken notice of Disco Face through his captivating covers of their hit songs, each earning over 10 million views. To add to the mystique, he made a discreet appearance on Comedy Central’s TV show, “Tales From the Trip.”

Disco Face recently released “Daylight,” a stunning cover of David Kushner’s song, marking his first official label release under TH3RD BRAIN records—the team behind artists like Zhu and Emmit Fenn. In this track, he brilliantly intertwines a unique sample from Chrish, whose video garnered nearly 200 million views on TikTok.

As “Daylight” captivates listeners with its dance-worthy spin on David Kushner’s original, Disco Face leaves fans eager for more. The anticipation grows as they wonder about the person beneath the mask. Speculations abound, with some believing this could be a secret project by Bo Burnham, a testament to the enigmatic aura that Disco Face exudes.

With original works on the horizon, Disco Face’s journey is just beginning. As his musical narrative unfolds, we can’t help but wonder—what’s next for this mysterious sensation, and what other surprises will he unveil? One thing is for sure: Disco Face is an artist whose identity may remain in the shadows, but his music shines brightly for the world to embrace.



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"Drunk on the Idea of Having Purpose": Alex Pall on The Chainsmokers' Foray Into Venture Capitalism

Transforming their chart-topping melodies into lucrative investments, The Chainsmokers’ Alex Pall and Drew Taggart are rewriting the script of their career.

Their latest encore is a foray into the high-stakes world of venture capital. Pall and Taggart in 2020 launched Mantis Venture Capital, a fund that invests in early-stage tech startups, with a $35 million infusion from a group of high-profile backers including Mark Cuban.

The firm has since built a robust portfolio and diversified it across healthcare, education, finance and, of course, music, among other industries.

“‘The Chainsmokers are a huge success. You’ve already made it as musicians! Why not leave it at that?’ Sigh,” Pall wrote in a recent LinkedIn post. “Thanks for the compliment? Yes, we could take the easy route, enjoy our success, and ride out the wave, but what’s the #1 thing they teach you about investing? Diversify your portfolio.”

Drew Taggart (L) and Alex Pall (R) of The Chainsmokers.

c/o Press

“Also, we are both full blown workaholics, drunk on the idea of having purpose…” he continues. “Investing offers us a way to capitalize and expand upon our success, not go in a new direction. We’ve never been the types to settle with status quo, not when we’ve got more to offer.”

According to Mantis, the fund has now invested in over 100 companies. Among their more ambitious plays are a $23 million stake in Austin-based fintech company Hearth and a significant contribution to the $55 million Series A round for 3LAU’s Royal.io, a platform where retail investors can purchase the right to earn royalties from music streams. You can read more about why he launched the innovative company in our recent interview feature.

“So, that’s why we’re doing this,” Pall concludes. “We’re carrying the principles of what made us successful as musicians into venture capitalism. Same strategy, different sport.”

Find out more about Mantis and the fund’s portfolio here. 

Follow The Chainsmokers:

Facebook: facebook.com/thechainsmokers
Twitter: twitter.com/TheChainsmokers
Instagram: instagram.com/thechainsmokers
Spotify: spoti.fi/3h6a9ay





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Killer Mike announces intimate London show


Killer Mike has announced an intimate London live show – find all the details below.

  • READ MORE: Run the Jewels – ‘Run the Jewels 4’ review: a modern protest classic and their best work yet

The Run The Jewels rapper is due to take to the stage at the 600-capacity Lafayette venue in King’s Cross this Halloween (Tuesday, October 31). It’ll mark his first solo UK date in 11 years.

Mike, who is currently midway through a US headline tour, will be joined on the night by support acts The Midnight Revival choir and Trackstar The DJ.

Tickets go on general sale at 10am BST this Friday (August 4) – you’ll be able to purchase yours here.

“Taking the church to the UK,” Mike wrote in an announcement tweet alongside the official gig poster – check it out below.

This summer saw the artist release his sixth solo album ‘Michael’, which followed on from 2012’s ‘R.A.P. Music’. The record includes collaborations with Mike’s RTJ bandmate El-P, as well as the likes of André 3000, Future and Ty Dolla $ign.

Run The Jewels, meanwhile, dropped their latest full-length project ‘RTJ4’ back in 2020. It was crowned NME‘s album of the year that December, and hailed as “an instant rap classic”.

Next month, the duo will embark on a series of residencies in the US to celebrate the 10th anniversary of their self-titled debut album.

Killer Mike revealed last year that Run the Jewels had begun work on their next record. “I say this with a smile and a wink – me and El-P were in the studio together,” he said at the time.

“We may have messed around and started ‘Run The Jewels 5’. So we’ll see what happens.”





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New Artist Spotlight: Antman Ant’s New Album Will ‘Resonate’ With EDM and Ambient Fans Alike


Antman Ant is, by his own admission, nothing if not an OG raver so it’s not really fair to call him a “new artist.” He has, however, been sort of hiding his huge talent from the wider EDM world, so he’s new to us. Producing since well before the current generation of EDM fans were even born, his work is less about any sort of throwback style than a consistent evolution that’s moved in time with that of dance music at large. This means he can, and often does, draw on nearly 30 years of dance, sound design and groove to make his music. His latest releases, April’s heady, ambient-laced deep house album Resonate and the just-released singles, the ethereal and ambient “Weightless” and the deep disco bop called “Breathe It In” certainly prove that point.

Happy to be in the underground for many years, splicing together vintage electro and modern bass house for the fun of it seemed to be Antman Ant’s bag until the pandemic hit. As with many creatives, the Sussex, UK native found himself with more time he ever dared dream and the need to create both for himself and for the entertainment-starved public. He got to work releasing and has amassed a huge discography since 2020: seven full albums and a string of interstitial and teaser tracks in between. It appears Antman had been sitting on a veritable treasure trove of tunes the like of which the house and ambient worlds have never seen in such a short period. He quickly became a deep house playlist favorite on Spotify and is gaining traction on Beatport, with some of his singles being picked up by Dark City Music.

The scale of music Ant’s been able to release in just under three years is impressive, sure, but it’s the quality of the work that pushes him into gobstopping territory. Each track is a rich, complete composition drawing from every style and genre imaginable and harnessing to the artist’s own unique and emotive style, each album takes the listener on a journey through emotion more than music. This isn’t your usual club house, though it’s often fresh and very danceable.

It’s impossible to go through Ant’s massive catalog in the space of a short article so we’ll be focusing on the most recent releases, but suffice it to say if you want beautiful beach music that incorporates all the best parts of house, ambient, progressive and trance, look no further than his Spotify page. Now, to highlight a few key points from Resonate: this album opens with a beatless intro track that really sets the tone for the rest of the album. Ant’s not one to rest on his laurels with any particular genre, and “100 Years Asleep” is certainly a nod to that. With a haunting piano melody grounding this track rather than a discernable drum or bassline, Ant also showcases his experimental side in the ambient sound design. What a side it is, as well, as a perfectly pitched sine wave synth is pushed through the beginning of the track, along with other sound samples that sort of make the track feel like we’re listening to the soundtrack of the world turning. It’s both relaxing and a promise of the work to come.

From beatless to “Progressive Beats,” Resonate proceeds to take listeners on a temporal journey through ambient rave with everything from the afore-mentioned progressive beats to deep bass rumbles to celestial, Goa-style melodies. There’s always a mix of old school and modern, and Ant employs the vintage elements in a number of different ways: sometimes it’s a sample, others it’s the equipment he uses. It’s so varied yet well-constructed, “Resonate” it’s almost like a perfectly constructed DJ set paying homage to all the eras of rave, but it’s all written and produced by one artist.

While they’re certainly as good as the album, upon listening to Ant’s recent tracks post-Resonate, “Weightless” and “Breathe It In,” it’s instantly clear why he didn’t include them. They both have a totally different vibe to the album. With a definite celestial and 90s Enya-inspired instrumental track, there’s a levity to “Weightless” (hence the name) that is removed from the deep vibes of the Resonate tracks. “Breathe It In,” just released in late July, however, is full of electro and big room sounds while also being rooted in Ant’s signature vintage synth style. “Breathe It In” is easily the most ravey, dancefloor track of the 2023 releases, and it will likely play well at festivals as the summer season draws to a close.

That’s likely Antman Ant’s ultimate goal: reviving the dancefloor in his own unique way, bringing the history of rave to this point in its near 40-year history in a way that modern crowds can not only appreciate it but love where we’ve come from and where we’re going. Now with real momentum and an unmistakable talent, here’s hoping Antman Ant’s work continues to Resonate with ravers for another 40 years and beyond.

Check out “Breathe It In,” “Weightless” and the rest of Antman Ant’s mindblowing discography on Spotify and rave on.



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Breaking Barriers: Nostalgix and EVAN GIIA's Defiant Collaboration on "LIMIT"

Success doesn’t happen by accident.

Nostalgix and EVAN GIIA resonate with this idea all too well. In late June, the pair collaborated for the first time and unveiled “LIMIT,” which encourages us to fearlessly go after our dreams. With its raw power and compelling message, the track draws inspiration straight from their go-getter mindsets.

While GIIA recently embarked on a path of newfound independence after parting ways with a label, Nostalgix faced her own trials and tribulations during a challenging season of self-management. Both artists had undergone a period of self-discovery, forging a strong connection with their authentic voices and inner power.

“The day that I met with Gix we were just talking about that feeling of owning my art and my voice and the freedom that comes along with it, and how powerful I felt,” GIIA tells EDM.com. “It kind of quickly shaped into the lyrics of this song.”

The personal meaning of “LIMIT”

At this critical juncture of their music careers, both Nostalgix and GIIA have arrived at a profound sense of creative liberation. Having grasped the essence of owning their art, they are now resolute in charting their own path.

Unshackled from external influences, they have embraced the conviction to follow their hearts’ desires, undeterred by the opinions of others. 

“I just had so many people telling me what I should do, who I should be, what I should be doing with my music,” Nostalgix said. “I’m just gonna do what feels right and I’m just gonna keep moving towards what I want. I’m gonna create my own path and I don’t need to listen to anybody else.”

Nostalgix.

XKYLAR

The journey towards unshakable confidence was not always paved with ease—it was something that had to be learned. Nostalgix recalls her early days as a DJ, when she felt shy and reserved while performing. Through consistently putting herself out there and confronting her fears head-on, she gradually emerged as a performer brimming with confidence both on and off the stage.

Similarly, GIIA’s singing career was not without its roadblocks. Hailing from a small town, she was always recognized as a great singer. She decided to enroll at Berkeley School of Music and after being surrounded by a multitude of exceptionally gifted singers, her confidence faltered.

For four years, she stopped singing altogether and instead majored in music business. Two years after graduating, her resilient attitude and strong support system breathed life back into her passion. Armed with newfound courage, she rekindled her love for singing and songwriting.

“I was so nervous,” GIIA’ recalls. “And then 40 bad songs later I was just like, okay maybe I can do this.”

Navigating self-confidence struggles

With such a demanding job, nurturing a self-care routine is paramount to ensure performers remain motivated, grounded and in good health. Both Nostalgix and GIIA have openly expressed their love of fitness, recognizing its transformative impact on their lives. Dedication to fitness serves as an anchor, keeping their spirits high and motivation unflappable.

“When you take that 30 minutes or that hour for yourself that day, you’re proving to yourself in that moment, ‘Yeah, I can do anything I want to,'” Nostalgix says of her fitness routine. “It’s not the easiest thing but I’m going to do it for myself. And once you do that, anything else is easy.”

Their journeys serve as a beacon of inspiration, reminding us that success is often achieved through the accumulation of small, determined steps. Each stride they took, every hurdle they overcame and every moment of self-discovery contributed to shaping the artists they are now.

“I can do hard things,” GIIA adds. “I scream that to myself on the treadmill at the worst moments. That really sets the tone for my whole career. It’s like, ‘Okay, rough spot, we’re gonna get through it.’ And it boosts confidence as well.”

EVAN GIIA.

XKYLAR

Moreover, both find solace and rejuvenation in nature. Stepping outside for walks and immersing themselves in the great outdoors offers a respite from the demands of the industry, giving them fresh perspectives and alleviating stress. The harmonious union of fitness and nature cultivates their wellbeing, paving the way for their brilliance to shine through.

When asked for advice to offer those grappling with the pursuit of their dreams, both artists agreed on a valuable insight: direct your attention to the next step, rather than the entirety of the journey. In the face of overwhelming aspirations, focusing on the bigger picture can be daunting and breaking it down into micro-steps paves a clearer and more manageable path.

Embracing these small but decisive strides not only empowers us to keep moving forward, but also fosters inner strength and growth throughout the process.

“Just keep finding different ways to move forward,” Nostalgix said. “Whether that’s a tiny step in one day or if it’s a big step. Don’t be hard on yourself and just know that eventually you’re gonna get there, 100%. Believe it, you will get there. All those little things make you stronger. You’ve got to also think that if you could have everything you ever wanted tomorrow, where’s the fun in that? You have to work towards it.” 

“The cool thing with that is the more you push yourself or you challenge yourself or you break those limits, you notice that you’re capable of doing it, so you can keep doing more in the future,” she continues. “That’s honestly the coolest thing. You have this belief of what you’re able to do.”

Dealing with criticism

Despite their wins, both women remain susceptible to criticism within the cutthroat music industry. Doubters and naysayers have not been scarce, to say the least.

Rather than allowing these voices to deter them, they stay focused and guided by their unwavering belief in their vision. Listening to their intuition and following their creative instincts allows them to stay true to their unique identities.

“That’s probably the most challenging part and section of EVAN GIIA that I’ve ever had,” she explained. “To just maintain the confidence and steadfast belief in your project when other people are like, ‘I don’t know, this might be just a flash in the pan, it doesn’t seem like your numbers are there, where are your stats…’ But no matter what, I’m going to wake up and work towards my goal. It’s who I am, I couldn’t even take it out of me if I tried. I’m grateful for that.” 

Nostalgix (L) and EVAN GIIA (R).

XKYLAR

While they strive to shield themselves from negativity and doubt, they maintain an open-mindedness towards constructive criticism. Embracing a growth mindset, they actively seek to push their boundaries and challenge themselves further. When individuals they admire offer valuable insights, they will consider implementing the suggestions into their endeavors.

“I always want to better what I’m doing in my art, in my personal life. So I will always listen where I see fit. But for the most part I just tune out criticism or hate or people saying that I can’t do something,” Nostalgix explained. “We can do anything we want. We can literally go to the moon if we wanted to. We can literally set our minds to anything and achieve it, so why can’t I do that thing?”

The future of “LIMIT”

Although concrete plans for new music together are not on the immediate horizon, both artists are eager to unite onstage and deliver a live performance of “LIMIT.” Having already played the song in their individual sets, they have witnessed firsthand the positive response it has garnered from their audiences.

“I play it in my sets and people just go crazy,” GIIA gushes. “It’s the classic people on the rail just give a bass face right away which to me is the highest compliment you could ever get.”

With a shared commitment to delivering an unforgettable experience, their live performance of “LIMIT” promises to be an exhilarating celebration of their boundless potential. In the meantime, fans can stream the song here.

Follow Nostalgix:

Facebook: facebook.com/nostalgixmusic
Twitter: twitter.com/nostalgixmusic
Instagram: instagram.com/nostalgixmusic
Spotify: spoti.fi/3l98zsw

Follow EVAN GIIA:

Facebook: facebook.com/evangiia
Instagram: instagram.com/evangiia
Twitter: twitter.com/evangiia
Spotify: spoti.fi/2ZxtcHG





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Watch the first teaser for NCT 127’s docu-series ‘The Lost Boys’


NCT 127 will star in their own documentary series called The Lost Boys, set to debut on Disney+ this month.

In a press released June 6, Disney+ announced that the upcoming four-part NCT 127: The Lost Boys will follow the K-pop boyband as they “take time to pause and reflect on their success”.

The nine-member group – made up of Taeil, Johnny, Taeyong, Yuta, Doyoung, Jaehyun, Jungwoo, Mark and Haechan – will open up about their childhoods and feelings about their international success over the course of the series.

Notably, each episode of the docu-series will “focus on two-to-three members of the group as they talk about their past”, alongside never-before-seen interviews and exclusive footage.

The brand-new teaser for NCT 127: The Lost Boys, released August 1, features archival footage of the boyband from their travels over the world, while the group speaking about “still [being] on our journey”.

NCT 127: The Lost Boys is directed by Pak Jayil (2020 short film Georgia), and is created by Cho Youngchul (So Not Worth It) and Yim Pilsung (Persona). The series will debut on August 30 with its first two episodes, with the final two premiering on September 6.

NCT 127 member Taeyong made his solo debut with ‘SHALALA’ in June. The mini-album featured a lead single of the same name, as the song ‘Move Mood Mode’ with Red Velvet main vocalist Wendy.

The K-pop idol was also recently named Spanish luxury fashion house Loewe’s newest global brand ambassador. Speaking about the partnership, Taeyong said: “I’ve been a huge fan of Loewe, not only for the designs, but also for the brand’s philosophy and unique way of communicating.”

Meanwhile, bandmate Doyoung was named Dolce & Gabbana’s newest ambassador. In its announcement, the Italian luxury fashion house noted that Doyoung would be the brand’s ambassador in Korea and Japan.





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Zedd Drops Incredible Remix of John Summit’s “Where You Are”


The wait is finally over, Zedd’s coveted remix of John Summit’s now iconic track “Where You Are” is available now on all platforms. Zedd has used his euphoric remix of John Summit’s iconic track as his intro for all of his new sets, including massive appearances at Ultra Miami and EDC Las Vegas. Utilizing some of Zedd’s tried and true tactics, including the ticking clock, this is a remix that is sure to excite fans of all genres.

Combining Hayla’s timeless vocals with Zedd’s impeccable progressive house melodies, “Where You Are” is sure to dominate any set, whether it’s a Zedd main stage set, or a John Summit after hours. The chord progression along with the dancefloor-ready beat is impeccable. This is a song that has been on repeat, play it at max volume.

Check out Zedd’s official remix of John Summit & Hayla’s “Where You Are” out now on Off the Grid.



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Listen to Grimes' New Single, "I Wanna Be Software"

Showcasing her signature cyberpunk style and love of technology, Grimes has unveiled a new single, “I Wanna Be Software.”

She co-produced the track, off her long-awaited forthcoming Book 1 album, with prolific record producer and longtime Weeknd collaborator Illangelo. The song finds Grimes making heavy use of vocoders in a saccharine, four-on-the-floor beat.

In the midst of the ever-evolving discussions surrounding artificial intelligence, Grimes has emerged as a prominent advocate for its use in the music industry.

In a groundbreaking move, she recently introduced AI software that empowers fellow artists to emulate her voice for a 50% royalty split, even leveraging her innovative GrimesAI-1 Voiceprint tool. She then collaborated with TuneCore to cultivate a new distribution blueprint for the AI-generated music.

Grimes has clarified that the production of “I Wanna Be Software” did not incorporate “This song does not use AI,” she said in a recent tweet. “It is 100% human (and synth).”

Listen to “I Wanna Be Software” on streaming platforms here. 

FOLLOW GRIMES:

Facebook: facebook.com/actuallygrimes
Twitter: twitter.com/Grimezsz
Instagram: instagram.com/grimes
Spotify: spoti.fi/3gO9s6D





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