21:I[451931,["/_next/static/immutable/chunks/0x-9rc1bm-510.js","/_next/static/immutable/chunks/3c3f-22xoml17.js","/_next/static/immutable/chunks/2aysqd7pxmaii.js","/_next/static/immutable/chunks/1j9utsav0l80_.js","/_next/static/immutable/chunks/3p36ch-aq9oz_.js","/_next/static/immutable/chunks/1b31y0tag41wn.js","/_next/static/immutable/chunks/3mh4qchssoisj.js","/_next/static/immutable/chunks/10twbbsv8xpvy.js","/_next/static/immutable/chunks/26s8ya5u9xp77.js","/_next/static/immutable/chunks/39z3hzjh8n_9z.js","/_next/static/immutable/chunks/35fhpglf18mmk.js","/_next/static/immutable/chunks/0gov5fiwykus9.js","/_next/static/immutable/chunks/2yh-rx77963rh.js"],"default"] 22:I[951898,["/_next/static/immutable/chunks/0x-9rc1bm-510.js","/_next/static/immutable/chunks/3c3f-22xoml17.js","/_next/static/immutable/chunks/2aysqd7pxmaii.js","/_next/static/immutable/chunks/1j9utsav0l80_.js","/_next/static/immutable/chunks/3p36ch-aq9oz_.js","/_next/static/immutable/chunks/1b31y0tag41wn.js","/_next/static/immutable/chunks/3mh4qchssoisj.js","/_next/static/immutable/chunks/10twbbsv8xpvy.js","/_next/static/immutable/chunks/26s8ya5u9xp77.js","/_next/static/immutable/chunks/39z3hzjh8n_9z.js","/_next/static/immutable/chunks/35fhpglf18mmk.js","/_next/static/immutable/chunks/0gov5fiwykus9.js","/_next/static/immutable/chunks/2yh-rx77963rh.js"],"default"] 23:Tb5f,

The internationally acclaimed Greek DJ and electronic music producer Argy has officially announced the release date and full tracklist for his highly anticipated album ‘NEWORLD II’, marking an exciting new chapter in his career.

Following the success of his previous full-length album New World, released in 2024 and widely regarded as one of the most defining works in the modern melodic techno scene, Argy returns with a new project that promises to push his sonic boundaries even further.

NEWORLD II is set for release on January 30, 2026, and will feature collaborations with some of today’s most compelling names in electronic music. Artists such as Meduza, Omiki, and Son of Son appear on the album, delivering an eclectic blend of groove-driven rhythms, emotive melodies, and powerful club moments. The album consists of 15 tracks in total, showcasing the full spectrum of Argy’s sound and creative vision.

Here's the full tracklist for Argy's new Album "NEWORLD II" :

1. Argy & Omiki – DONA
2. Argy – Control
3. Argy & Omiki – Wind
4. Argy & TNY – Running
5. Argy & Ekko – Into The Deep
6. Argy & John Cala – Boom
7. Argy & Ovadia & Osher – Feel Alive
8. Argy & Adam Sellouk – Rage
9. Argy & Joshlane – Papito
10. Argy & Eli & Dani & Peki & Osher – Chasing Highs
11. Argy & PollyAnna & Meduza – Melodia
12. Argy & Solance – Alto
13. Argy & TNY – Duro
14. Argy & Omiki & Son of Son – Ritmo
15. Argy – Aria (Omiki Remix)

Fans can now pre-save NEWORLD II across all major streaming platforms, ensuring instant access the moment the album goes live. With Argy continuing to solidify his reputation as one of the most forward-thinking producers in contemporary electronic music, NEWORLD II is expected to stand out as one of the most notable album releases of 2026 for fans of the genre.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

24:T1170,

Ο διεθνώς καταξιωμένος Έλληνας DJ και παραγωγός ηλεκτρονικής μουσικής Argy ανακοίνωσε επίσημα την ημερομηνία κυκλοφορίας και το πλήρες tracklist του πολυαναμενόμενου άλμπουμ του ‘NEWORLD II’, σηματοδοτώντας ένα νέο, συναρπαστικό κεφάλαιο στην καριέρα του.

Μετά την επιτυχία του προηγούμενου full-length άλμπουμ του New World, που κυκλοφόρησε το 2024 και θεωρείται ένα από τα πιο καθοριστικά έργα της σύγχρονης melodic techno σκηνής, ο Argy επιστρέφει με ένα νέο project που υπόσχεται να διευρύνει ακόμη περισσότερο τα ηχητικά του όρια.

Το NEWORLD II έχει προγραμματιστεί να κυκλοφορήσει στις 30 Ιανουαρίου 2026 και θα περιλαμβάνει συνεργασίες με μερικά από τα πιο ενδιαφέροντα ονόματα της σύγχρονης ηλεκτρονικής μουσικής σκηνής. Καλλιτέχνες όπως οι Meduza, Omiki και Son of Son συμμετέχουν στο άλμπουμ, προσφέροντας ένα εκλεκτικό μείγμα από groove-driven ρυθμούς, συναισθηματικές μελωδίες και δυναμικές club στιγμές.

Το άλμπουμ αποτελείται συνολικά από 15 κομμάτια, παρουσιάζοντας όλο το φάσμα του ήχου και της δημιουργικής ταυτότητας του Argy.

Ακολουθεί το πλήρες tracklist του νέου άλμπουμ του Argy, “NEWORLD II” :

1. Argy & Omiki – DONA
2. Argy – Control
3. Argy & Omiki – Wind
4. Argy & TNY – Running
5. Argy & Ekko – Into The Deep
6. Argy & John Cala – Boom
7. Argy & Ovadia & Osher – Feel Alive
8. Argy & Adam Sellouk – Rage
9. Argy & Joshlane – Papito
10. Argy & Eli & Dani & Peki & Osher – Chasing Highs
11. Argy & PollyAnna & Meduza – Melodia
12. Argy & Solance – Alto
13. Argy & TNY – Duro
14. Argy & Omiki & Son of Son – Ritmo
15. Argy – Aria (Omiki Remix)

Οι fans μπορούν πλέον να κάνουν pre-save το NEWORLD II σε όλες τις μεγάλες πλατφόρμες streaming, εξασφαλίζοντας άμεση πρόσβαση στο άλμπουμ από τη στιγμή που θα γίνει διαθέσιμο. Καθώς ο Argy συνεχίζει να εδραιώνει τη φήμη του ως ένας από τους πιο πρωτοποριακούς παραγωγούς της σύγχρονης ηλεκτρονικής μουσικής σκηνής, το NEWORLD II αναμένεται να ξεχωρίσει ως μία από τις σημαντικότερες κυκλοφορίες άλμπουμ του 2026 για τους φίλους του είδους.

Μείνετε συνδεδεμένοι με το dancetoday — ακολουθήστε μας στα social media για τις σημαντικότερες ιστορίες, insights και νέα που διαμορφώνουν τον κόσμο της ηλεκτρονικής dance μουσικής.

25:T2836,

With major international headliners and prominent artist names like Paul Kalkbrenner, Argy, Adriatique, Ben Klock, Maceo Plex and Indira Paganotto among this year’s bookings, Reworks has plenty to attract anyone planning a few days in Thessaloniki. But its ⁠completed programme, announced on 8 September, also gives us good reasons to look beyond the most immediately recognisable names. From the opening hours of its afternoon events to the final stretches of its club sessions, Greek artists have been placed throughout the five-day programme, proving that Reworks continues a relationship with the city’s electronic music community that ⁠began in 2005. And this year is another chance to hear just how varied those artists - and the scene they come from - really are.

19 Artists, Many Directions

The festival’s announcement highlights 19 Greek or Greece-based acts: ISON, Momery, Athineos, Agape, VaJohn, Myrophora, Penny Morado, Modal Cat, Pinelopi, Cnthia, Decø, Thravsma, Nases Morur, Low F Signal, Vertical Slope, Bellas, MayDay, Kiki Botonaki and Dest.

Their presence stretches across different venues, stages and moments of the festival rather than being limited to a single local showcase. More importantly, these names do not represent one uniform “Greek sound”. House, melodic electronics, dub techno, acid, breaks and the deeper or more forceful ends of techno all have a place within the programme.

Inside the Greek Lineup

ISON connects much of that history. A founding member of NON and one of the people behind Reworks, he has helped develop the environment in which many of these encounters take place. Behind the decks, his references stretch across house, techno and Detroit, giving his sets a range that is difficult to reduce to one genre. His Saturday-night appearance in BLOCK33’s Warehouse, directly before Modeselektor, is worth catching for that breadth alone.

Momery offer another perspective on the relationship between Thessaloniki and the wider electronic circuit. The duo’s melodic techno has travelled through releases such as “Ophelia,” selected by Mind Against for the first release on HABITAT. It is a useful introduction to their balance of atmosphere, melody and dancefloor tension. On Friday, they appear at LABattoir’s Atrium directly before Adriatique, making their set a natural choice for listeners already drawn to that side of the programme.

There is reason to arrive before them, too. Myrophora opens the Atrium with a musical vocabulary that moves through progressive and melodic house, techno influences and occasional pop references. Her set gives the afternoon a more open starting point before Momery and Adriatique gradually take it elsewhere. Rather than treating the earlier slot as waiting time, the sequence works better when experienced from the beginning.

The programme becomes particularly interesting when artists with different instincts share the booth. Agape’s background in DIY parties informs selections moving between acid, house, electro and indie dance. VaJohn brings techno and breaks influences, alongside experience rooted in Thessaloniki’s Roxy Club. Their joint Friday-night appearance at BLOCK33’s Club offers a chance to hear where those approaches meet.

Local club experience also runs through Saturday’s pairing of Pinelopi and Penny Morado. Pinelopi’s approach centres on hypnotic progression and controlled intensity, while Penny Morado’s rolling techno retains a strong interest in groove, informed by earlier listening across soul, hip-hop and funk. Their 17:30–19:15 set at the Atrium gives them enough time to establish a direction together. If the later techno names are already part of your plans, this pairing deserves to be part of the afternoon as well.

Elsewhere, Thravsma and Nases Morur bring their shared connection to Ergotherapy to LABattoir’s Air stage. Both work with techno built through atmosphere, repetition and gradually developing tension, while Thravsma’s move to Berlin adds another thread between the Greek underground and scenes beyond it. Later, the ALEMAO connection appears through Decø and Cnthia, whose acid, trance and groove-led techno influences take over BLOCK33’s Club after Anetha. Their closing placement is a useful reminder that discovering local artists can sometimes mean staying until the final set, not only arriving early.

For a fuller picture of the artists and info about them, stages and set times across all five days, explore the full list of artist and the official Reworks 2026 programme.

Beyond the Booth

Reworks’ role is not limited to assembling a DJ lineup. Making its Greek debut on Friday, The Talk (AV Show) brings together Heith, Günseli Yalcinkaya and Andrea Belosi in a performance inspired by the Antikythera Mechanism. Combining live music, spoken word and audiovisual design, the project explores the ways technology influences perception and the stories through which we understand reality. Its development with Nuits sonores and Terraforma through TIMES also shows how festivals can participate in creating new work, rather than only presenting it once it is finished.

What Comes After

Being included in a festival of this scale can place an artist in front of new listeners. What follows (new releases, return bookings, collaborations and an audience that stays interested) determines whether that moment develops into something more lasting.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

26:T1ccb,

Some lineups make sense because the artists sound alike. Others work because they bring something different to the same room. Full Circle’s September 19 return belongs to the second category.

WhoMadeWho arrive with more than two decades behind them and a Hybrid DJ Set that sits somewhere between their identity as a band and their understanding of the dancefloor.

Avangart Tabldot arrive from almost the opposite direction: three artists whose story is still being written, and who are currently moving through one of the strongest periods of their career so far.

Put them together at Playground 260, start at 17:00 while Athens is still in daylight, and let the event develop until 23:00. That is where this one starts to become interesting.

WhoMadeWho: A Band That Learned to Speak Club

WhoMadeWho have always been difficult to place neatly into one category. Tomas Høffding, Tomas Barfod and Jeppe Kjellberg came from different musical backgrounds, with electronic music meeting rock, jazz and songwriting inside the same project. Over the years, that combination has allowed the Copenhagen trio to move naturally between concerts, festivals and club-focused electronic sets without feeling like a band simply trying to enter DJ culture.

More than twenty years after forming, they are also far from operating on nostalgia. Their 2026 calendar alone has taken the Hybrid DJ Set through Sónar and a long list of Ibiza dates alongside artists ranging from Carl Cox and Anyma to Vintage Culture, while July brought “ENERGY,” their collaboration with GORDO.

And the word Hybrid matters here. The format combines the freedom and continuous flow of a DJ set with the approach of musicians who have spent their career writing and performing songs. Vocals, melodies and recognizable songwriting remain central to WhoMadeWho, but so does their long relationship with electronic club culture.

Athens knows them well by now, and so does Full Circle. The relationship goes back at least to their 2022 live appearance at the Benaki Museum, while Full Circle brought them back in 2025 for a four-hour set alongside Carlita at Goudi’s Army Park.

September 19 adds another chapter, this time in a different setting.

Avangart Tabldot: Catch Them at This Moment

If you have been following Avangart Tabldot’s sets and releases recently, you probably already understand why their name deserves equal attention on this lineup.

The Istanbul trio have built their catalogue across labels including Innervisions, Siamese, TAU and Ultra, but the last couple of years show something more important than a list of label names: momentum. In 2025 they joined Tripolism for “Groove On” on Ultra and again for “All Hearts Beat”, while their remix work returned them to Innervisions.

In 2026, Avangart Tabldot have continued building around their own community. They are among the people behind Istanbul-based Crib Records, where July brought “I’m Tango,” while just eight days before the Athens show comes “Love.exe", their new release on Exit Strategy.

That matters because this is often one of the best stages at which to catch an artist: established enough to have a clear identity, but still moving quickly enough that their sets don’t feel settled. Their own platform is growing, new music keeps arriving and their catalogue continues to spread across respected corners of the electronic scene. They aren’t simply the other name alongside the more established act on the poster. Their current momentum is one of the reasons this date is so well timed.

Why Playground 260 Fits the Idea

Full Circle has always paid attention to the space around the music. Its history in Athens, from the Benaki Museum to large-scale events at Goudi’s Army Park, reflects an approach where the setting forms part of the event itself.

Now Playground 260 offers a different environment. The wider Peiraios 260 complex is a former furniture factory and a surviving example of 1970s industrial architecture, later established as one of the main homes of the Athens Epidaurus Festival. Large former industrial buildings and sheds give the site a character very different from a conventional club.

And the schedule works with that setting. Doors open at 17:00, with Greek DJs/producers MAARKK and Man With The Speaker, both part of STYX Agency, the agency of Full Circle, handling the first tunes before the main acts. That gives you a good reason to arrive early, support the local artists and watch the music, crowd and space develop naturally as afternoon turns into night.

Why September 19 Is Worth Your Saturday

There is a nice balance to this lineup.

WhoMadeWho bring the catalogue, musicianship and years spent moving between band culture and electronic dancefloors. Avangart Tabldot arrive at a very different point in their story, with new releases, their own growing platform and plenty still ahead of them.

And Full Circle brings both together for six hours at Playground 260, from daylight into night.

There is also something to be said about how accessible the event remains. With the €26.50 first release already sold out, tickets have now moved into the second release at €35... still a very fair entry point for what the evening brings together.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

27:T409,In the years since their inception WhoMadeWho have established themselves as one of the definitive underground bands of their generation. A group whose grasp of emotional depth, heartrending melody and inspired songwriting is exceptional, the Danish outfit is composed of Tomas Høffding, Tomas Barford and Jeppe Kjellberg. They have become renowned for their exemplary back catalogue, consummate professionalism and standout performances all over the globe, from Coachella to Sonar, to Burning Man, producing a plethora of albums, EPs, singles, and remixes on labels like Kompakt, Innervisions, Life & Death, and their own imprint The Moment. With Barfod’s penchant for electronic music poetically juxtaposed with Høffding and Kjellberg’s respective backgrounds in rock and jazz, their music is an electrifying combination of sounds, merging a variety of influences to produce a unique sonic fingerprint that is emotive, irresistible, and immensely satisfying. To check out upcoming tour dates & exclusive merch: whomadewho.co28:T50c6,

Two days left until one of the biggest electronic music weekends of the year takes over Athens.

Two days, two stages and enough musical territory between them to make choosing where to be one of the hardest parts of Zamna x Primer Music Festival 2026.

On September 4 and 5, PRIMER returns to OAKA for a special edition created together with ZAMNA, bringing the Mexican festival brand’s darker, immersive electronic identity into PRIMER’s large-scale Athens format. The Helios Stage operates as the outdoor festival arena, while the Lunar Stage takes the experience indoors and deep into the night, running until 06:00.

The lineup stretches from foundational house and festival EDM to melodic techno, indie dance and psytrance. So rather than attempting to see everything, these are the sets dancetoday believes deserve priority... not simply because of the names on the poster, but because of what each artist represents, what they currently sound like, and how difficult it may be to recreate the same experience another time.

FRIDAY

AFROJACK - Helios Stage

There is a difference between hearing the records that defined an era and hearing them played by one of the people who actually helped create that era. Afrojack belongs firmly in the second category. Nick van de Wall was one of the producers at the centre of electronic music’s explosion into global festival culture during the early 2010s, with a catalogue that helped establish the enormous, highly engineered mainstage sound that dominated that period. PRIMER itself describes him as one of the defining architects of festival-era EDM.

That history alone would make the set significant. But nostalgia is not really the reason to see Afrojack. His sets remain designed around scale: aggressive transitions, sudden changes in energy, enormous low-end and the ability to move between EDM, electro, house and more contemporary festival sounds without losing control of a huge crowd.

At a festival like PRIMER, that skill matters. If Friday’s Helios Stage is where you want the full-scale festival experience, Afrojack is one of its clearest expressions.

ARMAND VAN HELDEN - Helios Stage

If Afrojack represents one important chapter in electronic music history, Armand Van Helden represents something even deeper. Long before “EDM” became an industry category, Van Helden was helping reshape house music. From his 1990s productions and remixes to records such “You Don’t Know Me”, "I Want Your Soul" and his later work as half of Duck Sauce alongside A-Trak, his influence stretches through several generations of dance music. His career has also included two Grammy nominations and performances across institutions ranging from Glastonbury and Coachella to Fabric, DC10, Berghain, Ushuaïa and countless others.

And this is exactly why his PRIMER appearance deserves attention. Artists from this generation are not interchangeable with the current touring circuit. You are seeing someone whose records became part of the vocabulary DJs still use today.

Expect house music with personality rather than excessive ceremony: groove, vocals, classics, left turns and decades of dancefloor knowledge condensed into one set. For anyone interested in where contemporary house culture actually came from, this is not merely another name on the lineup.

MRAK - Lunar Stage

MRAK is Carmine Conte’s individual world outside Tale Of Us. And that distinction matters. As one half of Tale Of Us and a co-founder of Afterlife, Conte has helped shape one of electronic music’s most influential aesthetics of the past decade. MRAK allows him to move away from the duo format and expose a more personal musical identity built around emotion, synthesis, atmosphere and cinematic tension.

Afterlife itself describes MRAK as an extension of Conte’s artistic identity characterised by warmth, emotion and depth. The project has developed through releases such as One, Manifesto and the recent Smoke EP. The most important is that he announced his debut album is coming & will include 33 songs. Primer will got a taste of it!

That makes his Lunar appearance particularly interesting. You know the universe he helped build. This is the opportunity to hear what happens when one of its architects operates alone.

MISS MONIQUE - Lunar Stage

Miss Monique has become one of the most recognisable names in melodic house and techno, but her rise is particularly interesting because it was built as much through DJing as through records. Her long-form streamed sets helped establish an enormous international following before that visibility translated into increasingly major festival bookings and becoming the founder of Siona Records and one of melodic house and techno’s major contemporary forces.

Her strength behind the decks is accessibility without completely abandoning progression. Melody is prominent, but so are momentum and tension. That makes her particularly effective with large crowds: melodic enough to create emotional peaks, driving enough to keep the room moving.

On a Lunar lineup full of darker electronic music, she represents one of Friday’s most immediate crowd connections.

STEPHAN BODZIN Live - Lunar Stage

The important word here is not only “Stephan Bodzin". It is “Live”.

Bodzin occupies a very particular place in melodic techno. His music is instantly recognisable through its synth architecture: expressive lead lines, repetition, harmonic tension and the kind of analogue timbres that can turn surprisingly minimal musical material into something emotionally huge. He has spent decades developing that language, and even describes the sound design surrounding Boavista through the analogue instruments and Moog Sub37 patches that formed the album.

But a Bodzin live show is fundamentally different from simply hearing a DJ play Bodzin records. The performance places his own compositions and machines at the centre of the experience, turning tracks into material that can be manipulated rather than simply reproduced.

Among Friday’s choices, this may therefore be one of the easiest to justify: You can see many DJs. You get considerably fewer opportunities to experience Stephan Bodzin performing his music live.

HI PROFILE - Lunar Stage

There is also a homegrown reason not to overlook Friday’s Lunar Stage.

Athens-born Anastasios Antoniou, better known as Hi Profile, has built one of the most internationally established careers to emerge from Greece’s progressive trance and psytrance scene. His journey has taken him to major electronic music stages including Tomorrowland, Ultra, Airbeat One and Green Valley, while this summer he returned to Tomorrowland 2026 as part of the festival’s Planaxis lineup. In 2019, he was also recognised by UNESCO Greece for his contribution to promoting Greek heritage through electronic music.

Musically, Hi Profile brings something noticeably different to Friday’s Lunar lineup. His sound moves between progressive trance, psytrance and broader electronic influences, combining melodic elements with the faster propulsion and euphoric release associated with trance. Over the years, his music has also received support from artists including Armin van Buuren, Paul Oakenfold, Astrix, Vini Vici and Charlotte de Witte.

And for dancetoday, there is another reason this set belongs on the list. Supporting Greek artists does not mean lowering the bar; in this case, the international career already speaks for itself. Seeing one of Greece’s most established trance exports representing the local scene on a lineup of this scale makes Hi Profile a set worth prioritising.

SATURDAY

AXWELL - Helios Stage

If we had to choose one set across the entire weekend, this would be it! Axwell is dancetoday’s most anticipated performance of PRIMER 2026 edition.

Not simply because he is one third of Swedish House Mafia, or because of the enormous catalogue attached to his career, but because solo Axwell has always been something slightly different.

Axwell is fundamentally a DJ’s DJ.

Underneath the records, awards and Swedish House Mafia mythology sits an exceptional understanding of house music: phrasing, tension, release, vocals, groove and (perhaps most importantly) timing. His Axtone years also became inseparable from an era in which progressive house could simultaneously be emotional, technically sophisticated and enormous.

What makes this appearance even more valuable is scarcity. Swedish House Mafia performances naturally dominate much of the collective’s touring presence, while individual Axwell dates remain comparatively selective. Even the official Swedish House Mafia schedule currently shows only a small number of announced solo Axwell appearances around this period, including Athens, Karachi and Tokyo.

That changes the equation. This is not simply an opportunity to hear Swedish House Mafia records in Athens. It is an opportunity to hear Axwell construct a set as Axwell!

For longtime house listeners, producers and DJs - and for anyone who lived through progressive house’s defining years - this is the set around which we would build Saturday. Do NOT miss it!

INNELLEA B2B MORTEN - Helios Stage

This could be the weekend’s wildcard. On paper, Innellea and MORTEN come from two different ecosystems. MORTEN became synonymous with the Future Rave movement developed alongside David Guetta: enormous festival dynamics, dark synths, rave structures and mainstage pressure. Innellea traditionally arrived from the deeper melodic-techno spectrum, but his recent direction has widened considerably. Following The Belonging and 2025’s Finding Home, his 2026 releases including “Slave to the Hype” and “Bounce Music” point toward a less predictable, increasingly genre-fluid phase.

Put the two together and there is no obvious script. And that is exactly why their B2B is fascinating. The pairing is officially listed for September 5, making it one of the edition’s genuinely unusual collaborations.

Will Innellea pull MORTEN somewhere stranger and deeper? Will MORTEN drag Innellea into full festival-mode aggression? Or will they find a completely different middle ground. We do not know. And that is the point. This has all the ingredients to become one of PRIMER 2026’s most talked-about sets.

MIND AGAINST - Lunar Stage

Few acts understand the relationship between melancholy and club music quite like Mind Against. Alessandro and Federico Fognini have spent years developing a sound where techno propulsion meets deeply emotional synthesis and influences extending into IDM and cinematic electronic music. Alongside their long relationship with Afterlife, they have gradually expanded their own artistic ecosystem through HABITAT Records.

Their sets tend to reward patience. Rather than constantly searching for immediate drops, Mind Against are capable of letting atmosphere accumulate: dark passages, restrained melodies and long transitions eventually becoming much larger emotional releases.

At 02:00 or 03:00 inside Lunar, that approach makes substantially more sense than it does on a sunny afternoon. This is exactly the environment in which Mind Against should be heard.

ADAM TEN - Lunar Stage

Adam Ten represents another side of the current electronic landscape. Less cinematic than Mind Against and considerably more playful, his sets move through indie dance, house, melodic elements, unexpected vocals and elastic grooves. Through Maccabi House and releases across labels including Diynamic, Crosstown Rebels and Hot Creations, he has become closely associated with a new generation of dance music that refuses to sit comfortably inside one genre.

That unpredictability is precisely the attraction. Adam Ten sets can feel less like watching an artist reproduce a predefined aesthetic and more like following a DJ continuously test where the dancefloor is willing to go. For dancers rather than spectators, this is one to circle.

OMIKI - Lunar Stage

Omiki may be one of the most strategically interesting bookings on the entire lineup.

Originally rooted in psytrance, he has increasingly collided that world with the melodic-techno ecosystem. The evidence is already in the music: recent collaborations with Argy include “WIND,” “RITMO” and 2026’s “MANTRA,” while his catalogue continues to move between melodic house & techno and psytrance rather than choosing one side.

That crossover gives his sets a particular weapon. Psytrance can inject a level of speed, propulsion and rhythmic intensity that becomes dramatically different after hours of melodic techno.

And sometime deep into Saturday night (or technically Sunday morning) that may be exactly what Lunar needs.

If You Can Only Choose a Few…

Zamna x Primer 2026 has enough depth that there is no objectively correct route through the weekend. But there are performances whose context makes them harder to replace.

Armand Van Helden for the history.

Stephan Bodzin for the live format.

MRAK for the chance to enter Carmine Conte’s solo universe.

Innellea B2B MORTEN because nobody really knows what that collision will produce.

Omiki for the crossover between psytrance intensity and the melodic-techno world - and for the kind of high-energy late-night set that could completely change the character of Lunar.

And, of course, Axwell because opportunities to experience one of house music’s defining artists operating alone are simply not something we would take for granted.

If there is one piece of advice from dancetoday heading into Zamna x Primer Music Festival 2026, it is this: Don’t only chase the biggest drop. Choose the sets you may not be able to experience the same way again.

And one more thing: don’t overlook the Greek support acts. Kalamo on Friday’s Lunar Stage, and Da Mike and FILIPPOS on Saturday, deserve a proper crowd too. If you can, get there a little earlier, give them your energy and support the local scene instead of showing up only when the biggest names take over.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

29:T4c0,Unquestionably one of South Africa’s brightest talents, Shimza (Ashley Raphala) has risen from Tembisa to become a leading force in global Afro House. A DJ, producer and promoter, he is the visionary behind the iconic One Man Show, launched in 2009 to raise funds for underprivileged children while driving community upliftment. On the world stage, Shimza has performed at some of the most prestigious platforms and festivals including Cercle, Tomorrowland, Burning Man and Ultra Music Festival. His Ibiza footprint is solidified through his residency at Chinois and past performances at Privilege, while his voice has been featured on industry panels at IMS Ibiza and Amsterdam Dance Event (ADE). In 2020, Shimza founded Kunye, a platform dedicated to showcasing African electronic music and connecting it to global audiences. His artistry has earned him nominations for both the South African Music Awards (SAMA) and the Ibiza DJ Awards. His latest single, “Fire Fire,” has taken his sound to new heights, gaining strong international support across clubs and festivals. From Tembisa to Ibiza and the world’s biggest stages, Shimza continues to push boundaries as an artist, curator and cultural leader.2a:T42bc,

“The worst and biggest clown wannabe DJ ”

That was Sven Väth’s reaction under a recent Instagram clip showing Argy behind the decks, swinging his headphone cable during his set. A few days earlier, Väth had also commented “Clowns 🤡!!!” under another post featuring Anyma and several other artists from the current melodic techno circuit. As of today, neither Väth nor Argy has publicly explained that exchange, so everything beyond the comments themselves remains interpretation.

And that distinction matters. It is easy to focus on the insult: it was public, personal, unnecessarily aggressive and did very little to explain what Sven Väth was actually criticising. You can criticise the act without attacking the person.

But once we move past the wording, there is a much more interesting conversation underneath it. Because plenty of people understood immediately what they thought Väth was reacting to: not necessarily Argy himself, but a version of modern DJ culture where the booth has increasingly become a stage, the DJ increasingly becomes the visual centre of the night, and a moment can sometimes seem designed as much for the phone camera as for the people standing in front of the speakers.

Whether that interpretation reflects Väth’s exact intention, we cannot know until he says so. But the argument exists regardless of Sven Väth and it leads somewhere much bigger.

So What Does Underground Actually Mean?

The easy version goes something like this:

Small club = underground. Arena = mainstream.
Unknown DJ = underground. Famous DJ = mainstream.
Independent label = underground. Major production = mainstream.

Except electronic music stopped being that simple a long time ago.

And let's take Argy himself. It is tempting to present this story as an old-school legend attacking a product of the new generation. But Argy has been releasing music for more than two decades. His Unreliable Virgin EP came out on Väth’s own Cocoon Recordings in 2007. Even more interestingly, in a 2015 VICE interview Argy spoke about avoiding gimmicks and distractions in his work, putting the emphasis on music that would last instead.

Of course, that does not prove anything about Argy in 2026, but it simply makes the old-versus-new story much less convenient. And perhaps that is exactly the problem with the word “underground”. We use it as though everybody agrees on what it means.

But do they? Is underground about the number of people listening?

Imagine an artist making uncompromising music for 300 people every weekend. Then the same music reaches 3,000 people. Then 30,000.

At which number does it stop being underground? Is it the first festival headline slot? The first viral clip? The first million streams? The first big booking fee? The first arena?

And if absolutely nothing about the music changes while the audience gets bigger, what exactly changed: the art, or its reach?

Can Success Make You Mainstream?

Commercial success clearly matters. And it would be strange to pretend that an artist operating inside a huge global touring machine exists in exactly the same context as someone running DIY parties for 150 people.

Because scale changes things and money change things. Also, professional teams, agents, sponsors, global festivals and marketing budgets change things. But they still do not tell us everything.

An artist can be globally successful while taking musical risks. On other hand, another artist can play to 100 people while obsessively chasing status, bookings and online attention.

Similarly, a tiny event can be driven by community, but it can also be driven by ego. A giant festival can feel impersonal, but it can also give somebody one of the most meaningful musical experiences of their life.

This is where “underground” starts looking less like a fixed category and more like several different things mixed together.

There is underground as scale: small audiences and limited visibility.

There is underground as infrastructure: independent labels, DIY promoters, alternative spaces and local networks.

There is underground as sound: music outside the dominant commercial language.

And then there is perhaps the most interesting version: underground as culture,
which translates to: community, curiosity, risk, participation, respect for the people making the records, a dancefloor that matters as much as the person behind the decks.

Of course, those things can overlap, but they do not always. Which means an artist could theoretically become mainstream in reach without completely abandoning underground values. And somebody else could look perfectly “underground” while treating the scene purely as a career ladder.

When the DJ Became the Show

There is another reason this debate keeps returning: The role of the DJ has changed.

For much of club culture, the records, the sound system and the dancefloor were the spectacle. The DJ selected and controlled the journey, of course, but did not always need to physically dominate the room.

Today, at the highest commercial level, electronic shows often borrow as much from concert culture as club culture: huge stages, LED walls, cinematic visuals, pyrotechnics, close-up cameras, fashion, choreographed production moments, thousands of phones waiting for the drop.

And artists themselves now have to exist far beyond the booth. They are musicians, performers, content creators and brands at the same time.

Anyma is probably the clearest example of how far this can go. His End of Genesys shows at Sphere turned electronic music into a large-scale audiovisual narrative, combining music, characters, technology and cinematic world-building. Anyma himself has openly described the visual side not as something separate from the music, but as a way of expanding the world around it and bringing his sound to audiences beyond the traditional electronic scene.

And that is important, because it complicates the argument again. Visual spectacle does not automatically mean musical emptiness, and social media does not automatically mean lack of artistic intention. A DJ dancing, performing or understanding how cameras work does not automatically make them less serious about music.

So, the harder question is one of balance: When does performance support the music? And when does the music start becoming background material for the performance? Does swinging a headphone cable actually hurt anybody’s experience?

Probably not by itself... but if DJs increasingly feel they need a recognisable gesture, outfit, breakdown, camera moment or viral clip to remain visible, then something more structural may be happening.

Then, the DJs are no longer simply performing to the dancefloor... they are also performing to the feed.

But Underground Can Become a Brand Too

Before the old-school side gets too comfortable, there is another problem. “Underground” has its own image too: black clothes, dark rooms, no cameras, vinyl, concrete, secret locations, lmited information, serious faces.

Those things may come from genuine culture, but they can also become marketing tools. There is nothing stopping somebody from carefully manufacturing an underground identity in exactly the same way another artist manufactures a superstar identity. Mystery and anti-commercialism can become branding. Even refusing branding can become branding. So authenticity cannot simply be measured by how dark the club is or how little an artist posts on Instagram.

And nostalgia deserves some resistance too. Many DJs now treated as symbols of underground culture became international stars themselves. They toured globally, appeared on major festival lineups, built labels, developed recognisable identities and made successful careers from music.

Of course, success itself cannot be the crime. Otherwise underground culture would have to reject almost anybody who becomes good enough, lucky enough or loved enough to grow beyond it.

But there is also an uncomfortable hypothetical: If Instagram, TikTok and today’s production technology had existed during the formative years of previous generations, would every underground legend have refused them?

We cannot know. And pretending we do is another form of nostalgia.

DVS1: What If We Are Asking the Wrong Question?

And this is where DVS1 becomes particularly relevant. Not because he provides the official definition of underground. Nobody does. But because he has spent years questioning what happens when the individual artist becomes more important than the ecosystem around them. His position is also more nuanced than simply “old school is good, modern culture is bad”.

Back in 2014, DVS1 was already writing about the tension between art and entertainment, phones, self-promotion and the changing behaviour of artists and audiences. But even then, he explicitly acknowledged that the past cannot simply be recreated and that every generation experiences culture differently.

More than a decade later, his criticism has become even more relevant to this particular conversation.

In a 2026 interview, DVS1 argued that young artists now face constant pressure around social-media presence, viral moments and visibility. Importantly, he also acknowledged his own privileged position: he built his career before social media became a requirement and understands that younger artists operate under completely different conditions.

Then comes the line that changes this entire debate: “Music - and art in general - should not be a competition”.

And we should think about that for a second, because the "underground vs mainstream" debate is usually discussed exactly like a competition.

Who is more authentic? Who deserves respect? Who understands the culture? Who sold out? Who stayed real? Who won?

And perhaps that mindset is part of the problem. DVS1’s alternative has consistently been community.

Specificaly, his Support. Organize. Sustain. (S.O.S.) initiative was created around strengthening artistic culture and discussion rather than simply expanding the music “industry”. His Wall of Sound projects physically shift attention away from the DJ and back toward the sound system and the room.

And then there was Aslice. DVS1 founded the platform around a very practical contradiction in electronic music: touring DJs can earn significant money playing records made by producers who receive very little from those performances. Aslice allowed DJs to voluntarily share part of their fee with the producers whose tracks they played. It eventually closed in 2024 after struggling to achieve enough adoption and financial sustainability. But before shutting down, it distributed more than $422,000 from DJs to over 27,000 producers.

But its closure almost makes the example more interesting. Because talking about community is easy, but building an economic system around it is much harder. And that takes us far beyond whether one DJ swings a headphone cable.

So… Who Wins?

Underground or Mainstream? Sven Väth or Argy?

Now the question starts to feel really strange once you zoom out far enough, right? Because maybe there are several different battles happening at once: There is the battle for attention, the battle for bookings, the battle between physical and digital culture, the tension between artistic expression and entertainment, the tension between community and individual ambition, the tension between keeping something culturally rooted and allowing it to grow.

So perhaps the most useful question is not whether underground or mainstream wins.

Instead, ask "what remains when the attention disappears?".

Does the music still matter? Did the night create a real connection between people? Are artists supporting the scenes that gave them somewhere to grow? Are the people making the records valued alongside the people playing them? Does the dancefloor still belong to the dancers, or has it gradually become a background for the DJ? And can somebody become successful without believing that success makes everybody around them a competitor?

So, the most interesting line may sit somewhere between using attention and becoming dependent on it, between building a career and building only a profile, between performing for the crowd and performing for the camera, between growing beyond the underground and forgetting what made it valuable in the first place.

Of course, that line will be different for different people, which is probably why this debate will never completely disappear. But if we need somebody to “win” this debate, we may already be looking at music from the "wrong" perspective, through exactly the competitive lens DVS1 is questioning.

And a scene does not really need a winner. It needs people willing to keep it alive.

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2b:T17d1,

The countdown for one of the most anticipated electronic music events of the summer has officially begun. On Friday, July 3, Argy's NEWORLD will make its long awaited Greek debut at Petra Theater, with the Greek melodic techno star joining forces with ARTBAT for a night that is already generating significant buzz across both the local and international dance music community.

For those who have followed his journey, Argy's rise to the top has been years in the making. Despite becoming one of the most recognizable names in melodic techno over the past few years, Rhodes born producer has been active in electronic music for more than two decades. His career reached a defining turning point with his debut on Afterlife and the release of "Tataki" EP, a track that quickly became a global anthem and introduced Argy to an entirely new audience. Since then various releases & super hits like ''Aria'' & ''Voices In My Head'', on Afterlife, collaborations with the superstar of Melodic Techno Anyma, his reputation has skyrocketed leading to performances on the world's biggest stages & festival such as Tomorrowland & Ultra Miami and establishing him as one of the genre's true superstars.
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NEWORLD itself is far more than just a music project. It is a fully immersive audiovisual concept that combines music, storytelling, cutting edge visuals and large scale production into a single experience. Since its launch, the concept has travelled across the globe, consistently selling out venues while evolving into one of the most talked-about shows in contemporary electronic music. Its latest stop took place in Buenos Aires this past April, where Argy presented NEWORLD in front of more than 15,000 fans, further cementing its position as one of the most recognizable audiovisual experiences in the scene today.

Adding even more weight to the Athens debut is the presence of ARTBAT. The Ukrainian duo continues to rank among the biggest names in electronic music and recently shared the spotlight with Argy during a month long residency at Hï Ibiza throughout May, one of the most prestigious club residencies in the world. Their chemistry behind the decks has become well known to fans, making their reunion at Petra Theater one of the evening's most anticipated moments.

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What makes the Athens edition particularly special, however, is that this version of NEWORLD has been designed specifically for Petra Theater. According to information surrounding the production, the show's iconic "Eye" installation will be integrated directly within the theater itself, creating a setup unlike any previous NEWORLD edition. Organizers are preparing a bespoke production tailored to the venue, promising a visual experience that attendees have not seen before as part of the project.

Although not every aspect of the production has been officially revealed, strong rumors within the electronic music community suggest that the event could also feature a large scale drone show, further elevating the visual dimension of the evening. In addition, the event will operate with a fully cashless payment system through dedicated wristbands, a practice increasingly adopted by major international festivals and dance events.

argy 1.jpg

As for the lineup, the night is expected to begin with Greek producer Frankie LLuc, followed by MĪMĪ x FY, before ARTBAT and Argy take over.

As NEWORLD continues to expand its footprint across the global electronic music landscape, its Athens debut arrives with exceptionally high expectations. Between the unique setting of Petra Theater, a custom built production, the presence of ARTBAT, and Argy returning home with the most ambitious project of his career, all signs point to July 3 becoming one of the standout electronic music events of the year in Greece.

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2c:T1e57,

Armin van Buuren spent five hours in a makeup chair last weekend preparing to become someone else for one night.

He eventually walked onto Dutch television in heels and a wig as “Daisy Belle”, the Mystery Queen on RTL4’s Make Up Your Mind. The show turns well known Dutch personalities into drag queens and challenges a panel of celebrities to figure out who is hiding underneath the makeup.

Nobody guessed Armin.

When Daisy Belle was finally revealed to be one of trance music’s biggest names, the studio responded with a standing ovation. Fred van Leer, who has been part of the Dutch drag scene for years, said he was genuinely surprised that someone with Armin’s profile had agreed to take part.

But Armin didn’t seem interested in treating the whole thing as a joke or a publicity stunt.

Before the episode aired, he recorded a message explaining why he wanted to do it. “I want to make a statement and invite everybody to party worldwide, but be who you want to be. Feel free, feel safe, and look after each other.”

He later shared a similar message on Instagram, saying the appearance was about more than dressing up and surprising people. For him, it was about supporting the idea that everyone should be able to feel safe being themselves.

Speaking to RTL Boulevard after the show, Armin was just as direct about drag itself: “It’s simply art.”

He also connected the appearance to something much closer to home for him: the dancefloor.

Armin wants people coming to A State of Trance and his shows to feel like they belong there. He also acknowledged something that often gets forgotten when dance music becomes a giant commercial industry: LGBTQ+ people have been part of its history from the beginning.

Of course, not everyone liked the message.

Armin said the reaction was mostly positive, but he also saw plenty of negative comments, many of them coming from outside the Netherlands. He knew that was going to happen.

“You’re kind of asking for that,” he said

But he didn’t seem particularly bothered by the idea that he had invited criticism by doing it. What stood out to him more was how much discussion and negativity around drag and the LGBTQ+ community has grown in recent years.

And honestly, that is probably the part worth paying attention to.

Because dance music has been having this conversation for decades.

Peace, Love, Unity, Respect.

The phrase has become so common in electronic music that it can sometimes feel almost meaningless. It appears on festival merch, Instagram captions and motivational posts. But PLUR didn't start as a cute slogan for festival culture.

It came out of underground club and rave scenes in cities like Chicago and New York during the late 1980s and early 1990s. Those scenes were heavily shaped by Black, Latino and LGBTQ+ communities, particularly in house music.

For many of the people who created and protected those spaces, being able to dance without being judged was not some abstract idea. It mattered.

People went to these clubs because they could be themselves.

That history is easy to lose when you only experience dance music through huge festivals, superstar DJs and social media. The culture can look very different from where it started.

That is why Armin’s appearance feels interesting.

Trance isn’t really the genre most people associate with drag culture or queer nightlife. Its mainstream crowd is usually seen as a much more conventional festival audience, with people coming together for the music without much connection to the underground club culture where a lot of electronic music began.

Armin putting on a wig and heels isn't going to change the history of trance overnight. But it does put a spotlight on something that the scene sometimes forgets.

The freedom to be yourself on a dancefloor didn't come from nowhere.

The negative comments underneath Armin’s reveal are interesting for another reason.

They show that the idea of an inclusive dancefloor isn't as universally accepted as the word “PLUR” might suggest.

There is a strange contradiction in electronic music. We talk constantly about community, freedom and acceptance, while some people still seem uncomfortable when that acceptance includes LGBTQ+ people, drag performers or anyone who doesn't fit a traditional idea of gender.

Armin clearly knew there would be criticism.

He did it anyway.

And that probably matters more than the fact that he looked good in heels or managed to fool the panel.

For an artist who has spent more than two decades at the very top of trance, this was a fairly simple way of saying where he stands.

Everyone should be able to come to a dancefloor and feel safe.

Everyone should be able to be themselves.

And maybe most importantly, the values that dance music loves to talk about only mean something if we actually stand behind them when it's inconvenient.

The antiPLUR comments underneath his reveal aren’t some fringe glitch in an otherwise settled conversation. They’re a live argument about who gets to claim the floor.

Van Buuren clearly understood that going in. He said so out loud, and he did it anyway.

That’s not a small gesture from someone whose brand has been built for more than two decades on being reliably crowd pleasing. It’s one of the genre’s biggest names deciding that PLUR isn’t just a value dance music inherited. It’s something the scene has to keep re-earning.

Sometimes that means doing it on camera, in heels, in front of people who would rather you didn’t.

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2d:T641,This is a man driven by an unbridled and relentless passion for music. Armin van Buuren is a born perfectionist, striving to stay on top of the scene he’s helped build. As the flag-bearer of the trance movement, he’s one of the most influential figures in EDM worldwide. Even though he lives an extraordinary life as one of the world’s most popular DJs, he has always remained a down-to-earth guy. Armin van Buuren is constantly on the move, whether creating music in his studio or en route to his next high-end club or festival show around the globe. Armin: “It’s not just love for music, it’s my passion. It goes beyond liking, and beyond a hobby. It’s about a way of living. Music is essential to my life.” For more than twenty years, the Grammy-nominated Dutchman has been living to the rhythm of his own international success. His five-time number one position in the critically acclaimed DJ Mag Top 100 DJs poll has been the result of his loyalty to fans, his creativity in the studio, the perseverance with which he hosts his weekly radio show ‘A State of Trance’, and the energy he brings to the crowds in front of him. Despite the heavy pressure that comes with being one of the world’s most popular DJs, Armin has always kept his focus on the music. And that’s exactly what keeps him going. Van Buuren has received multiple accolades throughout his career. He has been ranked the number one DJ by DJ Mag five times, including four consecutive years. He was placed fifth in the DJ Mag Top 100 DJs list in 2022, fourth in 2015, 2016, 2019 and 2020, and third in 2017.2e:T2c93,

For over a decade, Thomas Bangalter hid behind a helmet. As one half of Daft Punk, the French electronic duo that rewrote the rules of dance music, he spent years performing as a robot, a character, a myth, a deliberate piece of fiction. Now, three years after the split, the man has re-emerged. And he's making one thing very clear: the robots are retired for good.

In a candid interview with The Times in June 2026, Bangalter was asked directly whether he and co-founder Guy-Manuel de Homem-Christo would ever reunite. His answer was a single, unhesitating word: "No."

He elaborated with a sense of peace rather than bitterness. "I'm really happy that throughout our long run we were able to not screw it up. There are other things to explore. The history of music is made of fruitful partnerships and they usually last way shorter than the 28 year run that we had. It was great, but staying in character and not spoiling it became very difficult."

On the nature of Daft Punk itself, he was equally reflective: "It was almost performance art where you create these characters and blur the line between fiction and reality. I was one of the robots, but now I'm just a human without any superpowers." As for Guy-Manuel, Because Music founder Emmanuel de Buretel confirmed on French radio in late 2025 that his former partner is quietly working on a solo album, though no details have emerged since.

Bangalter's reemergence has been anything but a traditional comeback. It started in 2025 with a surprise DJ set at the closing of Paris's Centre Pompidou, his first in 16 years which set off a global buzz. "I think I was trying to come back as a human being in the simplest possible way, without making a spectacle of it," he told Rolling Stone.

In February 2026, he joined Fred Again for a back to back set at London's Alexandra Palace, his first UK appearance in 19 years. "They were going crazy at 7:30PM, only in the United Kingdom!" he said. Then in June, New York's The Lot Radio streamed a surprise 75 minute set featuring Aphex Twin, Burial, Boards of Canada and more. No helmet. No theatre. Just music.

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At the centre of Bangalter's new chapter is Mirage Ballet for 16 Dancers, released on 5th June 2026 via Erato/Warner Classics. The album is the score for a 60-minute contemporary ballet conceived with Belgian choreographer Damien Jalet and Japanese visual artist Kōhei Nawa, which premiered in Geneva in May 2025 and has since toured Europe to critical acclaim.

Eight tracks of electronic minimalism, it has nothing to do with dancefloors. Bangalter shaped the music over thousands of hours on a graphics tablet, treating sound as physical material to be sculpted. What he describes as finding "the line between where sound ends and music begins." It follows Mythologies (2023) and the Chiroptera soundtrack (2024), building a remarkable body of post-Daft Punk compositional work.

The guiding spirit behind Mirage is a name that will resonate with dance and classical music audiences: Iannis Xenakis.

For those less familiar, Xenakis was one of the most radical composers of the 20th century and his Greek identity was inseparable from his genius.

Born in 1922 in Romania to a wealthy Greek family, he grew up in Greece and studied architecture and engineering in Athens before fighting in the resistance against the Nazi occupation during World War II. Severely wounded and eventually sentenced to death for his political activities, he fled to Paris in 1947, where he worked as an assistant to the legendary architect Le Corbusier and designed the iconic Philips Pavilion for the 1958 Brussels World's Fair.

It was in Paris that he turned fully to music. His mentor Olivier Messiaen, rather than steer him toward conventional training, gave him defining advice: "You have the good fortune of being Greek, of being an architect, and having studied special mathematics. Take advantage of these things. Do them in your music."

Xenakis did exactly that. He pioneered stochastic music, compositions built on mathematical probability, the physics of sound masses, and architectural logic, treating music as an architect treats space. He was one of the first composers to use computers to generate music and developed the UPIC system, which translated graphic drawings directly into sound. By his death in Paris in 2001, he had received the Polar Music Prize and a UNESCO International Music Prize, with French President Jacques Chirac mourning: "France loses one of its most brilliant artists today."

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The link between the two artists is more than a passing reference. Like Xenakis, Bangalter is no longer interested in groove or melody as primary forces, he is interested in the texture, weight, and architecture of sound itself. "Finding the line between where sound ends and music begins is a good exploration," he has said.

For a generation that grew up treating Daft Punk as the pinnacle of electronic music, watching Bangalter align himself with one of the 20th century's most demanding avant-garde composers is a genuine provocation. It suggests someone not coasting on legacy, but actively pushing toward new territory.

The message across every interview and surprise appearance in 2026 is consistent: the Daft Punk legacy is intact precisely because it ended when it did. The reunion is not coming. The helmet stays on the shelf. And in its place, Thomas Bangalter is making art on his own terms, drawing a line from the Parisian dancefloors of the 1990s all the way back to a Greek composer who once turned mathematics into music, and sound itself into architecture.

The robots may be gone. But the human is only getting started.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

2f:T255b,

There is a specific kind of pressure that comes with a debut album when you have spent a decade building your name without one. Every release, every DJ set, every headline slot at Fabric or Awakenings has quietly made the case for who you are, and now, with a single body of work, all of that context either crystallises or complicates. For Amelie Lens, whose music tends to land with more emotional insistence than the genre's more austere corners usually allow, the announcement of AURA feels less like a surprise and more like an inevitability. The Belgian producer's first full length record drops September 4, 2026 via her own EXHALE imprint, and the day after, she plays what may be the most significant show of her career: an open air performance in the grounds of Antwerp's Royal Museum of Fine Arts, the KMSKA. The timing is deliberate. The statement is clear.

AURA is eleven tracks long and built, from what we know so far, around the tension between momentum and interiority that has defined Lens at her best. The driving, kinetic techno that made her sets essential listening at festivals and warehouse events across Europe is still very much present but the record reaches inward in ways that her releases to date have rarely allowed. A debut album is by nature a different document than a string of singles or EPs. It asks for commitment, from both the artist and the listener.

The lead single, "our frequency", has been out long enough to give a reasonable sense of where the record is headed. There is a particular quality to it that suggests Lens is operating with more room than a club focused format typically permits. It is not a departure from her aesthetic so much as a deepening of it.

Releasing through EXHALE, the label she founded and has used to develop her own artistic ecosystem, matters here. Working outside the pressure of a major dance imprint gives AURA a specific kind of autonomy. The decisions, sonic, visual, contextual are hers. That independence is legible in the way the project has been framed: not as a commercial pivot or a bid for crossover appeal, but as a document of where she actually is, right now, as an artist. The album, in her own framing, reflects the distance she has covered from early nights in underground Antwerp clubs to the kind of global touring schedule that most producers in this space would take a decade longer to build.

AURA is not simply a record. It is also, in Lens' thinking, a live concept, a framework for how the music is meant to be experienced in a shared physical space. This is not a new instinct for her. She has long been attentive to the energetic relationship between herself and a crowd, and her sets carry that awareness. But the AURA live concept represents a more considered attempt to articulate and design around that exchange.

The idea, as it has been described, centres on what passes between an artist and an audience when both are fully present, the kind of feedback loop that good techno, at its best, can generate in a large room or a field. It is less about spectacle for its own sake and more about using scale, sound design, and environment to intensify something that already exists when the music is working. This is an important distinction in a moment when the festival industry's appetite for production value can sometimes overwhelm the music it is supposed to serve.

Whether the live AURA concept fully realises this ambition will depend, to a significant degree, on what happens in Antwerp in September.

The Ambersa show at the KMSKA is, by any reasonable measure, a serious undertaking. The museum, one of Belgium's most significant cultural institutions, a building with weight and history, provides the backdrop for what is being staged as a large scale outdoor event, with a capacity in the region of 14,000. The venue's transformation into a functioning dancefloor for a single night places the event at a precise intersection: fine art architecture, contemporary electronic music, and the particular civic energy that Antwerp has been generating around its cultural programming for some years now.

The scheduling is pointed. The album lands on September 4. The show follows the next evening. It is the kind of sequencing that ensures the live performance becomes both a launch and an interpretation, an opportunity for the music, just one day old in the public's hands, to be heard in a context that the artist has specifically designed. The crowd arriving at the KMSKA on September 5 will, if everything works as intended, come with the record already in their ears and leave with it physically in their bodies.

For Belgian electronic music specifically, there is something worth noting here. The country has long had a credible claim to being central to techno's development and ongoing vitality, from the old Fuse club nights in Brussels to the current ecosystem that sustains artists like Len Faki's peers and a younger generation of producers. Lens is from Antwerp, and staging this event at home, at this scale, at a nationally significant cultural site, is a choice that carries meaning beyond personal preference. It is a claim, modestly made, that this music belongs in these spaces.

There is a version of the story of Amelie Lens that is simply a career trajectory, clubs, then festivals, then bigger festivals, now an album. But that framing undersells what AURA and the Antwerp show together suggest, which is a deliberate act of definition. Not reinvention but a decision to put it in a form that lasts longer than a set list.

Techno, as a form, has always been ambivalent about the album format. The music was built for clubs, for continuous mixing, for experience rather than object. That ambivalence has softened in recent years as the genre has expanded and its artists have found broader audiences with different listening habits. Lens' decision to make AURA is, in part, a response to that expanded context. It is also something more personal: a record that accounts for where she has been and what making this music has meant.

September will tell us whether the execution matches the intention. But the intention, at least, is substantial.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

30:T493,Amelie Lens has taken the techno scene to another level, with her unrelenting passion for the genre, with a strong message that she always was, and always will be a raver at heart. Amelie‘s debut release in 2016 marked the beginning of her distinguished career. Since then, she has released music on many of the industry‘s leading labels and contributed to the prestigious Global Underground City mix series. Amelie is a regular headliner at major festivals such as Awakenings, Sonar, Timewarp, and Tomorrowland’s mainstage. Additionally, she performs at renowned club venues across the globe. Fast forward to 2024 and Amelie is heading her labels Lenske and EXHALE Records, running her party series EXHALE, holds down an extensive touring schedule and hosts her own radio show ‘Amelie Lens presents EXHALE’. The show now streams online and broadcasts on 34 radio stations across the globe, reaching nearly 5 million listeners with every episode. Amelie has been focused on her signature sound, emphasised by the use of her own vocals. She wants to capture audiences that may not always be there for techno but feel connected after discovering something new.31:T2a54,

Rezz just pulled out of everything. Red Rocks. Tomorrowland. Breakaway. Beyond Wonderland. All of it. Gone.

In a statement posted to Instagram, Isabelle Rezazadeh, one of electronic music's most beloved artists, was brutally honest: "The past few months my body forced me to stop. For 15 years, I was fully focused as an artist traveling the world, but wounds began to scrape at me until I became the most physically sick I've ever been."

It's a statement that should hit every fan hard. Not because Rezz is gone, she isn't, and she'll be back but because of how familiar it sounds.

Five artists. Fourteen months. The same message.

Jauz. Timmy Trumpet. Chris Martinez. ChaseWest. And now Rezz. All of them, at different moments, saying some version of the same thing: I need to stop.

In December 2025, Timmy Trumpet announced he was stepping away from the stage for the first time in his career. "This has been the toughest year of my life," he wrote. He didn't overexplain. He didn't need to. Anyone who has seen his schedule understands. Seven shows in nine days across seven different countries, as he himself once described a typical stretch on the road.

These aren't isolated incidents. They are a pattern.

And the pattern started in the most devastating way possible with Avicii.

Avicii warned everyone. He retired from touring in 2016, writing openly: "I have too little left for the life of a real person behind the artist." He played up to 250 shows a year at the height of his career. He struggled with anxiety, addiction, and a body that was physically breaking down. He tried to stop. He was pressured to continue.

He died at 28.

His family's statement after his passing was one of the most heartbreaking indictments of an industry ever put into words: "Tim was not made for the business machine he found himself in; he was a sensitive guy who loved his fans but shunned the spotlight. An over-achieving perfectionist who travelled and worked hard at a pace that led to extreme stress."

According to research cited by Help Musicians UK, people working in the music industry are three times more likely to suffer mental health issues than the general public. And yet the machine kept moving. The schedules kept filling. The tours kept being booked.

100+ shows a year. 150+ flights. No real breaks. For many artists, that's simply the job. And for a long time, the industry treated it as normal.

Pete Tong, speaking at the International Music Summit in Ibiza, put it plainly: "In my 40 years of being around this world, I can't think of a single person who has achieved success who hasn't paid a personal price via health, relationships, divorce, broken homes, addiction, depression, and anxiety."

The life of a touring DJ sounds glamorous on the outside, festival headlines, private flights, crowds of thousands losing themselves to your music. But the reality underneath is relentless jet lag, chronic sleep deprivation, the disorientation of being somewhere different every 48 hours, and a culture that has historically treated saying "no" as a career risk rather than a basic act of self-preservation.

And unlike other performers, DJs are often expected to show up night after night in environments where the entire culture revolves around substances. The industry has long glorified excess as part of the brand. For artists who are already exhausted, isolated, or struggling, that environment is not just unhealthy, it's dangerous.

The story isn't only dark. Some artists have found a way to do this sustainably, and their examples matter.

Kaskade has been active in dance music for over 20 years. In a recent interview with DJ Life Magazine, he was asked what decisions were pivotal to his longevity. His answer was simple: "It's a boring, but crucial decision I made to prioritize my health. This industry is built to break you... I've had to stay healthy by kicking things out of my life that don't work for me. I don't drink; I don't do drugs. I surf and I do yoga. I soak up sun when I can and say 'no' to things when I don't have the bandwidth for them."

He's been sober his entire life. He credits that choice, made early, as the reason he's still standing after more than two decades.

Illenium has spoken openly about looking up to Kaskade as a sober role model in an industry that often makes sobriety feel like a risk. Calvin Harris, Chris Lake, and Kai Wachi are among other artists now openly discussing their own decisions to step back from the party culture that so often comes with the territory.

Armin van Buuren, shaken by Avicii's death, gave up alcohol, started therapy, and began meditating daily. "I realised that in 10 years, I'll remember the camping trip, but I probably won't remember all the festivals," he said. That shift in perspective is something the industry is slowly learning to value.

There are signs of genuine change. Some major festivals have begun incorporating wellness zones where artists and attendees can decompress. Several management companies now provide mental health resources for their rosters. The Association for Electronic Music (AFEM) has made artist wellbeing a formal priority.

But awareness and action are different things. Booking agents still fill calendars. Labels still set expectations. The economic incentives of the touring machine haven't changed as fast as the conversation has.

What has changed is that artists are speaking up loudly, publicly, without apology. Rezz's statement is the latest in a growing body of testimony from people at the top of the industry saying: this is not sustainable, and we are not going to pretend otherwise anymore.

That matters. Because every time a major artist says it, it gets a little easier for the next one to say it too.

There's something the dance music community needs to sit with: the artists we love are not machines. They are people who are often more sensitive, more anxious, and more susceptible to burnout than they appear on stage. The same emotional depth that makes their music move us is the same quality that makes the lifestyle hardest to sustain.

Rezz will heal. Timmy Trumpet is already performing again, talking about 2026 as a new chapter. The music will continue.

But the least we can do is stop treating burnout as a personal failure and start treating it as a systemic one. Start listening when artists say they need to stop. Stop filling the calendar before the human being inside it has had time to breathe.

The dancefloor will wait. The music will be better for it.

Stay connected with dancetoday - follow us on social media or join our Discord community for the latest stories, insights, and news shaping the electronic dance music world.

32:T2f7b,

On Friday 13/2/2026, during his USB002 residency at the iconic Alexandra Palace, Fred again.. invited the absolute pillars of UK electronic music on stage, Underworld, for an iconic B2B performance. And when “Born Slippy” echoed across that historic hall, it felt like time folded in on itself.

Because exactly 30 years ago, on 23/2/1996, "Trainspotting" was released. Directed by Danny Boyle, the film did more than shock audiences... it redefined how electronic music, rave culture and club identity were perceived worldwide.

So, this article is not just nostalgia. It is education. Also, for the older generation, it is a reminder. For the younger generation, it is context. And for artists and producers, it is a lesson.

Trainspotting: More Than a Film

When "Trainspotting" hit cinemas in 1996, rave culture was still largely underground. Yes, clubs were thriving, warehouses were full and Ibiza was evolving. But mainstream cinema had rarely taken electronic music seriously as a narrative force.

And "Trainspotting" changed that.

Instead of treating club tracks as background noise, the film placed electronic music at the emotional core of its storytelling. The soundtrack was not decoration. It was identity.

Based on Irvine Welsh’s novel, the film followed a group of friends navigating addiction, alienation and the search for meaning in 90s Britain. It captured a generation suspended between nihilism and possibility.

And its sonic backbone helped define that feeling. The soundtrack included acts like Iggy Pop, New Order, and of course Underworld. But one track became immortal:

Underworld - Born Slippy .NUXX

Originally released in 1995 as a B-side, “Born Slippy” was not designed to be a global anthem. Yet cinema transformed it!

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The Final Scene That Changed Everything

If you have seen "Trainspotting", you remember the final scene: Renton walks away. The monologue begins. The tension builds. And then... “Born Slippy” explodes.

It was not just music placed over visuals. It was synchronization at its most powerful. The track became the emotional release valve of the entire narrative. The repetitive, hypnotic structure mirrored the chaos of the characters’ lives. The fragmented lyrics reflected confusion and disorientation. The relentless drive felt like escape.

That moment turned a club track into a cultural symbol. After the film’s release, “Born Slippy” climbed to #2 on the UK charts and Underworld became one of the defining electronic acts of the decade.

But its deeper impact was not commercial. It was psychological.

How "Trainspotting" Redefined Club Culture

Before "Trainspotting", rave culture was often portrayed as hedonistic, shallow or dangerous. However, after "Trainspotting", it became cinematic. The film did not romanticize addiction. It did not sanitize chaos. Yet it treated the soundtrack with seriousness and emotional weight.

And electronic music was no longer just party music.

It became:

A vehicle for storytelling
A reflection of urban alienation
A symbol of generational identity
A bridge between underground and mainstream

This shift mattered, because culture moves when narrative changes.

Trainspotting helped move electronic music from warehouses into living rooms, from subculture into collective consciousness. In many ways, it did for 90s rave what punk documentaries did for the 70s. It gave it myth.

For deeper context on 90s rave history, platforms like the British Film Institute and electronic music archives such as Resident Advisor’s long-form features offer valuable background reading.

Born Slippy: From Track to Anthem

“Born Slippy” is not a conventional pop song. Its structure is hypnotic rather than melodic. Its vocals are fragmented rather than clear. Its emotional arc builds gradually rather than exploding instantly.

That's why it works in clubs. And that's why it worked in "Trainspotting".

The track became:

A symbol of 90s rave consciousness
An expression of alienation and freedom
A sonic bridge between underground techno and mainstream culture

Even today, when a DJ drops “Born Slippy” at 6AM, something changes in the room. It is not just nostalgia. It is collective memory. And 30 years later, it remains one of the most powerful closing tracks in club history.

Why This Still Matters in 2026

Seeing Fred again.. play B2B with Underworld at Alexandra Palace was more than a cool booking. It was symbolic continuity.

Fred again.. represents a generation raised on emotional sampling, storytelling through production, and digital-native club culture, while Underworld represent the architects of a previous era.

But the bridge between them is narrative-driven electronic music. And that bridge was strengthened by "Trainspotting".

And for younger ravers, understanding this context is essential. Club culture did not just start with TikTok edits or Spotify playlists. It was built in warehouses, documented in cinema, and amplified through moments like that final "Trainspotting" scene.

Also, for older ravers, revisiting the film is not just nostalgia. It is remembering where part of this movement crystallized.

The Business Lesson for Artists and Producers

From my point of view, there is also a music business lesson here: "Trainspotting" demonstrates the power of synchronization. A well-placed track in film can transform a B-side into a global anthem.

Today’s equivalent might be a Netflix series placement, a viral clip, or a cinematic moment in digital media. But the principle remains: Music becomes timeless when it connects to narrative.

So, as artists, producers and DJs, we should not only think about streams. We should think about moments. Because moments create legacy.

Conclusion: Why You Should Watch It

"Trainspotting" is not just a 90s cult film. It is a cultural documentary. It shows how electronic music moved from subculture to mainstream without losing its emotional weight and demonstrates how cinema can elevate a track into mythology.

If you lived through that era, watch it again.

If you were born after it, you should watch it as well to understand what shaped today’s club culture.

Because when “Born Slippy” plays, you are not just hearing a track. You are hearing history. And history, when understood, makes you a better artist, a better DJ, and a more conscious participant in the culture we all claim to love.

Stay connected with dancetoday - follow us on social media for the latest stories, insights, and news shaping the electronic dance music world.

33:T998,

The countdown to Zamna Cyprus just got even more exciting with the announcement of Black Coffee, one of the most influential artists in today’s electronic music scene. The South African DJ and producer has redefined the sound of Afro-house, creating sets that draw you in from the very first minute to the very last. From his residencies in Ibiza to appearances at some of the world’s biggest festivals, each of his performances becomes more than just a DJ set, it’s a powerful musical journey. With a Grammy Award and collaborations across the global pop and urban spectrum, Black Coffee has established himself as a true international force, bringing diverse audiences together under one rhythm.

His appearance at Zamna Festival in Cyprus is expected to be one of the highlights of this year’s event. Known for its high-level production, carefully curated locations, and immersive atmosphere, Zamna provides the perfect setting for Black Coffee’s signature sound. His music often begins on a deeper, more atmospheric note before gradually building in intensity, keeping the crowd moving until the very last track. The event is set to attract thousands of fans from Cyprus, Greece, and beyond, confirming Zamna Cyprus as one of the region’s most important dance events and that Cyprus is establishing itself as a major destination for international electronic music festivals.

Stay connected with dancetoday - follow us on social media for the latest stories, insights, and news shaping the electronic dance music world.

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