#electronic-future-bass

#electronic-future-bass

The two-day electronic music event is set to take place September 19-20, 2026, at Randall's Island Park, promising another immersive experience for dance music fans.

The Day Party will feature big-name DJs such as Mark Farina, Shiny Objects, J Boogie, and Collette back to back with DJ Heather, celebrating three decades of future music.

Thaiboy Digital's first album in four years showcases a collaboration with the Swedish production collective Swedm, featuring contributions from Varg2™, Eurohead, and Jamesjamesjames.

Before achieving fame, John Summit was known as John Schuster, a CPA at Ernst and Young, who made music on the side.

The Eski.Sub draws inspiration from the visual language of Brutalist architecture and the cultural atmosphere of UK grime music scene. The project examines the relationship between design, urban context, and emotional listening experiences, positioning the loudspeaker as both an audio device and a spatial object.

Detroit techno, austere and futuristic, grew out of Black/queer culture, sci-fi escapism, and the repetitive language of automobile factories. San Francisco's techno, on the other hand, fused an outdoor hippie aesthetic with ecstatic, UK-derived beats that had crowds mass-hallucinating UFOs on Ocean Beach at dawn. Both shared a deep funkiness, however—remember when people of all shapes and colors once danced wildly?

R&B in the 21st century has been in a constant state of flux, tugged between safe traditionalism and blurry attempts at progression. For the last decade-plus that "progression" has seen R&B music become more indebted to trap records and the moody atmospherics of alternative bands like Radiohead, Coldplay, or My Bloody Valentine.

We started from a very silly place,

This release is about connection. Not in a strategic sense, but in terms of feeling part of a scene rather than orbiting around it. There's a lot of really strong music coming out of Australia right now, especially in the underground, and this felt like the right moment to place something there.

Helicopters, you could say, is a reaction to the lack of action or misaction we have witnessed over the last three years (but in reality, throughout my whole life) in regard to the blatant slaughtering and exploitation of our brothers and sisters around the world. The manipulation, lies, and treachery that the powers that be rain down upon us with absolute impunity.

No matter who Sam Shackleton plays with, you recognize his handiwork immediately: Since he began weaving together North African percussion and dubstep-inspired basslines more than two decades ago, he's developed one of the most distinctive styles in electronic music. He long ago shed virtually all traces of conventional UK bass music, effectively evolving into a genre of one. Dubstep was always a misnomer for his music, which never stepped, but flowed.

Skrillex surprised-dropped his latest EP on Thursday (January 15). The three-song Kora includes contributions from frequent collaborators Varg2™, Siiickbrain, and Whitearmor. It's the produer's second EP in as many months, following November's Hit Me Where It Hurts X. You can listen to the new one and check out its cover art below.

Each stage is designed with a clear purpose, allowing different parts of the electronic spectrum to exist without compromise, from peak-time headline techno to foundational house, from high-pressure intensity to emerging local voices. Together, the stages form a complete ecosystem where every sound has room to exist properly, and the whole site is steeped in the famously high spec production, light and sound that makes this one of Europe's leading events.

Electric Daisy Carnival (EDC) is one of the most iconic electronic dance music festivals in the world, known for its immersive production, neon‑lit stages, carnival attractions, and nonstop performances by top DJs across genres such as house, techno, trance, and dubstep. Organized by Insomniac Events, EDC began in the late 1990s as a warehouse party in Los Angeles and has since grown into a global cultural phenomenon that draws hundreds of thousands of fans each year.

Set inside a standalone 19th-century industrial complex between East Williamsburg and Bushwick, the 3,200 square-foot, 500-capacity club is built around a meticulously crafted high-definition soundsystem that serves as Refuge's literal and figurative beating heart. The system was designed by Bernabeu, who's been building such soundsystems for more than 20 years, most notably at New York clubs including Nowadays and Analog BKNY and the legendary Stereo Montreal. Dimatteo, meanwhile, is a longtime New York promoter and event producer.

OKO DJ's music is best measured not in decibels but in candle watts. Sunlight, one suspects, would reduce it to ashes. Her debut album, As Above, So Below, is a seance of a record, a journey into the darkest corners of the night. The Athens-based musician, aka Marine Tordjemann, is host of an NTS Radio show called Twisted Dream Diary, and As Above, So Below, is similarly steeped in dream logic and surrealistic visions. In its collision of bleak sounds and cosmic mysticism, it often feels like a gothic take on new-age spirituality. It might be the post-post-punk equivalent of a European art-house film shot in grainy black and white, framing monologues muttered in French and Greek in dramatically austere trappings. It's a mood piece par excellence.

Green-House will release new album Hinterlands on March 20. The Los Angeles duo of Olive Ardizoni and Michael Flanagan has left their longtime home of Leaving to sign with Ghostly for the follow-up to A Host for All Kinds of Life. Listen to a new song from the record, "Farewell, Little Island," below, and scroll down for the album art.